Giuliano Montaldo, the admired Italian filmmaker who wrote and directed Sacco & Vanzetti, the John Cassavetes-starring Machine Gun McCain and every episode of the big-budget 1982 miniseries Marco Polo, has died. He was 93.
Montaldo died Wednesday at his home in Rome, his family announced.
His big-screen résumé also included The Reckless (1965), starring Renato Salvatori; Grand Slam (1967), starring Janet Leigh; Giordano Bruno (1973), starring Gian Maria Volonté and Charlotte Rampling; And Agnes Chose to Die (1976), starring Ingrid Thulin; and The Gold Rimmed Glasses (1987), starring Philippe Noiret, Rupert Everett, Stefania Sandrelli and Valeria Golino.
Of the 20 films Montaldo helmed, 16 were set to music by Ennio Morricone; no other director collaborated with the famed composer more.
Montaldo also served as president of Italy’s Rai Cinema from 1999-2004.
Montaldo’s gangster tale Machine Gun McCain (1969), which also starred Britt Ekland, Gena Rowlands and Peter Falk, and Sacco & Vanzetti (1971), about the Massachusetts trial and 1927 execution of...
Montaldo died Wednesday at his home in Rome, his family announced.
His big-screen résumé also included The Reckless (1965), starring Renato Salvatori; Grand Slam (1967), starring Janet Leigh; Giordano Bruno (1973), starring Gian Maria Volonté and Charlotte Rampling; And Agnes Chose to Die (1976), starring Ingrid Thulin; and The Gold Rimmed Glasses (1987), starring Philippe Noiret, Rupert Everett, Stefania Sandrelli and Valeria Golino.
Of the 20 films Montaldo helmed, 16 were set to music by Ennio Morricone; no other director collaborated with the famed composer more.
Montaldo also served as president of Italy’s Rai Cinema from 1999-2004.
Montaldo’s gangster tale Machine Gun McCain (1969), which also starred Britt Ekland, Gena Rowlands and Peter Falk, and Sacco & Vanzetti (1971), about the Massachusetts trial and 1927 execution of...
- 9/6/2023
- by Alberto Crespi
- The Hollywood Reporter - Movie News
Focusing on the everyday domesticity of the Auschwitz commandant’s family might only reflect the horror indirectly, but the film pulls the banality of evil into pin-sharp focus
A single, satanic joke burns through the celluloid in Jonathan Glazer’s technically brilliant, uneasy Holocaust movie, freely adapted by the director from the novel by Martin Amis, a film which for all its artistry is perhaps not entirely in control of its (intentional) bad taste.
How did the placidly respectable home life of the German people coexist with imagining and executing the horrors of the genocide? How did such evil flower within what George Steiner famously called the German world of “silent night, holy night, gemütlichkeit”?
The film imagines the pure bucolic bliss experienced by Auschwitz camp commandant Rudolf Höss (Christian Friedel) who with his family lives in a handsomely appointed family home with servants just outside the barbed-wire-topped wall. His wife,...
A single, satanic joke burns through the celluloid in Jonathan Glazer’s technically brilliant, uneasy Holocaust movie, freely adapted by the director from the novel by Martin Amis, a film which for all its artistry is perhaps not entirely in control of its (intentional) bad taste.
How did the placidly respectable home life of the German people coexist with imagining and executing the horrors of the genocide? How did such evil flower within what George Steiner famously called the German world of “silent night, holy night, gemütlichkeit”?
The film imagines the pure bucolic bliss experienced by Auschwitz camp commandant Rudolf Höss (Christian Friedel) who with his family lives in a handsomely appointed family home with servants just outside the barbed-wire-topped wall. His wife,...
- 5/19/2023
- by Peter Bradshaw in Cannes
- The Guardian - Film News
100 year ago today in Pisa, Italy, the director Gillo Pontecorvo was born.
He only made five narrative features in his career, which is surely one of the reasons that he's overshadowed in cultural memory by the far more prolific mid 20th century Italian giants Vittorio de Sica and Federico Fellini. Still Pontecorvo's two best known films were both nominated for the Best Foreign Film at the Academy Awards, the concentration camp drama Kapò (1960) and the resistance/war drama The Battle of Algiers (1966). The latter, which won the Golden Lion at Venice in its year, is still revered as a masterpiece. Have you seen either of these classics?...
