<\/p>\n
Let’s continue speaking about Dans la nuit <\/em>for a moment, borrowing the words from the festival catalogue:\u00a0\u00abCharles Vanel acted in about 100 films (including Edmond T Gr\u00e9ville\u2019s extraordinary\u00a0Woman of Evil\u00a0<\/i>and Henri-Georges Clouzot\u2019s acclaimed\u00a0The<\/i>\u00a0<\/i>Wa<\/i>ges<\/i>\u00a0<\/i>of<\/i>\u00a0<\/i>Fear<\/i>, to name just two) and stepped behind the camera when he was at the peak of his fame as an actor in silent cinema. It was 1929. He directed just one feature-length film. However,\u00a0Dans la nuit\u00a0<\/i>is a disturbing, surprising film in which he demonstrates an incredible sense of framing and editing and a wild demented modernity, while reprising his double act with Sandra Milowanoff, with whom he had already starred in\u00a0La Flamb\u00e9e des r\u00eaves<\/i>,\u00a0P\u00eacheur d\u2019Islande\u00a0<\/i>(both by Jacques de Baroncelli, 1924) and\u00a0La Proie du vent\u00a0<\/i>(Ren\u00e9 Clair, 1927). \u201cA drama in a working-class setting\u201d: this is how he liked to define the story, which paid homage to his father. On the film\u2019s release, it was praised by the critics: \u201cVanel immediately achieves the intensity of great drama. The images are imbued with crazy sincerity. A painful and convincing cruelty. Finally, something powerful. The director Vanel criticises life\u201d (Michel Gorel, \u201cLa Revue du cin\u00e9ma\u201d, 1930). However, the silent era was over. When\u00a0Dans<\/i>\u00a0<\/i>la<\/i>\u00a0<\/i>nuit<\/i>\u00a0<\/i>arrived on cinema screens in May 1930, sound film had already prevailed and the film was withdrawn. Thus, it is perhaps France\u2019s last silent film.\u00bb<\/p>\n A way more prolific (and way more picturesque<\/a>) actor\/director, Erich Von Stroheim<\/strong> is at the festival with two different films: Foolish Wives<\/em><\/strong><\/a> (USA\/1922, that we admired yesterday in Piazza Maggiore accompanied by the Orchestra del Teatro Comunale di Bologna) and Blind Husbands<\/strong><\/em><\/a> (USA\/1919, in programme on July, 1st). \u00abErich von Stroheim\u2019s directorial debut for Universal, Blind Husbands<\/em> remains the only film \u2018Mr Von\u2019 was able to complete without interruptions by his producers and studio. Set in the Tyrolean Alps, it pits old-world eroticism against the detached rationalism of contemporary American marriage. The film firmly establishes Erich von Stroheim\u2019s mastery of visual storytelling: the drama between the married couple and \u2018the other man\u2019 (Erich von Stroheim in his signature role as an aristocrat and military officer) plays out almost entirely through suggestive closeups and a montage of gazes.\u00bb (Janneke van Dalen, Michel Loebenstein)<\/p>\n In the section dedicated to the german musical comedies during the Weimar Republic, we will be able to watch one of the two film as a director by the actor Curt Bois<\/strong>, the short film Scherben bringen Glu\u0308ck <\/strong><\/em><\/a>(Germany\/1932, programmed on Saturday, July 2nd along with So ein M\u00e4del vergisst man nicht <\/em>by Fritz Kortner). \u00ab<\/strong><\/em>Unlike many of his colleagues, Curt Bois, a former child star and a versatile actor and comedian throughout the 1920s who left Germanyone week after the Nazi takeover, was rarely seen in early sound cinema. He appeared in only three films between 1931 and 1932. The best (surviving) one he directed himself.\u00a0Scherben bringen Gl\u00fcck<\/em>\u00a0is a delightful, perfectly calibrated miniature of slapstick comedy: a genre German cinema often struggles with, but which Bois handles beautifully both behind and in front of the camera.\u00bb (Lukas Foerster)<\/p>\n And then, of course, there is Vittorio De Sica<\/strong>. This year, we will admire is work both as an actor (opposing Sophia Loren in Peccato che sia una canaglia<\/em><\/strong> and Pane, amore e<\/em>…<\/strong>) and as the director of Sciusci\u00e0<\/em><\/strong><\/a> (of which we will watch the new restoration premi\u00e8red this year at Cannes Classic<\/a>), La ciociara<\/em><\/a><\/strong>, La riffa<\/a><\/strong> and<\/em>\u00a0Ieri, Oggi e Domani<\/em><\/a> <\/strong>(again with Sophia Loren).