SCREEN-L Archives

April 2001, Week 3


Options: Use Monospaced Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
gloria monti <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Mon, 16 Apr 2001 20:39:36 -0400
text/plain (63 lines)
>Secondly, we are writing the press kit and have very little on the co-stars
>Francisco Rabal and Alida Valli. Can anyone point us in the general direction
>of any books, articles or interviews with these people?

        Alida Valli (Pola, Italy -- now Pula, Croatia, 1921-)
        Starts her film career in the mid-Thirties and becomes the
star of the White Telephones (1939-1944), a genre which models itself
upon the the American sophisticated comedies of Cukor, Hawks, and
Brown.  The White Telephones films rely on the careful construction
of set designs, literally building an unproblematic environment
located within an undefined "faraway," a conflict-free world where
all dreams come true.  These films advocate a complete disinterest in
the Italian socio-political issues of the time and as such they are
considered harmless by the Fascist regime.  Thus their production can
prosper undisturbed.
        Valli makes a number of English language films after WWII,
most notably, *The Paradine Case* (1947), Alfred Hitchcock and *The
Third Man* (1949), Carol Reed.
         In 1954, Valli finds new stardom with Luchino Visconti's
*Senso,* the first Italian film shot in Technicolor.  She continues
to work with other major European directors such as Michelangelo
Antonioni (*Il Grido/The Cry* 1957), Gillo Pontecorvo (*La Grande
Strada Azzurra/The Wide Blue Road* 1957), Roger Vadim (*Les
Bijoutiers du Claire de Lune/Heaven Fell that Night* 1957), Rene
Clement (*Barrage Contre Le Pacifique/This Angry Age* 1958), George
Franju (*Les Yeux Sans Visage/Eyes without a Face* 1959), Claude
Chabrol (*Ophelia* 1962), Franco brusati (*Il Disordine/Disorder*
1962), Claude Autant-Lara (*Umorismo Nero/Black Humor* 1964), Pier
Paolo Pasolini (*Edipo Re/Oedipus Rex* 1967), Bernardo Bertolucci
(*La Strategia del Ragno/The Spider's Stratagem* 1970,
*Novecento/1900* 1976, and *La Luna/Luna* 1979), Valerio Zurlini (*La
Prima Notte di Quiete/The Professor* 1972),  Mario Bava (*La Casa
dell'Esorcismo/The Devil and the Dead* 1974), Dario Argento
(*Suspiria* 1977 and *Inferno* 1980),  Marco Tullio Giordana (*La
Caduta degli Angeli Ribelli* 1981), Giuseppe Bertolucci (*Segreti
Segreti/Secrets Secrets* 1985, *Probably Love* 1998, and *Il Dolce
Rumore della Vita* 1999), Margarethe Von Trotta (*Il Lungo
Silenzio/The Long Silence* 1993).
        Her latest work is an Austrian-Italian made for TV film,
*Vino Santo* (2000).

        Gloria Monti


gloria monti, ph.d.
program in film studies
223 humanities instructional building
university of california, irvine
irvine, CA  92697-2435
phone: 949-824-6576
e-mail: [log in to unmask]

4/15/1980: Jean-Paul Sartre died in Paris at the age of 74.
4/15/1990: Greta Garbo died in New York at age 84.

Happy 64th b-day, Claudia Cardinale!

For past messages, visit the Screen-L Archives: