Elisa's Venice Diary #2: Lost Daughter and lost souls: Sorrentino, Schrader and Gyllenhaal

by Elisa Giudici

Day two, three movies: a luxury, considering how difficult it is to get tickets this year. Usually, the Venice way is to queue outside the screening hoping to be able to get inside. If you have a red or blue pass you are reasonably sure to see everything you want, even when you arrive only 5 minutes before the beginning of the show. If you are a green or yellow pass holder, you need to show up early and hope red or blue pass holders are busy somewhere else. Due to Covid-19 safety rules and social distancing, only one-third of available seats can be occupied. It means you have to be really quick to book a seat online, 74 hours before the show. The hot movies sold out in mere seconds so I am incredibly lucky to be able to review three major movies from the main competition today.

The Card Counter (Paul Schrader)
Knowing how austere and morally inflexible Paul Schrader is about cinema (and life) I think The Card Counter is his most  accessible recent movie by pure accident. I really enjoyed it and I think the general public will like this thriller about poker, gambling, and the casino world...

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Luca Guadagnino @ 50: A Trilogy of Desire

Happy belated 50th to Luca Guadagnino.

by Cláudio Alves

Like many a director in film history, Luca Guadagnino's cinema is characterized by common themes, through lines transversal to all his works, though more evident in some than others. During the release and promotional tour of Call Me By Your Name, the Italian auteur came to realize that his last three films could be construed as an unofficial trilogy of desire, though he later repudiated the notion. Nevertheless, akin to Bergman's Silence of God tercet, Guadagnino's I Am Love, A Bigger Splash, and Call Me By Your Name complete a three-part thesis in cinematic form. Instead of the Swedish master's spiritual dread, we have a multifaceted portrait of human desire as a force so great it's both overwhelming and life-changing, magical and terrifying, a blessing, a curse, perchance a deliverance…

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1946: Anna Magnani in "Rome, Open City"

Each month before the Supporting Actress Smackdown, Nick Taylor suggests alternatives to the actual Oscar nomination ballot.

by Nick Taylor

I gather that folks will have different ideas about whether Anna Magnani’s work in Rome, Open City belongs in the leading or supporting category. Magnani holds down the first half of her film similar to the way Janet Leigh leads us into Psycho, appearing as an indomitable central player until a cruel exit halfway through her film. Unlike Leigh, Magnani isn’t the only character driving her film, sharing a comparable amount of narrative focus as Aldo Fabrizi’s priest and Marcello Pagliero’s Resistance fighter, to say nothing of the other characters threaded through the first half who only grow more important as the film continues. Still, her presence is so strong that, like Leigh, you can’t forget about her even after she’s gone. It’s a bit gratifying to learn this question has been hanging around the performance since the film was originally released. Magnani won the second ever National Board of Review award for Best Actress as well as the inaugural Nastros d’Argento Award for Best Supporting Actress back home in Italy. Rome, Open City’s lone Screenplay nomination is certainly significant enough to indicate that American artists noticed the film, as well as the fortuitous relationships Magnani, Rossellini, and Fellini would go on to have with Hollywood, but I’d be fascinated to find any writing about whether she was thought to have a chance at a nomination that year.

So yes, there will be readers who will justifiably argue she shouldn’t be considered as an alternative to the supporting actress lineup that will soon be discussed. I’d be happy to hear those arguments, and would be even happier to start from a place of recognizing her brilliance within this revolutionary film. Magnani’s Pina, the heavily pregnant fiancé of a high-ranking Resistance fighter in occupied Italy, is embodied with such fierce, unvarnished power that she remains the film’s most memorable face among its many tragic figures...

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Alida Valli @ 100: Star of The Third Man, Suspiria, and Hitchcock’s The Paradine Case

by Brent Calderwood

Alida Valli, who was born 100 years ago today in Pola, Italy (now part of Croatia), became a legend of Italian cinema in classics ranging in style from Luchino Visconti’s operatic epic Senso to Dario Argento’s supernatural slasher Suspiria. In a career that spanned 68 years, international directors were repeatedly drawn to her dark, inscrutable beauty and haunted green eyes. She's still admired by film lovers worldwide for three noir-tinged movies she made while abroad: The Third Man opposite Orson Welles (where she gets one of the most famous screen exits in history), Alfred Hitchcock’s The Paradine Case, and the French horror film Eyes Without a Face.  

In 1947, producer David O. Selznick invited Valli to Hollywood, hoping to repeat the success he’d had with two of his other European “discoveries,” Ingrid Bergman and Vivien Leigh. He gave her the full star treatment, even briefly abbreviating her name to the one-word “Valli” à la “Garbo” and having Hitchcock helm her first American picture...

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Death in Venice @50: Piero, I love you

by Cláudio Alves

For a cinephile, costume enthusiast, and Oscar obsessive like myself, there are few things more enticing than the lone nominee. That elusive movie that gets nominated only for the Best Costume Design statuette. Such is the case of Luchino Visconti's adaptation of the Thomas Mann novel Death in Venice. To celebrate the film's 50th anniversary, I decided to explore that wondrous wardrobe that caught AMPAS' collective eye. It's one of the best works of Piero Tosi, a man who may have been the greatest costume designer to ever create for film.

After five unsuccessful Oscar nominations, Piero Tosi won an Honorary Academy Award in 2014, the first costume designer to ever do so. It couldn't have happened to a more deserving artist...

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