Showing posts with label Marcello Mastroianni. Show all posts
Showing posts with label Marcello Mastroianni. Show all posts

Tuesday, 10 October 2023

Italian-French Co-productions and Transnational Cultural Exchange

Abstract:  The article explores some recurring features found in Pathé’s Italian-French co-productions in the 1950s and 1960s, addressing this corpus of films as a representative sample of the larger co-production trends between the two countries in the period under discussion. The analysis is based on the examination of unpublished documents as well as press material from the archives of the Fondation Seydoux-Pathé (Seydoux-Pathé Foundation) and the Cinémathèque française (French Film Library). 

As the article evidences, co-productions served as a powerful instrument of transnational cultural exchange, modern marketing practices, and the rethinking and revisiting of country-specific genres. They also paved the way for the exportation and popularization of Italian actors, directors and cinematic style across France. Great attention is paid to how the French specialist and popular press received such co-productions, whether the films’ dual nationality affected their reception and to what extent co-productions contributed to the image of Italian cinema in post-war France. (Palma, 2017)

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- Palma, P. (2017). Viaggio in Francia: Pathé Italian-French co-productions in the 1950s and 1960s. Journal of Italian Cinema & Media Studies, 5(3), 333-355.
- photograph of Marcello Mastroianni and Catherine Deneuve (1974) via

Monday, 1 August 2016

Una giornata particolare | A Special Day

When Ettore Scola, Carlo Ponti, Sophia Loren and Marcello Mastroianni work together, something very special is about to be created. "A Special Day" is a 1977 Italian film directed by Ettore Scola (1931-2016) who - according to Italian prime minister Matteo Renzi- had "an ability that was as incredible as it was razor-sharp in reading Italy, its society and the changes it went through" and whose death left "a huge void in Italian culture" (via), a film produced by Carlo Ponti (1912-2007) who had also produced "Marriage Italian Style" and Federico Fellini's "La strada", a film starring often awarded Marcello Mastroianni (1924-1996) and often awarded Sophia Loren. "A Special Day" is on the list of the "100 films that have changed the collective memory of the country between 1942 and 1978".



Antonietta (Sophia Loren) is a resigned and overworked homemaker, mother of six, wife of vulgar fascist husband Emanuele (John Vernon). She is barely literate and keeps a scrapbook of Mussolini's life who she enthusiastically supports. Gabriele (Marcello Mastroianni) is an intelligent, charming, sensitive and sardonic man who lives alone. He is a radio broadcaster, a critical opponent of the regime, who has been dismissed from his job and is soon to be deported to Sardinia where homosexuals "couldn't contaminate the Fascist culture" (via and via).

In the virile regime of fascist Italy, homosexual men undermined the image of Italian manhood Mussolini wanted to project. The regime did not pass discriminatory laws but created a climate that supported the suppression of open manifestations of homosexuality. Gay men were sent to Sardinia where they were locked inside dormitories under the supervision of the police. "Unwittingly, the Fascists had created a corner of Italy where you were expected to be openly gay." Ironically, they were free of stigma and could be themselves. While openly gay men could not leave their homes without being arrested, on the island the arrival of someone new was celebrated. In 1939, the men were returned to the places they had come from and stayed in a kind of house arrest (via).



On the day Hitler visits Mussolini in Rome, Antonietta stays home and starts a day like all other days doing domestic tasks. She is alone, her husband and six children follow the fascist parade. In fact, the whole building is empty as almost everybody seems to be participating in the rally and hysterically receiving the dictators.
That day, Antonietta and Gabriele meet in the empty apartment block when she tries to find Rosamunda, her escaped mynah bird that flies to the other side of the courtyard.
"This is the device that brings Antonietta and Gabriele together for almost two hours of comic and touching confidences, arguments and self-searching that lead, eventually, to a love scene that is simultaneously ecstatic and forlorn. It's something, I suspect, that only Miss Loren and Mr. Mastroianni could bring off so triumphantly." The New York Times
"The film stresses how repression can be a common bond between two very different people." The Guardian


At first, Antonietta does not know about Gabriele's homosexuality, flirts with him and confides to him her troubles with her unfaithful husband. They spend intimate hours with each other. At the end of the day, Antonietta sits near the window reading a book Gabriele has given her. From the window she watches him leaving the complex in the dark, escorted by fascist policemen. She turns off the light and goes to bed where her husband is waiting to patriotically produce the seventh child for Italy (via and via). "A Special Day" is one of Ettore Scola's masterpieces.



images via and via and via and via

Thursday, 26 September 2013

The Italian Womaniser

Media (particularly non-Italian media) often presented Italian actor Marcello Mastroianni (1924-1996) as a "Latin Lover", a label Mastroianni found highly unpleasant. He pointed out that he had played an impotent man, a pregnant man, a homosexual man ... and nevertheless journalists continued to describe him as a Latin Lover. Mastroianni did not get rid of this label although most of his roles on screen did not conform to this image. The very reason why has probably little to do with Mastroianni himself and more to do with the international image of Italian masculinity - a product of popular culture and the imagined embodiment of the rather uncivilised Latino whose exotic passion contrasts with the audience's more civilised society (Reich, 2004).



Stereotypes are pictures in our head that can simplify, distort, and do injury to meaning. They are also useful devices for visual communicators as they are easily understood (Dente Ross & Lester, 2011). And a fascinating effect of stereotypes is that once we have the stereotypical background knowledge we see them even when they are not portrayed.

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- Dente Ross, S. & Lester, P. M. (2011) Images that injure: Pictorial stereotypes in the media. Santa Barbara: ABC-CLIO
- Reich, J. (2004) Beyond the Latin Lover: Marcello Mastroianni, Masculinity, and Italian Cinema. Bloomington: Indiana University Press
- photograph via