He only made five narrative features in his career, which is surely one of the reasons that he's overshadowed in cultural memory by the far more prolific mid 20th century Italian giants Vittorio de Sica and Federico Fellini. Still Pontecorvo's two best known films were both nominated for the Best Foreign Film at the Academy Awards, the concentration camp drama Kapò (1960) and the resistance/war drama The Battle of Algiers (1966). The latter, which won the Golden Lion at Venice in its year, is still revered as a masterpiece. Have you seen either of these classics?...
- 11/19/2019
- by NATHANIEL R
- FilmExperience
Bill Murray, Wes Anderson, Ron Howard, Bret Easton Ellis and Hirokazu Kore-eda all confirmed for masterclasses.
Bill Murray will receive the lifetime achievement award from this year’s Rome Film Fest (Oct 17-27) in an accolade to be presented by longtime collaborator Wes Anderson with whom he has worked on films including The Life Aquatic With Steve Zissou and Moonrise Kingdom.
Anderson will also host a masterclass with Murray.
Additionally, the festival will host the a screening of Ron Howard’s documentary Pavarotti and a masterclass with the Us director.
The complete line-up of the festival will be unveiled onf...
Bill Murray will receive the lifetime achievement award from this year’s Rome Film Fest (Oct 17-27) in an accolade to be presented by longtime collaborator Wes Anderson with whom he has worked on films including The Life Aquatic With Steve Zissou and Moonrise Kingdom.
Anderson will also host a masterclass with Murray.
Additionally, the festival will host the a screening of Ron Howard’s documentary Pavarotti and a masterclass with the Us director.
The complete line-up of the festival will be unveiled onf...
- 6/24/2019
- by Gabriele Niola
- ScreenDaily
The Rome Film Festival has revealed a sneak peak of its 2019 edition, which will include a lifetime achievement award for Bill Murray, presented by director Wes Anderson.
Murray will take part in an “in conversation” session hosted by his regular collaborator Anderson. Also giving talks at the Italian festival will be Hirokazu Kore-eda, Olivier Assayas, Bertrand Tavernier, and writer Bret Easton Ellis.
The event, which runs October 17-27, also revealed Monday that its Official Selection will include Pavarotti by Ron Howard, who will be on hand to present the film. The lineup will feature around 40 films that will compete for the Bnl People’s Choice Award.
Also on the wider programm lineup will be a restored version of Fellini Satyricon on the 50th anniversary of its release, and a tribute to Italian director Gillo Pontecorvo, one century after his birth, with the restored version of Kapò. There will also be...
Murray will take part in an “in conversation” session hosted by his regular collaborator Anderson. Also giving talks at the Italian festival will be Hirokazu Kore-eda, Olivier Assayas, Bertrand Tavernier, and writer Bret Easton Ellis.
The event, which runs October 17-27, also revealed Monday that its Official Selection will include Pavarotti by Ron Howard, who will be on hand to present the film. The lineup will feature around 40 films that will compete for the Bnl People’s Choice Award.
Also on the wider programm lineup will be a restored version of Fellini Satyricon on the 50th anniversary of its release, and a tribute to Italian director Gillo Pontecorvo, one century after his birth, with the restored version of Kapò. There will also be...
- 6/24/2019
- by Andreas Wiseman
- Deadline Film + TV
The Rome Film Festival will celebrate Bill Murray with its lifetime achievement award, which will be presented to him by Wes Anderson.
Anderson, who has directed Murray in some of his most iconic roles, most notably in “The Royal Tenenbaums,” and in several other films such as “The Darjeeling Limited,” “Moonrise Kingdom” and “Grand Budapest Hotel,” is also scheduled to take part in an onstage conversation in Rome with Murray about the actor’s career.
The fest’s artistic director Antonio Monda also announced Monday that Oscar-winning director Ron Howard will be coming to the Eternal City to launch his “Pavarotti” documentary, which will be screening in the official selection. Howard will hold an onstage conversation.
