Š-DR-UN AMOUR ŕ ROME de Dino Risi (1960) fin

28/02/2014 13:52 par tellurikwaves

Ben oui : fin! Rien que pour trouver ces qq images et articles !...Fffff

Š-DR-UN AMOUR ŕ ROME de Dino Risi (1960) p15

28/02/2014 13:47 par tellurikwaves

...Et finalement après qq temps je la largue aussi...Indrivable cette nana !

Š-DR-UN AMOUR à ROME de Dino Risi (1960) p14

28/02/2014 13:43 par tellurikwaves

Mais tout réfléchi...on va arrêter là...c'est mieux. C'est Anna que j'aime

Š-DR-UN AMOUR ŕ ROME de Dino Risi (1960) p13

28/02/2014 13:39 par tellurikwaves

-"Bonne nuit mon amour...je t'aime"-...-moi aussi je t'aime

Š-DR-UN AMOUR ŕ ROME de Dino Risi (1960) p12

28/02/2014 13:34 par tellurikwaves

Des fiançailles en vue...Après tout on est du même monde

Š-DR-UN AMOUR à ROME de Dino Risi (1960) p11

28/02/2014 08:34 par tellurikwaves

Nouvelle rencontre :Maria Perschy : Eleonora Curtatoni

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LOVE IN ROME (Dino Risi, 1960) ***

Author: MARIO GAUCI (marrod@melita.com) from Naxxar, Malta
23 June 2008

The plot of this little-known but very well-made romantic drama (from the generic title, one could well mistake it for just another example of teen-oriented fluff which proliferated in Italy at this time!)anticipates high-profile works by acclaimed film-makers such as Joseph Losey’s EVA (1962) and John Schlesinger’s Oscar-winning DARLING (1965). Here, the femme fatale-ish heroine (who can’t bring herself to remain faithful to her true love for very long) is played by luscious French starlet Mylene Demongeot – in what is probably her most significant role; the hero by American Peter Baldwin, whom I best recall from THE GHOST (1963) – one of the better examples of Italian Gothic Horror.

As with the afore-mentioned EVA,the heroine has set her sights on a movie career however, she only seems to be able to secure parts in low-brow peplums (of which Demongeot herself made a few!)…and, amusingly, one of the country’s foremost film-makers – Vittorio De Sica – turns up in a cameo as the flustered director of one of them!! Still, the real protagonist here is Baldwin –who, being an essayist, is made to provide first-person commentary to smooth over occasional gaps in the narrative (the events occur over a number of months at least); in fact, he’s himself involved with two other women during the course of the film –

Elsa Martinelli (the film even begins with the two having a row at night in Rome’s famed Piazza di Spagna) and Maria Perschy (whohappens to be the intelligent but virtuous daughter of a friend of Baldwin’s father, a lecher who numbers Demongeot among his flings!). Though given obviously subsidiary roles, both Martinelli andPerschy play flesh-and-blood characters rather than mere stereotypes (frustrated with Demongeot’s capricious nature, at one point the hero proposes to upper-class Perschy but is unable to follow it through); the cast also includes Claudio Gora (appearing as Perschy’s father) and, as two of the heroine’s copious conquests, Jacques Sernas and Umberto Orsini.

While the film is adult, perceptive and generally absorbing, it’s not quite in the same league as, say, the comparable work of Michelangelo Antonioni: its main flaw in this regard has to do with thecontrived plotting of the latter stages, which renders the whole slightly tiresome by the end; on the other hand, the lighting (alternately gleaming and shadowy) is exquisite throughout – givingLOVE IN ROME not only a pleasingly polished look but a genuine sense of style. Incidentally, given Risi’s reputation for caustic humor, one welcomes the De Sica incident I referred to earlier amid all the gloom,

or the subtle yet side-splitting image of a fat middle-aged man apathetically smoking and gulping down food (simultaneously) at a party while Baldwin is frantically trying to reach Demongoet on the phone; there’s also a cute in-joke, wherein the aspiring-actress heroine says she had already appeared in a film called POVERI MA BELLI (1957) – directed by none other than Dino Risi himself! – but that her part had ended up on the cutting-room floor!

Š-DR-UN AMOUR ŕ ROME de Dino Risi (1960) p10

28/02/2014 08:19 par tellurikwaves

On se retrouve,l'espace d'une soirée...Mais non ; impossible

Š-DR-UN AMOUR à ROME de Dino Risi (1960) p9

28/02/2014 08:16 par tellurikwaves

Š-DR-UN AMOUR à ROME de Dino Risi (1960) p8

28/02/2014 08:13 par tellurikwaves

Autour du film
Mylène Demongeot: « Folle de joie, je retourne à Rome tourner un film avec Dino Risi, metteur en scène que j'admire.Un Amore a Roma,intitulé stupidement en France L'Inassouvie Mais ce tournage qui devrait me combler vire au cauchemar.

Coste est omniprésent, critiquant tout. Dino Risi, homme gentil et courtois, n'ose pas le foutre hors du plateau, mais il est très énervé, je le sens bien, il essaie de m'en parler et, moi, je ne sais plus quoi faire.

Je tente bien d'en parler à Coste, mais il ne m'écoute pas. Il est devenu ma Paula Strasberg à moi ! […] Par contre, Coste réussit une série de photos admirables.(j'ai cherché partout!...en vain) Je crois que c'est ce qu'il y aura de mieux dans le film... C'est bien dommage tout de même. J'aimerais bien le revoir, cet Amore a Roma. »

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Notes et références
1.Extrait de son autobiographie,Tiroirs secrets,Éditions Le Pré aux clercs, Paris, 2001 (ISBN 2842281314)
2.Le photographe Henri Coste (1926-2011), son mari à l'époque.

Š-DR-UN AMOUR ŕ ROME de Dino Risi (1960) p7

28/02/2014 08:04 par tellurikwaves