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Ai tempi della Magna Grecia Roseto era una delle città satellite di Sibari.
Sìbari fu fondata tra due fiumi, alla fine dell'VIII secolo a.C. da un gruppo di Achei provenienti dal Peloponneso.
A Roseto erano coltivate le rose, i cui petali servivano per riempire i materassi su cui dormivano i sibariti.
Originally Roseto was one of the satellite cities of Sibari, at the time of Magna Grecia.
Sibari was founded between two rivers at the end of the eighth century BC. by a group of Achaeans from the Peloponnese.
Roses were cultivated by the roses, whose petals served to fill the mattresses on which the sibari citizens slept
[🇫🇷] Ancien camion militaire transformé pour accueillir jusqu'à 17 passagers, avec compartiment bagages+tentes+matelas,tables ,bagages ..... réserve d'eau de près de 200 litres, glaciaire, prises de courant , coffres sous sièges etc..... pour passer partout !!!!!
Pour ce circuit 7 participants, 1 chef d'expédition , un chauffeur et 1 cuisinier ....
L'habitacle surélevé est idéal pour bien voir, en sécurité , les animaux.
[🇬🇧] Former military truck converted to accommodate up to 17 passengers, with luggage compartment + tents + mattresses, tables, luggage ..... water reserve of nearly 200 litres, ice box, sockets, lockers under seats etc..... to go everywhere !!!!!
For this tour 7 participants, 1 expedition leader, 1 driver and 1 cook ....
The raised passenger compartment is ideal for getting a good, safe view of the animals.
[🇩🇪] Ehemaliger Militärlastwagen, der umgebaut wurde, um bis zu 17 Passagiere aufzunehmen, mit Gepäckraum+Zelten+Matratzen,Tischen ,Gepäck ..... Wasservorrat von fast 200 Litern, Eisschrank, Steckdosen , Truhen unter den Sitzen usw..... um überall durchzukommen !!!!!
Für diese Tour 7 Teilnehmer, 1 Expeditionsleiter , 1 Fahrer und 1 Koch ....
Der erhöhte Fahrgastraum ist ideal, um die Tiere gut und sicher zu sehen.
[🇪🇸] ¡¡¡¡¡Antiguo camión militar reconvertido para alojar hasta 17 pasajeros, con maletero + tiendas + colchones, mesas, equipaje ..... reserva de agua de casi 200 litros, nevera de hielo, enchufes, taquillas bajo los asientos etc..... para ir a todas partes !!!!!
Para esta excursión 7 participantes, 1 jefe de expedición, 1 conductor y 1 cocinero ....
El habitáculo elevado es ideal para tener una visión buena y segura de los animales.
[🇮🇹] . Ex camion militare trasformato per ospitare fino a 17 passeggeri, con bagagliaio + tende + materassi, tavoli, bagagli ..... riserva d'acqua di quasi 200 litri, ghiacciaia, prese di corrente, armadietti sotto i sedili ecc..... per andare ovunque !!!!!
Per questo tour 7 partecipanti, 1 capo spedizione, 1 autista e 1 cuoco ....
L'abitacolo rialzato è ideale per avere una buona e sicura visuale sugli animali.
One of four Works Chryslers racing the 1928 Mille Miglia and Circuito di Caserta. Driven by Emilio Materassi and Rodolfo Caruso.
It raced the 2023 Mille Miglia again, driven by Berend Hulshoff and Frank Hulshoff.
Ouderkerk aan de Amstel, the Netherlands.
DO NOT USE WITHOUT PERMISSION
© Angela M. Lobefaro
this shot of mine has been used without my consent in a commercial site which sells matrasses,
by this company:
mattresszine.com/interesting-mattress/dirty-quiz/
>>>See under the screen shot of the page of his website with my photo!
DO NOT USE WITHOUT PERMISSION
© Angela M. Lobefaro
Explore 25 April 2007
---------------------------------------
New mattresses on the way! Shot take in a backyard of the Sanctuary
Oropa Sanctuary (Unesco World Heritage) in Biella - Italy
Piedmont’s famous pilgrimage site. Madonna Nera (Black Holy Lady)
The sanctuary stands at the top of the woods and meadows of the Oropa Valley basin. Founded in 1620, the sanctuary spreads around three large squares and is both impressive and picturesque.
The First square is enclosed by two buildings from the 18th and 19th-centuries,. The Second square, standing on a higher level, has buildings designed between 1740-1750 by Francesco Gallo.
From the second square, take the long majestic flight of steps to reach the Holy Square, built in the 17th-century to designs by Pietro Arduzzi. Here the Ancient Basilica stands, built at the beginning of the 17th-century on the site of an earlier 2nd-century church. Inside is the so-called "Sacello Eusebiano" which houses the statue of the Madonna Nera (our Holy Black Lady) . This wooden sculpture covered in gold and gems dates back to the end of the 13th-century. According to legend it was brought to Oropa in the 3rd-century by the bishop of Vercelli, Eusebio.
Beyond the square rises the New Basilica built between 1885 and 1960. Completing the sanctuary are nineteen chapels that make up the Oropa Holy Mount. Of these, twelve were built between 1620 and 1720, and contain groups of sculptures depicting scenes from the life of the Madonna. The other seven, dispersed around the sanctuary, recount devotional episodes connected to Oropa.
www.piemonte-emozioni.it/cultura/eng/edifici_religiosi/sa...
Vintage postcard. ASER (Aldo Scarmiglia Ed., Roma), No. 215, Scalera Film. Photo by Pesce. Rina Morelli in Don Giovanni (Dino Falconi, 1942), in which she played Socorrito opposite Adriano Rimoldi as the title character.
Rina Morelli, pseudonym of Elvira Morelli (Naples, 6 December 1908 - Rome, 17 July 1976), was an Italian actress and dubber, companion on stage and in life of Paolo Stoppa. She played in Luchino Visconti's films Senso (1954), Il Gattopardo (1963) and L'innocente (1976), as well as in many of his stage plays.
Coming from a well-known family of actors, including her grandfather Alamanno Morelli, and her parents Amilcare Morelli and Narcisa Brillanti, she walked the stage from an early age, making her official debut in September 1924 in Ferenc Molnár's play Liliom with Annibale Betrone's company. In 1931 she joined the company of Antonio Gandusio and Luigi Almirante, where she met the actor Gastone Ciapini; the two were married the following year, but the marriage was short-lived; for this period Morelli also used her husband's surname.
In 1933, she made her dubbing debut at the Metro-Goldwyn-Mayer studios in Rome, becoming the regular voice of Katharine Hepburn, Ginger Rogers, Simone Simon; one of her first jobs was dubbing Jackie Cooper in the film The Champion. Over the following decades, she would work in dubbing at various companies in the capital, including C.D.C. Her ductile and expressive voice was perfectly suited to the faces of Nina Foch in The Ten Commandments, Judy Holliday (for whom she would become the official dubbing actress), Carole Lombard in To Be or Not to Be (1942), Bette Davis in What Happened to Baby Jane? (1962), Gene Tierney in Laura (1944), the fairy Fauna in Sleeping Beauty (1959) and many others.
Endowed with a petite physique but an extraordinary expressive strength, Morelli first made a name for herself as a D'Annunzian actress, to become, in the 1938-39 season, a member of the Teatro Eliseo company, together with Gino Cervi, Carlo Ninchi, Paolo Stoppa and Andreina Pagnani. She lent her sensitivity to characters of fragile but at the same time resolute women, in plays such as Happy Days by Claude-André Puget, Fascination by Keith Winter and The Merry Wives of Windsor by William Shakespeare. In 1945, she began a long collaboration with director Luchino Visconti who, together with Paolo Stoppa, who also became her life companion, directed her in some successful performances of Noël Coward's Blithe Spirit, Jean Anouilh's Antigone, Anton Čechov's Uncle Vanja, and plays by Shakespeare and Goldoni. In 1956 and 1961, she was awarded the San Genesio Prize as best theatre actress of the season: only Sarah Ferrati received this award twice. Active in the cinema as well,
Morelli lent her pained dramatic sensibility to numerous films, especially under the careful direction of Visconti, who exalted her intense interpretative temperament in his films Senso (1953), Il Gattopardo (1963) and L'innocente (1976). Memorable she was as the bitchy servant of Alida Valli in Senso, as the austere and at time hysterical princess in Il Gattopardo (The Leopard), and as the caring old mother of Giancarlo Giannini in L'innocente. Morelli started her film career with Un'avventura di Salvator Rosa, 1939) by Alessandro Blasetti, with whom she would also act in La corona di ferro (1941), Fabiola (1949), and Altri tempi (1952). During the war years she would act in several period pieces such as Fedora (Camillo Mastrocinque, 1942) staring Luisa Ferida, and Maria Malibran (Guido Brignone, 1943) starring Mario Cebotari. Also after the war she could be seen in several period dramas, first those by Blasetti, and afterward a few by Mauro Bolognini: La viaccia (1961) and Fatti di gente perbene (1974). She also played in modern settings in both comedies e.g. by Mario Mattoli, and dramas, e.g. Il Cristo proibito (1951) by Curzio Malaparte, in which she was the mother of the protagonist played by Raf Vallone, and Il bell' Antonio (Bolognini, 1960), in which she was the mother of the lead, Marcello Mastroianni.
Morelli starred in numerous EIAR and RAI radio plays from the mid-1930s to the 1970s: comedies, radio dramas and, between 1966 and 1974, she appeared in Gran varietà, where she duetted with Paolo Stoppa in Eleuterio and Sempre Tua, an ironic reinterpretation of Jerome Kilty's play Caro bugiardo (Dear Liar), which they performed on stage in 1961 and on television in 1963. In the last few years, Morelli devoted herself, sometimes alongside Paolo Stoppa, to starring in a series of dramas, such as Vita col padre e con la madre (1960), Antonio Meucci cittadino toscano contro il monopolio Bell (1970), and I Buddenbrook (1971). Her interpretation, together with Sarah Ferrati, Nora Ricci and Ave Ninchi, of Sorelle Materassi (1972), a television adaptation of Aldo Palazzeschi's eponymous novel, received great acclaim.
Rina Morelli died on 17 July 1976 at the age of 67. The cause was a heart attack.
Source: Italian Wikipedia.
Italian postcard by Fotocelere, Torino. Offered by Davide Bedarida 'Lane per materassi stabilimento', Livorno.
Eloisa Cianni (1932) was Miss Italia 1952 and Miss Europe 1953. In the following decade the beauty queen appeared in 15 Italian films, mostly as herself.
Eloisa Cianni was born as Aloisa Stukin in Rome, Italy in 1932. She got her Polish surname from her stepfather, who had married the mother. In the late 1940s and early 1950s beauty contests were the craze, and in 1952 Eloisa was elected Miss Italy in Merano. She then became Miss Europe in 1953 in Istanbul in Turkey. One of the prizes was a secondary part in the Italian-French comedy-drama Villa Borghese/It Happened in the Park (Vittorio de Sica, Gianni Franciolini, 1953) starring Gérard Philipe. It was an anthology film about a day in the Villa Borghese park consisting of five parts. Eloisa appeared in the final episode, Beauty Contest. IMDb reviewer Gerald A. Deluca (a.k.a. Italian Gerry) calls the episode ‘racy’: “Beauty Contest is a Felliniesque dissertation about two rival Roman street–prostitutes, who as they are about to be rounded up by the police, wind up at a Miss Cinema beauty contest taking place in the park. The younger of the women (Eloisa Cianni) eludes the police by going off with an older man in his car. The other and older one (Franca Valeri) is not so lucky and the episode and the film end as she is driven off in a police vehicle.”
Eloisa Cianni’s film debut lead to more minor appearances in such Italian productions as the Peppino De Filippo comedy Peppino e la nobile dama/Peppino and the noble lady (Piero Ballerini, 1954), the Racconti romani/ Roman Tales (Gianni Franciolini, 1955) with Franco Fabrizi and Totò, and the comedy-drama Il segno di Venere/The Sign of Venus (Dino Risi, 1955) starring Sophia Loren. During the second part of the 1950s she continued to work in the cinema, but she usually played just herself. These later films included Ho amato una diva/I loved a diva (Luigi De Marchi, 1957), the comedy Amore a prima vista/Love at First Sight (Franco Rossi, 1958) starring Walter Chiari, another comedy Adorabili e bugiarde/Adorable and a Liar (Nunzio Malasomma, 1958) with Isabelle Corey, and Amore e guai/Love and trouble (Angelo Dorigo, 1958) with Marcello Mastroianni. Finally, after a last role in the comedy Le magnifiche sette/ The magnificent seven (Marino Girolami, 1961) she gave up her acting career. At the time of her retirement, she was not yet thirty.
Sources: Pavel ‘Argenson’ Vlach (CSFD)(Czech), Wikipedia, and IMDb.
One of four Works Chryslers racing the 1928 Mille Miglia and Circuito di Caserta. Driven by Emilio Materassi and Rodolfo Caruso.
It raced the 2023 Mille Miglia again, driven by Berend Hulshoff and Frank Hulshoff.
Ouderkerk aan de Amstel, the Netherlands.
Italian postcard by Rotalfoto, Milano, no. 233. Photo: Lux Film.
Isa Barzizza (1929) is an Italian actress, who is considered one of the most important interpreters of the Italian revue, cinema, and television.
Luisita "Isa" Barzizza was born in 1929 in San Remo in Italy. She is the daughter of the famous orchestra conductor and musician Pippo Barzizza and of Tatina Salesi. She studied at the Liceo Classico Vincenzo Gioberti in Turin and at the same time began to participate in prose theatre performances in secondary roles next to actors such as Ruggero Ruggeri, Elsa Merlini, and Eduardo De Filippo. At first, Pippo Barzizza was against his daughter's theatrical activity. It was Erminio Macario who launched her into the theatre world after Barzizza had finished her high school studies. The great actor personally asked Isa's father to let her make her debut in one of his revues. The father agreed on the condition that Isa was always looked after by a governess, and this was the case. Isa Barzizza made her debut with 'Le educande di San Babila' in 1947, followed by 'Follie di Amleto' in 1947-48. Gifted with a handsome physique and a light-hearted irony, she soon became one of the darlings of post-war Italian light and musical theatre.
Isa Barzizza's second godfather was Totò, from whom she learned all the secrets of the trade: from his direct relationship with the audience to his comic timing, from mimicry to the use of space on stage. In the theatrical field, she starred in two plays with Totò: 'C'era una volta il mondo' (1948) and 'Bada che ti mangio' (1949). In this last comedy, the gag of the sleeping car was born, also proposed in the film Totò a colori (Steno, 1952). Barzizza also made her film debut with Totò in the 1947 film I due orfanelli (The Two Orphans, Mario Mattoli 1947) and made 11 films with him, including Fifa e arena (Mattoli, 1948) and Totò al giro d'Italia (Mattoli, 1948), and, as can be suspected here, often directed by Mario Mattoli. Barzizza was most active as a film actress in the late 1940s and early 1950s and was often paired with popular male comedians (of whom some she already worked with on stage), such as Nino Taranto, Macario, Aldo Fabrizi, Carlo Dapporto, Tino Scotti, Walter Chiari, and the French comedian Fernandel, but above all Totò. She also starred herself in a few films, such as the comedies Porca miseria (Giorgi Bianchi, 1951) and Bellezze in moto-scooter (Carlo Campogalliani, 1952), while she less often also acted in dramas such as the Christmas Carol-inspired Non è mai troppo tardi (Filippo Walter Ratti, 1953), starring Paolo Stoppa. Thus between 1947 and 1956 Barzizza acted in some 35 films, including the Italo-German coproduction Senza veli/ Wir tanzen auf dem Regenbogen (1953/1952), a musical melodrama shot in both a German and an Italian version at Cinecittà, plus another Italo-German film shot in two versions: Die Tochter der Kompanie/ La figlia del reggimento (Géza von Bolváry, Goffredo Alessandrini, Tullio Cova, 1953). The last film of this avalanche of mostly (partly musical) comedies was I pinguini ci guardano (1956) by Guido Leoni, which included many famous names such as Barzizza, Isa Miranda, Ave Ninchi, and the singers Renato Rascel and Domenico Modugno.
In the 1951-52 stage season Isa Barzizza worked with Garinei and Giovannini, who paid homage to her great beauty and sense of humour in revues such as 'Gran baldoria', which was a great success with the public. In the same years, she also tried his hand at prose theatre, playing in William Shakespeare's The Twelfth Night directed by Renato Castellani. On 3 January 1954, the day the official Italian television programmes began, RAI broadcast Carlo Goldoni's one-act play 'Osteria della posta' in which Barzizza was the leading actress. Numerous other comedies followed. In 1955-56 she had another success with the musical comedy Valentina, the love story of two fiancés who take a leap forward in time. In 1960, when she was only 31 years old, she decided to interrupt her career in brilliant theatre following the death of her husband in 1953, the television director Carlo Alberto Chiesa, in a car accident on 3 June 1960 on the Via Aurelia. For a few years, she devoted herself entirely to her only daughter; she then became romantically involved with the builder Enzo Villoresi.
Following a suggestion at the beginning of the 1960s, Isa Barzizza founded a dubbing company and devoted herself to this activity, both as a businesswoman and as an artistic director. In the 1970s she returned to the film sets for supporting parts in Ettore Scola's famous C'eravamo tanto amati (1974) but also the lesser known Il garofano rosso (Luigi Faccini, 1976), based on a novel by Elio Vittorini and starring Miguel Bosé. Barzizza only returned to the theatre in the early nineties, again in comedies such as La pulce nell'orecchio directed by Gigi Proietti, and Arsenico e vecchi merletti/ Arsenic and Old lace directed by Mario Monicelli. In 1995 she took part in the Spoleto Festival with L'ultimo Yankee by Arthur Miller and in 1999 she starred in a version of the theatrical reduction of Aldo Palazzeschi's novel Sorelle Materassi, alongside Lauretta Masiero. In the same period, she also returned to work in film and television. She acted e.g. in Luca Barbareschi's coming of age film Ardena (1997). She hosted the TV show Mai dire mai on Raitre in 1989 with Fabio Fazio and Giampiero Mughini, and took part in the two series of the Raiuno fiction Non lasciamoci più (1999 and 2001). In the film 7 km da Gerusalemme (Claudio Malaponti, 2007), she plays a rich old lady willing to "buy luck" for her grandchildren at the Church of the Holy Sepulchre. In the autumn of her love, Barzizza played various grandmothers in films, such as the one in Maledimiele (Marco Pozzi, 2011 ), while she played Marisa, an elderly woman in a hospital, in the bittersweet comedy Viva Italia! (2012) by Massimiliano Bruno, starring Michele Placido, Raul Bova, Alessandro Gassman, and Ambra Angiolini. Barzizza's last film role was that of grandmother Emma in the comedy Indovina chi viene a Natale? (Fausto Brizzi, 2013), with Diego Abatantuono and Bova.
Sources: Wikipedia (Italian and English), and IMDb.
And, please check out our blog European Film Star Postcards.
Italian postcard by Bromofoto, Milano, no. 313. Photo: DEAR Film.
Isa Barzizza (1929) is an Italian actress, who is considered one of the most important interpreters of the Italian revue, cinema, and television.
Luisita "Isa" Barzizza was born in 1929 in San Remo in Italy. She is the daughter of the famous orchestra conductor and musician Pippo Barzizza and of Tatina Salesi. She studied at the Liceo Classico Vincenzo Gioberti in Turin and at the same time began to participate in prose theatre performances in secondary roles next to actors such as Ruggero Ruggeri, Elsa Merlini, and Eduardo De Filippo. At first, Pippo Barzizza was against his daughter's theatrical activity. It was Erminio Macario who launched her into the theatre world after Barzizza had finished her high school studies. The great actor personally asked Isa's father to let her make her debut in one of his revues. The father agreed on the condition that Isa was always looked after by a governess, and this was the case. Isa Barzizza made her debut with 'Le educande di San Babila' in 1947, followed by 'Follie di Amleto' in 1947-48. Gifted with a handsome physique and a light-hearted irony, she soon became one of the darlings of post-war Italian light and musical theatre.
Isa Barzizza's second godfather was Totò, from whom she learned all the secrets of the trade: from his direct relationship with the audience to his comic timing, from mimicry to the use of space on stage. In the theatrical field, she starred in two plays with Totò: 'C'era una volta il mondo' (1948) and 'Bada che ti mangio' (1949). In this last comedy, the gag of the sleeping car was born, also proposed in the film Totò a colori (Steno, 1952). Barzizza also made her film debut with Totò in the 1947 film I due orfanelli (The Two Orphans, Mario Mattoli 1947) and made 11 films with him, including Fifa e arena (Mattoli, 1948) and Totò al giro d'Italia (Mattoli, 1948), and, as can be suspected here, often directed by Mario Mattoli. Barzizza was most active as a film actress in the late 1940s and early 1950s and was often paired with popular male comedians (of whom some she already worked with on stage), such as Nino Taranto, Macario, Aldo Fabrizi, Carlo Dapporto, Tino Scotti, Walter Chiari, and the French comedian Fernandel, but above all Totò. She also starred herself in a few films, such as the comedies Porca miseria (Giorgi Bianchi, 1951) and Bellezze in moto-scooter (Carlo Campogalliani, 1952), while she less often also acted in dramas such as the Christmas Carol-inspired Non è mai troppo tardi (Filippo Walter Ratti, 1953), starring Paolo Stoppa. Thus between 1947 and 1956 Barzizza acted in some 35 films, including the Italo-German coproduction Senza veli/ Wir tanzen auf dem Regenbogen (1953/1952), a musical melodrama shot in both a German and an Italian version at Cinecittà, plus another Italo-German film shot in two versions: Die Tochter der Kompanie/ La figlia del reggimento (Géza von Bolváry, Goffredo Alessandrini, Tullio Cova, 1953). The last film of this avalanche of mostly (partly musical) comedies was I pinguini ci guardano (1956) by Guido Leoni, which included many famous names such as Barzizza, Isa Miranda, Ave Ninchi, and the singers Renato Rascel and Domenico Modugno.
In the 1951-52 stage season Isa Barzizza worked with Garinei and Giovannini, who paid homage to her great beauty and sense of humour in revues such as 'Gran baldoria', which was a great success with the public. In the same years, she also tried his hand at prose theatre, playing in William Shakespeare's The Twelfth Night directed by Renato Castellani. On 3 January 1954, the day the official Italian television programmes began, RAI broadcast Carlo Goldoni's one-act play 'Osteria della posta' in which Barzizza was the leading actress. Numerous other comedies followed. In 1955-56 she had another success with the musical comedy Valentina, the love story of two fiancés who take a leap forward in time. In 1960, when she was only 31 years old, she decided to interrupt her career in brilliant theatre following the death of her husband in 1953, the television director Carlo Alberto Chiesa, in a car accident on 3 June 1960 on the Via Aurelia. For a few years, she devoted herself entirely to her only daughter; she then became romantically involved with the builder Enzo Villoresi.
Following a suggestion at the beginning of the 1960s, Isa Barzizza founded a dubbing company and devoted herself to this activity, both as a businesswoman and as an artistic director. In the 1970s she returned to the film sets for supporting parts in Ettore Scola's famous C'eravamo tanto amati (1974) but also the lesser known Il garofano rosso (Luigi Faccini, 1976), based on a novel by Elio Vittorini and starring Miguel Bosé. Barzizza only returned to the theatre in the early nineties, again in comedies such as La pulce nell'orecchio directed by Gigi Proietti, and Arsenico e vecchi merletti/ Arsenic and Old lace directed by Mario Monicelli. In 1995 she took part in the Spoleto Festival with L'ultimo Yankee by Arthur Miller and in 1999 she starred in a version of the theatrical reduction of Aldo Palazzeschi's novel Sorelle Materassi, alongside Lauretta Masiero. In the same period, she also returned to work in film and television. She acted e.g. in Luca Barbareschi's coming of age film Ardena (1997). She hosted the TV show Mai dire mai on Raitre in 1989 with Fabio Fazio and Giampiero Mughini, and took part in the two series of the Raiuno fiction Non lasciamoci più (1999 and 2001). In the film 7 km da Gerusalemme (Claudio Malaponti, 2007), she plays a rich old lady willing to "buy luck" for her grandchildren at the Church of the Holy Sepulchre. In the autumn of her love, Barzizza played various grandmothers in films, such as the one in Maledimiele (Marco Pozzi, 2011 ), while she played Marisa, an elderly woman in a hospital, in the bittersweet comedy Viva Italia! (2012) by Massimiliano Bruno, starring Michele Placido, Raul Bova, Alessandro Gassman, and Ambra Angiolini. Barzizza's last film role was that of grandmother Emma in the comedy Indovina chi viene a Natale? (Fausto Brizzi, 2013), with Diego Abatantuono and Bova.
Sources: Wikipedia (Italian and English), and IMDb.
And, please check out our blog European Film Star Postcards.
Première salle de l'exposition "Accrochage" à la Punte della Dogana
(on peut apprécier, au-delà des oeuvres de la collection, l'excellence du réaménagement du bâtiment par Tadao Ando pour la fondation Pinault)
Au fond, sur le mur :
Senza Titolo
(Pala di ferro, lumini, pala di rame),
1989-1990,
installation de Pier Paolo Calzolari
A droite sur la photo :
Senza Titolo
(Materassi / matelas et système de réfrigération),
1970,
installation de Pier Paolo Calzolari
A gauche :
We are in Yucatan and every unpredicted thing,
2012-2014,
installation de Cerith Wyn Evans
Fondation François Pinault
Exposition Accrochage (80 oeuvres de la collection Pinault)
Commissaire de l'exposition : Caroline Bourgeois
Site de la Fondation Pinault (Punta della Dogana)
Italian postcard by Bromofoto, Milano, no. 565. Photo: DEAR Film.
Luisita "Isa" Barzizza (Sanremo, 22 November 1929) is an Italian actress, considered one of the most important interpreters of the Italian revue, cinema and television.
Barzizza is the daughter of the famous orchestra conductor and musician Pippo Barzizza and of Tatina Salesi. She studied at the Liceo Classico Vincenzo Gioberti in Turin and at the same time began to participate in prose theatre performances in secondary roles next to actors such as Ruggero Ruggeri, Elsa Merlini and Eduardo De Filippo. At first, Pippo Barzizza was against his daughter's theatrical activity. It was Erminio Macario who launched her into the theatre world after Barzizza had finished her high school studies. The great actor personally asked Isa's father to let her make her debut in one of his revues. The father agreed on the condition that Isa was always looked after by a governess, and this was the case. Isa Barzizza made her debut with Le educande di San Babila in 1947, followed by Follie di Amleto in 1947-48. Gifted with a handsome physique and a light-hearted irony, she soon became one of the darlings of post-war Italian light and musical theatre.