Other prominent film personalities booked for Rome’s Close Encounters onstage chats, which are becoming one of the fest’s trademarks under Monda’s guidance, are French filmmakers Olivier Assayas and Bertrand Tavernier and American writer Bret Easton Ellis.
Anderson, who has directed Murray in some of his most iconic roles, most notably in “The Royal Tenenbaums,” and in several other films such as “The Darjeeling Limited,” “Moonrise Kingdom” and “Grand Budapest Hotel,” is also scheduled to take part in an onstage conversation in Rome with Murray about the actor’s career.
The fest’s artistic director Antonio Monda also announced Monday that Oscar-winning director Ron Howard will be coming to the Eternal City to launch his “Pavarotti” documentary, which will be screening in the official selection. Howard will hold an onstage conversation.
Other prominent film personalities booked for Rome’s Close Encounters onstage chats, which are becoming one of the fest’s trademarks under Monda’s guidance, are French filmmakers Olivier Assayas and Bertrand Tavernier and American writer Bret Easton Ellis.
- 6/24/2019
- by Nick Vivarelli
- Variety Film + TV
The first sounds, over the black of the opening titles, are of tiny, gasping breaths catching in a throat. It could be a death rattle or an asthma attack or the last throes of a strangulation, but it is undoubtedly a human in distress. And it’s a very close analog for how “Beanpole,” the slow, ferocious, and extraordinary second film from blazing 27-year-old Russian talent Kantemir Balagov can make you feel. You quite often have to remind yourself to breathe.
These noises are coming from Iya (Viktoria Mironshnichenko), also known as Beanpole due to the almost freakishly tall figure she cuts, with her skin so pale, hair so fair, and eyes so huge under vanishing white eyelashes. She is experiencing one of her regular Ptsd-related fits, frozen in place and dissociated, in the laundry of the overworked Leningrad veterans hospital in which she works as a nurse, in the...
These noises are coming from Iya (Viktoria Mironshnichenko), also known as Beanpole due to the almost freakishly tall figure she cuts, with her skin so pale, hair so fair, and eyes so huge under vanishing white eyelashes. She is experiencing one of her regular Ptsd-related fits, frozen in place and dissociated, in the laundry of the overworked Leningrad veterans hospital in which she works as a nurse, in the...
- 5/18/2019
- by Jessica Kiang
- Variety Film + TV
French screen icon joins writer-directors Dominique Abel and Fiona Gordon for one of her final appearances
Here is one of the final screen appearances of Emmanuelle Riva, icon of movies from Michael Haneke’s Amour to Gillo Pontecorvo’s Kapò and Alain Resnais’s Hiroshima Mon Amour, who died in January at the age of 89. It is a delectably gentle, elegant, self-effacing performance. Riva plays a lovably scatty old lady called Marthe in this Tati-esque comedy from French writer-directors Dominique Abel and Fiona Gordon. The movie they have jointly devised, and in which they star, is a clever, funny and distinctly unworldly comedy with an insouciant line in visual humour.
Fiona (Fiona Gordon) is a young goof from Canada who comes to Paris to visit her similarly away-with-the-fairies aunt Marthe (Riva). A mishap on the banks of, and then in, the Seine leads to an encounter with a romantic tramp...
Here is one of the final screen appearances of Emmanuelle Riva, icon of movies from Michael Haneke’s Amour to Gillo Pontecorvo’s Kapò and Alain Resnais’s Hiroshima Mon Amour, who died in January at the age of 89. It is a delectably gentle, elegant, self-effacing performance. Riva plays a lovably scatty old lady called Marthe in this Tati-esque comedy from French writer-directors Dominique Abel and Fiona Gordon. The movie they have jointly devised, and in which they star, is a clever, funny and distinctly unworldly comedy with an insouciant line in visual humour.
Fiona (Fiona Gordon) is a young goof from Canada who comes to Paris to visit her similarly away-with-the-fairies aunt Marthe (Riva). A mishap on the banks of, and then in, the Seine leads to an encounter with a romantic tramp...