<\/p>\n <\/p>","protected":false},"excerpt":{"rendered":" Sorry, this entry is only available in Italiano. L’appuntamento di stasera in Piazza Maggiore (con cover set al Cinema Arlecchino in caso di pioggia) \u00e8 con Dans la nuit (Francia\/1929), uno degli ultimi capolavori del muto francese che sar\u00e0 proposto con l’accompagnamento dal vivo di due dei membri del gruppo finlandese Cleaning Women. A dirigerlo […]<\/p>\n","protected":false},"author":23,"featured_media":68118,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1338],"tags":[2080,2079,1947,1990,536,2081,171],"class_list":["post-70238","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-approfondimenti","tag-charles-vanel","tag-erich-von-stroheim","tag-il-cinema-ritrovato-2022","tag-peter-lorre","tag-registi","tag-sidney-poitier","tag-vittorio-de-sica"],"acf":[],"_links":{"self":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts\/70238","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/users\/23"}],"replies":[{"embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/comments?post=70238"}],"version-history":[{"count":17,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts\/70238\/revisions"}],"predecessor-version":[{"id":70487,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/posts\/70238\/revisions\/70487"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/media\/68118"}],"wp:attachment":[{"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/media?parent=70238"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/categories?post=70238"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ilcinemaritrovato.it\/en\/wp-json\/wp\/v2\/tags?post=70238"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/ilcinemaritrovato.it\/wp-content\/uploads\/sites\/2\/2022\/06\/Der-Verlorene-di-Peter-Lorre-cover-213x300.jpg\")
<\/a>Another directorial debut (and another only directorial experience) we will show this year at the festival is the one made by Peter Lorre<\/strong> directing Der Verlorene<\/strong><\/em><\/a> (West Germany\/1951), that we programmed on sunday and we will show again on July, 3rd. In the words of Michael Omasta: \u00abIn order to make what would remain his only film as director, Peter Lorre returned to Germany 20 years after\u00a0M<\/em>. Set amid the postwar ruins of Hamburg,\u00a0Der Verlorene\u00a0<\/em>has been aptly described as a rare and fascinating blend of German expressionism, American noir and Italian neorealism. The opening title, \u201cThis film is not freely invented. It is informed by factual reports from recent years,\u201d establishes its slightly unsettling, no-nonsense atmosphere. […] Unfortunately, almost everything that could go wrong did go wrong with the film. The shoot was overshadowed by the sudden death of its producer, Arnold Pressburger, and during post-production a fire destroyed the original cut. Der Verlorene\u00a0<\/em>premiered at the Venice Film Festival and while German audiences avoided it, German critics voted it the most artistic film of 1951 and awarded it a Bambi prize. More than 30 years later, critic-turned-filmmaker Harun Farocki arrived at the conclusion that \u201cthere is hardly another film that has foreshadowed fascism as exactly as\u00a0M<\/em>, and hardly another that has traced the remnants of fascism as exactly as\u00a0Der Verlorene<\/em>\u201d\u00bb.<\/p>\n![\"\"](\"https:\/\/ilcinemaritrovato.it\/wp-content\/uploads\/sites\/2\/2022\/06\/Buck-and-the-Preacher-di-Sidney-Poitier-300x201.jpg\")
<\/a>Another actor who was also a prolific director (and that sadly passed away a few months ago), Sidney Poitier<\/strong> directs Buck and the Preacher<\/strong><\/em><\/a> (also programmed on July, 2nd). \u00abPoitier\u2019s directorial debut in\u00a0Buck and the Preacher<\/em> remains one of his strongest efforts. At first, Poitier\u2019s title role as Buck was the extent of his responsibility, but when \u201cdifferences\u201d surfaced with the initial white director, Poitier listened to the suggestion of his friend and co-star, Harry Belafonte, and assumed the directing duties. [\u2026] Despite the film\u2019s adherence to the western genre and its noble cultural objectives, Buck and the Preacher<\/em>\u00a0struggled to find an audience. [\u2026] Perhaps, Black cowboys and settlers were still too far removed from the traditional images of African Americans, and the sense of triumph suggested by the film\u2019s final freeze-frame \u2013 of Buck, the Preacher, and Ruth riding into the sunset \u2013 was too foreign a concept for audiences.\u00bb (Melvin Donaldson)<\/p>\n