Her second godfather was Totò, from whom she learned all the secrets of the trade: from his direct relationship with the audience to his comic timing, from mimicry to the use of space on stage. In the theatrical field, she starred in two plays with Totò: C'era una volta il mondo (1948) and Bada che ti mangio (1949). In this last comedy, the gag of the sleeping car was born, also reproposed in the film Totò a colori (Steno, 1952). Barzizza also made her film debut with Totò in the 1947 film I due orfanelli (The Two Orphans, Mario Mattoli 1947) and made 11 films with him, including Fifa e arena (Mattoli, 1948) and Totò al giro d'Italia (Mattoli, 1948), and, as can be suspected here, often directed by Mario Mattoli. Barzizza was most active as film actress in the late 1940s and early 1950s and was often paired with popular male comedians (of whom some she already worked with on stage), such as Nino Taranto, Macario, Aldo Farbrizi, Carlo Dapporto, Tino Scotti, Walter Chiari, and the French comedian Fernandel, but above all Totò. She also starred herself in a few films, such as the comedies Porca miseria (Giorgi Bianchi, 1951) and Bellezze in moto-scooter (Carlo Campogalliani, 1952), while she less often also acted in dramas such as the Christmas Carol-inspired Non è mai troppo tardi (Filippo Walter Ratti, 1953), starring Paolo Stoppa. Thus between 1947 and 1956 Barzizza acted in some 35 films, including the Italo-German coproduction Senza veli/ Wir tanzen auf dem Regenbogen (1953/1952), a musical melodrama shot in both a German and an Italian version at Cinecittà, plus another Italo-German film shot in two versions: Die Tochter der Kompanie/ La figlia del reggimento (Géza von Bolváry, Goffredo Alessandrini, Tullio Cova, 1953). The last film of this avalanche of mostly (partly musical) comedies was I pinguini ci guardano (1956) by Guido Leoni, which included many famous names such as Barzizza, Isa Miranda, Ave Ninchi, and the singers Renato Rascel and Domenico Modugno.
In the 1951-52 stage season Barzizza worked with Garinei and Giovannini, who paid homage to her great beauty and sense of humour in revues such as Gran baldoria, which was a great success with the public. In the same years she also tried his hand at prose theatre, playing in William Shakespeare's The Twelfth Night directed by Renato Castellani. On 3 January 1954, the day the official Italian television programmes began, RAI broadcast Carlo Goldoni's one-act play Osteria della posta in which Barzizza was the leading actress. Numerous other comedies followed. In 1955-56 she had another success with the musical comedy Valentina, the love story of two fiancés who take a leap forward in time. In 1960, when she was only 31 years old, she decided to interrupt her career in brilliant theatre following the death of her husband since 1953, the television director Carlo Alberto Chiesa, in a car accident on 3 June 1960 on the Via Aurelia. For a few years she devoted herself entirely to her only daughter; she then became romantically involved with the builder Enzo Villoresi.
Following a suggestion at the beginning of the 1960s, Barzizza founded a dubbing company and devoted herself to this activity, both as a businesswoman and as an artistic director. In the 1970s she returned to the film sets for supporting parts in Ettore Scola's famous C'eravamo tanto amati (1974) but also the lesser known Il garofano rosso (Luigi Faccini, 1976), based on a novel by Elio Vittorini and starring Miguel Bosé. Barzizza only returned to the theatre in the early nineties, again in comedies such as La pulce nell'orecchio directed by Gigi Proietti, and Arsenico e vecchi merletti/ Arsenic and Old lace directed by Mario Monicelli. In 1995 she took part in the Spoleto Festival with L'ultimo Yankee by Arthur Miller and in 1999 she starred in a version of the theatrical reduction of Aldo Palazzeschi's novel Sorelle Materassi, alongside Lauretta Masiero. In the same period she also returned to work in film and television. She acted e.g. in Luca Barbareschi's coming of age film Ardena (1997). She hosted the TV show Mai dire mai on Raitre in 1989 with Fabio Fazio and Giampiero Mughini, and took part in the two series of the Raiuno fiction Non lasciamoci più (1999 and 2001). In the film 7 km da Gerusalemme (Claudio Malaponti, 2007), she plays a rich old lady willing to "buy luck" for her grandchildren at the Church of the Holy Sepulchre. In the autumn of her love Barzizza played various grandmothers in films, such as the one in Maledimiele (Marco Pozzi, 2011 ), while she played Marisa, an elderly woman in a hospital, in the bittersweet comedy Viva Italia! (2012) by Massimiliano Bruno, starring Michele Placido, Raul Bova, Alessandro Gassman, and Ambra Angiolini. Barzizza's last film role was that of grandmother Emma in the comedy Indovina chi viene a Natale? (Fausto Brizzi, 2013), with Diego Abatantuono and Bova.
Sources: IMDb, Italian and English Wikipedia.
Meilenwerk Düsseldorf. Best viewed large on black.
Pasquino Ermini learnt his trade as a mechanic and driver during the 1920's and 30's with the Squadra Materassi and its Bugatti and Talbot cars. Following the war he built his first car, a combination of a (heavily modified) Fiat 1100 chassis and an Alfa Romeo 2500 engine. With this he competed in various events.
He then decided to produce his own engine, choosing to enter the then popular 1100 class. The result was a twin-cam 1094cc unit which emerged in 1947, one of the first twin-cams in that class. It immediately proved successful and was sold to many competitors, who fitted it to a variety of cars, usually either based on the 1100 or with a chassis by Gilco. Bodies were supplied by numerous carrozzeria. In 1949 Ermini began building complete cars, with his 1100 dohc engine, the chassis by Gilco and the bodywork by Tofani.
The early 1950's saw the Ermini 1100 as the car (or engine for those who chose to fit it to different chassis') to have. Tofani were unable to meet the demand, and so Motto and Morelli were used to produce the bodies. In 1953 Ermini introduced a new engine. Still a dohc 1100 it now had an aluminium block and five main-bearing crankshaft. Around 20 engines were built and were fitted to cars by Ermini themselves (with a chassis designed by Gilco, Scaglietti, Morelli and Frua (designed by Michelotti). (http://www.cars-a-z.net/e/index.html)
Italian postcard by NPG, no. 5.
Emma Gramatica (1874-1965) was not only a ‘monstre sacré’ of the Italian stage but also played many old ladies in Italian sound cinema of the 1930s to the 1950s.
Emma Gramatica, originally Aida Laura Argia Gramatica, was born in Borgo San Donnino in 1874. She was the sister of the equally famous Irma Gramatica and less-known Anna Adele Alberta Gramatica. Emma was married to Ruggero Capodaglio and sister-in-law of the famous actress Wanda Capodaglio. Equipped with a physical appearance that was far from flashy, but with an elegantly incisive interpretive charge, Emma Gramatica made her debut as a teenager in the theatre next to Eleonora Duse in 'La Gioconda' by Gabriele D'Annunzio. Emma was the 'first actress' at the stage companies of some of the most prestigious names in the Italian theatre of the late 19th and the early 20th century, such as Ermete Zacconi, Flavio Andò, Enrico Reinach and Ermete Novelli. In the 1910s she formed the famous company Gramatica-Carini-Piperno, in which many great actors had their formation such as Renzo Ricci and Lola Braccini. In 1916, she debuted on the silver screen as a marriage wrecker in Quando il canto si spegne (Emilio Graziani-Walter, 1916), opposite Luigi Serventi and produced by the Milanese company General Film. Even if praising her stage qualities, the press condemned her for her looks and theatricality and didn’t accept her as the mistress for which a man breaks up his marriage. Gramatica understood the message and would stay away from the screen until the arrival of sound cinema in Italy.