- 11/24/2017
- by Peter Bradshaw
- The Guardian - Film News
Emmanuelle Riva, French actress known for her role in “Amour,” died on Friday, January 27, in a Paris clinic from a long illness, her agent, Anne Alvarez Correa, told The Associated Press. She was 89.
French President Francois Hollande said in a statement, via The Hollywood Reporter, that Riva “deeply marked French cinema” and “created intense emotion in all the roles she played.”
With a career spanning 60 years, Riva received her first Oscar nomination in 2013 for her performance in Michael Haneke’s film “Amour,” about an older couple’s bond of love after one of them suffers a stroke. That same role earned her a BAFTA Award and the prestigious César Award in the Best Actress categories.
“I have always encountered captivating roles and characters. I have often been happy, and still am now, with this exceptional film which happened at the exact moment in my life when I could do it,...
French President Francois Hollande said in a statement, via The Hollywood Reporter, that Riva “deeply marked French cinema” and “created intense emotion in all the roles she played.”
With a career spanning 60 years, Riva received her first Oscar nomination in 2013 for her performance in Michael Haneke’s film “Amour,” about an older couple’s bond of love after one of them suffers a stroke. That same role earned her a BAFTA Award and the prestigious César Award in the Best Actress categories.
“I have always encountered captivating roles and characters. I have often been happy, and still am now, with this exceptional film which happened at the exact moment in my life when I could do it,...
- 1/28/2017
- by Liz Calvario
- Indiewire
European Film Awards 2012 winners: Michael Haneke, Amour, Jean-Louis Trintignant, Emmanuelle Riva Michael Haneke’s Amour, a French-Austrian-German co-production about an elderly married couple coping with illness and encroaching death, was the top winner at the European Film Awards 2012 ceremony held at the Mediterranean Conference Centre in Valletta, Malta, last night. Amour won honors for Best Actor Jean-Louis Trintignant (Z, The Conformist, Red), Best Actress Emmanuelle Riva (Hiroshima Mon Amour, Kapò, Therese), Best Director Haneke, and Best European Film. (Photo: Michael Haneke at European Film [...]...
- 12/3/2012
- by Andre Soares
- Alt Film Guide
It’s the time again, my friends. When I go through Hulu’s Criterion page and give you what’s new, what’s exciting and what might be a hint at a future release within the collection. There’s even a ton of new supplemental material from various films that are worth getting into. If you like this series of article, please sign up for your own Hulu Plus account. Every little bit counts and is much appreciated.
Let’s just get right to it then. Remember, all the links will be included with each listing. We make it as easy as possible for all of you. First up is a film that isn’t in the collection but I can easily see it being welcomed with open arms.
La Cérémonie (1995), a Claude Chabrol film, is about Catherine (Jacqueline Bisset) who hires a new maid by the name of Sophie (Sandrine Bonnaire), an illiterate woman.
Let’s just get right to it then. Remember, all the links will be included with each listing. We make it as easy as possible for all of you. First up is a film that isn’t in the collection but I can easily see it being welcomed with open arms.
La Cérémonie (1995), a Claude Chabrol film, is about Catherine (Jacqueline Bisset) who hires a new maid by the name of Sophie (Sandrine Bonnaire), an illiterate woman.
- 5/13/2011
- by James McCormick
- CriterionCast
'Dostoevskian' French actor with an aura of tormented youth
With his emaciated but hypnotically handsome face and lithe body, the French actor Laurent Terzieff, who has died of respiratory infection aged 75, graced the stage and films for more than half a century. There was always an aura of tormented youth about Terzieff which he carried into the classic roles of his maturity such as Luigi Pirandello's Henry IV (1989) and Shakespeare's Richard II (1991). His perfect diction and rhythmic precision made his rendering of Jean Cocteau's narration of Stravinsky's Oedipus Rex in Bob Wilson's production at the Théâtre du Châtelet in 1996 particularly exciting.
Terzieff's special talents were used by many of the great theatre producers of the day: Jean-Louis Barrault, Peter Brook, Roger Planchon, Maurice Garrel, Roger Blin and André Barsacq. He also directed dozens of plays, many at the Théâtre du Lucernaire in Montparnasse. Paradoxically, given his tormented persona as an actor,...
With his emaciated but hypnotically handsome face and lithe body, the French actor Laurent Terzieff, who has died of respiratory infection aged 75, graced the stage and films for more than half a century. There was always an aura of tormented youth about Terzieff which he carried into the classic roles of his maturity such as Luigi Pirandello's Henry IV (1989) and Shakespeare's Richard II (1991). His perfect diction and rhythmic precision made his rendering of Jean Cocteau's narration of Stravinsky's Oedipus Rex in Bob Wilson's production at the Théâtre du Châtelet in 1996 particularly exciting.
Terzieff's special talents were used by many of the great theatre producers of the day: Jean-Louis Barrault, Peter Brook, Roger Planchon, Maurice Garrel, Roger Blin and André Barsacq. He also directed dozens of plays, many at the Théâtre du Lucernaire in Montparnasse. Paradoxically, given his tormented persona as an actor,...
- 7/21/2010
- by Ronald Bergan
- The Guardian - Film News
Once upon a time, one of the best film critics in any language, a Frenchman named Serge Daney, found himself at 17 inspired toward his vocation by a single line of writing -- about a film he'd never seen, and would never see.
The film was Gillo Pontecorvo's "Kapò" (1959), and the first reviewer, the firestarter, was none other than Jacques Rivette, already on his way to being one of the world's greatest and most fiercely principled filmmakers. The piece was in Cahiers du Cinéma in 1961. This is the line that changed Daney's life: "...Look however in 'Kapò,' the shot where [Emmanuelle] Riva commits suicide by throwing herself on electric barbed-wire: the man who decides at this moment to make a forward tracking shot to reframe the dead body -- carefully positioning the raised hand in the corner of the final framing -- this man is worthy of the most profound contempt.
The film was Gillo Pontecorvo's "Kapò" (1959), and the first reviewer, the firestarter, was none other than Jacques Rivette, already on his way to being one of the world's greatest and most fiercely principled filmmakers. The piece was in Cahiers du Cinéma in 1961. This is the line that changed Daney's life: "...Look however in 'Kapò,' the shot where [Emmanuelle] Riva commits suicide by throwing herself on electric barbed-wire: the man who decides at this moment to make a forward tracking shot to reframe the dead body -- carefully positioning the raised hand in the corner of the final framing -- this man is worthy of the most profound contempt.
- 4/13/2010
- by Michael Atkinson
- ifc.com
"Gillo Pontecorvo's Kapò, a concentration-camp drama from 1959, is neither a great nor a terrible movie, but it has a special place in the history of Holocaust films (and of film criticism)." Dennis Lim in the Los Angeles Times: "It is a flash point in a long-running debate — one that surrounds films as different as Schindler's List and Inglourious Basterds — about the responsibilities and the limitations of cinema when it comes to depicting a historical atrocity." And, as he explains, Jacques Rivette and Serge Daney have been crucial voices in that debate.
- 4/13/2010
- MUBI
Over the past several weeks, the concept of “double dipping” has been brought to a heated point amongst DVD and Blu-ray collectors and enthusiasts. Double-dipping refers to the practice that many home media distributors use when re-releasing titles, either with new materials, packaging, or on a new format. This has been done for years by almost every studio, and is hotly debated by fans who feel the internal struggle of wanting to please the completist within, while at the same time not wanting to be taken advantage of by those seeking to milk a property as long as possible.
Last week we saw the long awaited Blu-ray release of the Lord of the Rings, a set that people have longed for ever since the high definition formats were announced. I know that personally, while the HD-DVD vs. Blu-ray format wars were still going on, the prospect of having Lord of...
Last week we saw the long awaited Blu-ray release of the Lord of the Rings, a set that people have longed for ever since the high definition formats were announced. I know that personally, while the HD-DVD vs. Blu-ray format wars were still going on, the prospect of having Lord of...
- 4/13/2010
- by Ryan Gallagher
- CriterionCast
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