From the early 1930s, Emma Gramatica did prose on radio, first with EIAR and later also with RAI. Gramatica was an actress of the old naturalist school, of acute and pathetic tones. At a high age, she started a successful film and television career, probably debuting in La vecchia signora (Amleto Palermi, 1931) as an impoverished lady who sells chestnuts on the streets to support her niece. Memorable, Gramatica was e.g. in Napoli d’altri tempi (Amleto Palermi, 1938) starring Vittorio De Sica, in Mamma (Guido Brignone,1941) starring Beniamino Gigli, and in the Ferdinando Maria Poggioli’s films Sissignora (1941) and Sorelle Materassi (1944), in which she and her sister Irma played two old spinsters. In the classic Miracolo in Milano (1951) by Vittorio De Sica, she was old Lolotta who finds young Totò (Francesco Golisano) in a cabbage and raises him with an optimistic and kind outlook. She also starred in Don Camillo Monsignore ... ma non troppo (Carmine Gallone, 1961). Emma Gramatica received awards and honours in Italy and also the Legion of Honor in France. She died in 1965 in Ostia, near Rome, and rests in the family tomb in the cemetery of Signa, with her sister Irma and their parents.
Sources: Wikipedia (Italian and English), and IMDb.
And, please check out our blog European Film Star Postcards.
Italian postcard by Leonar, no. 2131. August 1922.
Emma Gramatica (1874-1965) was not only a ‘monstre sacré’ of the Italian stage but also played many old ladies in Italian sound cinema of the 1930s to the 1950s.
Emma Gramatica, originally Aida Laura Argia Gramatica, was born in Borgo San Donnino on 25 October 1874. Equipped with a physical appearance that was far from flashy, but with an elegantly incisive interpretive charge, Emma Gramatica made her debut as a teenager in the theatre next to Eleonora Duse in La Gioconda by Gabriele D'Annunzio. She was the sister of the equally famous Irma Gramatica and least known Anna Adele Alberta Gramatica, married to Ruggero Capodaglio and sister-in-law of the famous actress Wanda Capodaglio. Emma was the first actress at the stage companies of some of the most prestigious names in the Italian theatre of the late 19th and the early 20th century, such as Ermete Zacconi, Flavio Andò, Enrico Reinach and Ermete Novelli. In the 1910s she formed the famous company Gramatica-Carini-Piperno, in which many great actors had their formation such as Renzo Ricci and Lola Braccini. In 1916 she debuted on the silver screen as a marriage wrecker in Quando il canto si spegne (Emilio Graziani-Walter 1916), opposite Luigi Serventi and produced by the Milanese company General Film. Even if praising her stage qualities, the press condemned her for her looks and theatricality, and didn’t accept her as the mistress for which a man breaks up his marriage. Gramatica understood the message and would stay away from the screen until the arrival of sound cinema in Italy.
From the early 1930s Emma Gramatica did prose on radio, first with EIAR and later also with RAI. Gramatica was an actress of the old naturalist school, of acute and pathetic tones. At a high age she started a successful film and television career, probably debuting in La vecchia signora (Amleto Palermi 1931) as an impoverished lady who sells chestnuts on the streets to support her niece. Memorable Gramatica was e.g. in Napoli d’altri tempi (Palermi 1938) starring Vittorio De Sica, in Mamma (Guido Brignone 1941) starring Beniamino Gigli, in the Ferdinando Maria Poggioli’s films Sissignora (1941) and Sorelle Materassi (1944), in which she and her sister Irma played two old spinsters, and in Miracolo in Milano (1951) by Vittorio De Sica, in which she was old Lolotta who finds young Totò (Francesco Golisano) in a cabbage and raises him with an optimist and kind outlook. She also starred in Don Camillo Monsignore ... ma non troppo (1961) by Carmine Gallone. Emma Gramatica received awards and honors in Italy and also the Legion of Honor in France. She died on 8 November 1965 in Ostia, near Rome, and rests in the family tomb in the cemetery of Signa, with her sister Irma and parents.
Sources: Italian and English Wikipedia, IMDb.
French postcard by Editions P.I., Paris, no. 496. Photo: Sam Levin.
Isa Barzizza (1929) is an Italian actress, who is considered one of the most important interpreters of the Italian revue, cinema, and television.
Luisita "Isa" Barzizza was born in 1929 in San Remo in Italy. She is the daughter of the famous orchestra conductor and musician Pippo Barzizza and of Tatina Salesi. She studied at the Liceo Classico Vincenzo Gioberti in Turin and at the same time began to participate in prose theatre performances in secondary roles next to actors such as Ruggero Ruggeri, Elsa Merlini, and Eduardo De Filippo. At first, Pippo Barzizza was against his daughter's theatrical activity. It was Erminio Macario who launched her into the theatre world after Barzizza had finished her high school studies. The great actor personally asked Isa's father to let her make her debut in one of his revues. The father agreed on the condition that Isa was always looked after by a governess, and this was the case. Isa Barzizza made her debut with 'Le educande di San Babila' in 1947, followed by 'Follie di Amleto' in 1947-48. Gifted with a handsome physique and a light-hearted irony, she soon became one of the darlings of post-war Italian light and musical theatre.
Isa Barzizza's second godfather was Totò, from whom she learned all the secrets of the trade: from his direct relationship with the audience to his comic timing, from mimicry to the use of space on stage. In the theatrical field, she starred in two plays with Totò: 'C'era una volta il mondo' (1948) and 'Bada che ti mangio' (1949). In this last comedy, the gag of the sleeping car was born, also proposed in the film Totò a colori (Steno, 1952). Barzizza also made her film debut with Totò in the 1947 film I due orfanelli (The Two Orphans, Mario Mattoli 1947) and made 11 films with him, including Fifa e arena (Mattoli, 1948) and Totò al giro d'Italia (Mattoli, 1948), and, as can be suspected here, often directed by Mario Mattoli. Barzizza was most active as a film actress in the late 1940s and early 1950s and was often paired with popular male comedians (of whom some she already worked with on stage), such as Nino Taranto, Macario, Aldo Fabrizi, Carlo Dapporto, Tino Scotti, Walter Chiari, and the French comedian Fernandel, but above all Totò. She also starred herself in a few films, such as the comedies Porca miseria (Giorgi Bianchi, 1951) and Bellezze in moto-scooter (Carlo Campogalliani, 1952), while she less often also acted in dramas such as the Christmas Carol-inspired Non è mai troppo tardi (Filippo Walter Ratti, 1953), starring Paolo Stoppa. Thus between 1947 and 1956 Barzizza acted in some 35 films, including the Italo-German coproduction Senza veli/ Wir tanzen auf dem Regenbogen (1953/1952), a musical melodrama shot in both a German and an Italian version at Cinecittà, plus another Italo-German film shot in two versions: Die Tochter der Kompanie/ La figlia del reggimento (Géza von Bolváry, Goffredo Alessandrini, Tullio Cova, 1953). The last film of this avalanche of mostly (partly musical) comedies was I pinguini ci guardano (1956) by Guido Leoni, which included many famous names such as Barzizza, Isa Miranda, Ave Ninchi, and the singers Renato Rascel and Domenico Modugno.
In the 1951-52 stage season Isa Barzizza worked with Garinei and Giovannini, who paid homage to her great beauty and sense of humour in revues such as 'Gran baldoria', which was a great success with the public. In the same years, she also tried his hand at prose theatre, playing in William Shakespeare's The Twelfth Night directed by Renato Castellani. On 3 January 1954, the day the official Italian television programmes began, RAI broadcast Carlo Goldoni's one-act play 'Osteria della posta' in which Barzizza was the leading actress. Numerous other comedies followed. In 1955-56 she had another success with the musical comedy Valentina, the love story of two fiancés who take a leap forward in time. In 1960, when she was only 31 years old, she decided to interrupt her career in brilliant theatre following the death of her husband in 1953, the television director Carlo Alberto Chiesa, in a car accident on 3 June 1960 on the Via Aurelia. For a few years, she devoted herself entirely to her only daughter; she then became romantically involved with the builder Enzo Villoresi.
Following a suggestion at the beginning of the 1960s, Isa Barzizza founded a dubbing company and devoted herself to this activity, both as a businesswoman and as an artistic director. In the 1970s she returned to the film sets for supporting parts in Ettore Scola's famous C'eravamo tanto amati (1974) but also the lesser known Il garofano rosso (Luigi Faccini, 1976), based on a novel by Elio Vittorini and starring Miguel Bosé. Barzizza only returned to the theatre in the early nineties, again in comedies such as La pulce nell'orecchio directed by Gigi Proietti, and Arsenico e vecchi merletti/ Arsenic and Old lace directed by Mario Monicelli. In 1995 she took part in the Spoleto Festival with L'ultimo Yankee by Arthur Miller and in 1999 she starred in a version of the theatrical reduction of Aldo Palazzeschi's novel Sorelle Materassi, alongside Lauretta Masiero. In the same period, she also returned to work in film and television. She acted e.g. in Luca Barbareschi's coming of age film Ardena (1997). She hosted the TV show Mai dire mai on Raitre in 1989 with Fabio Fazio and Giampiero Mughini, and took part in the two series of the Raiuno fiction Non lasciamoci più (1999 and 2001). In the film 7 km da Gerusalemme (Claudio Malaponti, 2007), she plays a rich old lady willing to "buy luck" for her grandchildren at the Church of the Holy Sepulchre. In the autumn of her love, Barzizza played various grandmothers in films, such as the one in Maledimiele (Marco Pozzi, 2011 ), while she played Marisa, an elderly woman in a hospital, in the bittersweet comedy Viva Italia! (2012) by Massimiliano Bruno, starring Michele Placido, Raul Bova, Alessandro Gassman, and Ambra Angiolini. Barzizza's last film role was that of grandmother Emma in the comedy Indovina chi viene a Natale? (Fausto Brizzi, 2013), with Diego Abatantuono and Bova.
Sources: Wikipedia (Italian and English), and IMDb.
And, please check out our blog European Film Star Postcards.
Italian postcard by Rizzoli, Milano, 1942-XX. Photo: Scalera Film. Publicity still for Don Giovanni/Loves of Don Juan (Dino Falconi, 1942).
Dina Sassoli (1920-2008) was an Italian stage and screen actress, who broke through with I promessi sposi (Mario Camerini, 1941).
Dina Sassoli, born in Rimini in 1920, became famous internationally by her performance as Lucia in the film I promessi sposi/The Betrothed, (1941) by Mario Camerini. The success also came with a twist, as she married a young journalist, who, considered antifascist by the government, disappeared in 1942. Devastated, Sassoli almost gave up her career. In the war years she had leads in e.g. Nessuno torna indietro (Alessandro Blasetti, 1943, released 1945), adapted from the novel of Alba de Cespedes. In this film on seven college girls she plays Milly, a shy and romantic girl who loves music and falls in love with a blind man, but then suddenly dies. Her co-stars were Valentina Cortese, Maria Mercader, Doris Duranti, Elisa Cegani Mariella Lotti and Maria Denis.
Memorable titles from the postwar era were the war drama Un giorno nella vita (Alessandro Blasetti 1946), Umanità (Jack Salvatori 1946), and Il mulino del Po (Alberto Lattuada 1948). In Un giorno nella vita Sassoli was one of the nuns who take care of a group of partisans, after which German revenge follows. In Umanità, a little known production, she is a young refugee who sincerely suffered the war and has an affair with a refugee camp doctor, until her fiancé shows up and the doctor goes back to his wife. The film was shot in the makeshift refugee camp in Cinecittà. In Il mulino del Po, Sassoli plays the sister of Jacques Sernas.
However, Sassoli discovered the stage in the postwar era as well, acting with Vittorio Gassman in Kean and with Gino Cervi in Cyrano de Bergerac, and also with Anna Proclemer and Gabriele Lavia. Until the mid-1980s – and with an intermission between the mid-1950s and 1970 - Sassoli would act in mostly smaller parts in about fifty films made by directors such as Guido Brignone, Corrado d’Errico, Mario Mattioli, Camillo Mastrocinque, Larry Peerce, Giuliano Montaldo, Giuseppe Bertolucci and Luigi Comencini, and, alongside such actors as Clara Calamai, Amedeo Nazzari, Carlo Ninchi, Gino Cervi, Ruggero Ruggeri, Antonio Centa, Carlo del Poggio, Eduardo De Filippo, Peppino De Filippo, Vittorio De Sica, Aldo Fabrizi, Aroldo Tieri, Massimo Girotti, Eleonora Rossi Drago, and Cesco Baseggio. Her last film parts were in Voltati Eugenio (Comencini, 1980) wiith Francesco Bonelli, Oggetti smarriti (Giuseppe Bertolucci, 1980) with Bruno Ganz, and in La storia (Comencini, 1985) starring Claudia Cardinale. Of Sassoli's TV performances best remembered is her interpretation in the 1972 television drama Sorelle Materassi directed by Mario Ferrero. Famous was her tormented love affair with Massimo Serato who ultimately left her for Anna Magnani. Dina Sassoli died in Rome on 24 March 2008.
Sources: Christophe Lawniczak (Ciné-Artistes - French), Wikipedia (Italian) and IMDb.
Italian postcard by NPG. Photo: Sciutto, Genova.
Emma Gramatica (1874-1965) was not only a ‘monstre sacré’ of the Italian stage but also played many old ladies in Italian sound cinema of the 1930s to the 1950s.
Emma Gramatica, originally Aida Laura Argia Gramatica, was born in Borgo San Donnino in 1874. She was the sister of the equally famous Irma Gramatica and less-known Anna Adele Alberta Gramatica. Emma was married to Ruggero Capodaglio and sister-in-law of the famous actress Wanda Capodaglio. Equipped with a physical appearance that was far from flashy, but with an elegantly incisive interpretive charge, Emma Gramatica made her debut as a teenager in the theatre next to Eleonora Duse in 'La Gioconda' by Gabriele D'Annunzio. Emma was the 'first actress' at the stage companies of some of the most prestigious names in the Italian theatre of the late 19th and the early 20th century, such as Ermete Zacconi, Flavio Andò, Enrico Reinach and Ermete Novelli. In the 1910s she formed the famous company Gramatica-Carini-Piperno, in which many great actors had their formation such as Renzo Ricci and Lola Braccini. In 1916, she debuted on the silver screen as a marriage wrecker in Quando il canto si spegne (Emilio Graziani-Walter, 1916), opposite Luigi Serventi and produced by the Milanese company General Film. Even if praising her stage qualities, the press condemned her for her looks and theatricality and didn’t accept her as the mistress for which a man breaks up his marriage. Gramatica understood the message and would stay away from the screen until the arrival of sound cinema in Italy.
From the early 1930s, Emma Gramatica did prose on radio, first with EIAR and later also with RAI. Gramatica was an actress of the old naturalist school, of acute and pathetic tones. At a high age, she started a successful film and television career, probably debuting in La vecchia signora (Amleto Palermi, 1931) as an impoverished lady who sells chestnuts on the streets to support her niece. Memorable, Gramatica was e.g. in Napoli d’altri tempi (Amleto Palermi, 1938) starring Vittorio De Sica, in Mamma (Guido Brignone,1941) starring Beniamino Gigli, and in the Ferdinando Maria Poggioli’s films Sissignora (1941) and Sorelle Materassi (1944), in which she and her sister Irma played two old spinsters. In the classic Miracolo in Milano (1951) by Vittorio De Sica, she was old Lolotta who finds young Totò (Francesco Golisano) in a cabbage and raises him with an optimistic and kind outlook. She also starred in Don Camillo Monsignore ... ma non troppo (Carmine Gallone, 1961). Emma Gramatica received awards and honours in Italy and also the Legion of Honor in France. She died in 1965 in Ostia, near Rome, and rests in the family tomb in the cemetery of Signa, with her sister Irma and their parents.
Sources: Wikipedia (Italian and English), and IMDb.
And, please check out our blog European Film Star Postcards.
The photo was taken in the location of the central square of the ZEN-2 which should link and receive the social activities of a real village closed to the city, whose access takes place through a single road always more often veiled "guarded" by some young people on board large motor vehicles, clearly committed to "protecting" and "delimiting" their "environment".
The real challenge was not to find a spot where to make a "photo", since the symbols of the degradation therein present and widespread, are in every corner of the square and in the alleys that distance the buildings (true monuments that enhance ghettoisation) and this it makes us understand that the urban whole is an offense to the people who live there and animate them, even before being an offense to the environment; the real challenge was to make a series of shots where the photographer (the undersigned) was immediately identified as a "stranger" and "curious" also considering the presence of a camera, and "followed" by annoyed and suspicious looks more than a resident of the area, until I thought it appropriate to end my shooting.
Environment as a human and social settlement, environment as a habitat: the area that was taken up in the photo, I said, is a large square between buildings turned into a parking lot, where the air is rotting due to the presence of the swamp mixed with waste and leachate formed due to the rains. There are not only household waste scattered by the wind and semi-submerged by water, but next to them are mattresses, carcasses of old appliances, old broken containers and tires that cannot be recovered, placed very close to overflowing bins that show how much time has passed since the last passage dell'autocompattatore.
In the face of so much destruction and abandonment, we must ask ourselves what future this shadow district may have, thorn in the soft side of Palermo, which lives off the reflections of ease and well-being that still distinguishes our city.
An inscription on the wall with spray paint comes to our aid, a graphic testimony of a "humanly" normal desire for life, where a couple of boys have joined their destiny as lovers through an indelible mark on the wall, a "graffiti" that reports their names (one typically Sicilian the other - perhaps - the result of the Americanization of our popular culture through the ubiquitous TV soap) which in its spatial breadth highlights a declaration of love.
And in such a harsh and hostile environment, full of misery, which lets itself rot on its own waste, there is really a need for so much love to continue living together, projecting itself towards a future that does not offer certainties other than the carelessness of the places and the presence of the waste left to occupy living spaces; the same spaces that otherwise should welcome and facilitate the socialization of those who live there, even other kids, so that they can know each other, appreciate each other and (why not?) still love each other as "Salvo e Jessy".
La foto è stata realizzata nella location della piazza centrale dello ZEN-2 che dovrebbe raccordare e ricevere le attività sociali di un vero e proprio borgo chiuso alla città, il cui accesso avviene attraverso un unico varco viario sempre più spesso velatamente “presidiato” da alcuni giovani fermi a bordo di veicoli a motore di grossa cilindrata, chiaramente impegnati a “tutelare” e “delimitare” il “loro” ambiente.
La vera sfida non è stato trovare uno spot dove realizzare “una foto”, in quanto i simboli del degrado ivi presente e diffuso, sono in ogni angolo della piazza e nelle viuzze che distanziano i palazzi (veri monumenti che esaltano la ghettizzazione) e ciò fa comprendere che l’insieme urbano è un’offesa alle persone che vi abitano e che li animano, prima ancora di essere un’offesa all’ambiente; la vera sfida è stato realizzare una serie di scatti laddove il fotografo (il sottoscritto) è stato subito identificato come “estraneo” e “curioso” visto anche la presenza di una macchina fotografica, e “seguito” da sguardi infastiditi e sospettosi di più di un abitante della zona, fino a quando ho ritenuto opportuno porre termine alle mie riprese.
Ambiente come insediamento umano e sociale, ambiente come habitat: l’area che è stata ripresa nella foto, dicevo, è una ampia piazza tra palazzi trasformata in parcheggio, dove l’aria è putrescente per la presenza dell’acquitrino misto a rifiuti e percolato formatosi a causa delle piogge. Non sono presenti solo rifiuti domestici sparsi dal vento e semisommersi dall’acqua, ma accanto ad essi fanno bella mostra materassi, carcasse di elettrodomestici, vecchi recipienti sfondati e pneumatici irrecuperabili, posti vicinissimo a cassonetti stracolmi che denunciano quanto tempo è trascorso dall’ultimo passaggio dell’autocompattatore.
Di fronte a tanto scempio ed abbandono c’è da chiedersi che avvenire può avere questo quartiere ombra, spina nel fianco molle di Palermo, che vive dei riflessi dell’agio e benessere che comunque contraddistingue la nostra città.
Ci viene in aiuto una scritta sul muro vergata con la vernice spray, testimonianza grafica di un desiderio di vita “umanamente” normale, dove una coppia di ragazzi hanno unito il loro destino di amanti attraverso un segno indelebile sul muro, un “graffito” che riporta i loro nomi (l’uno tipicamente siciliano l’altro – forse - frutto dell’americanizzazione della nostra cultura popolare attraverso le onnipresenti soap televisive) che nella sua ampiezza spaziale evidenzia una dichiarazione d’amore.
Ed in un ambiente così duro ed ostile, ricco di miseria, che si lascia marcire sui suoi stessi rifiuti, c’è davvero bisogno di tanto amore per continuare a vivere insieme, proiettandosi verso un futuro che non offre certezze se non l’incuria dei luoghi e la presenza dei rifiuti lasciati ad occupare spazi vitali; gli stessi spazi che diversamente dovrebbero accogliere e facilitare la socializzazione di chi li abita, anche di altri ragazzi, perchè possano conoscersi, apprezzarsi e (perchè no?) amarsi ancora come “Salvo e Jessy”.
The old farmers with the leaves filled the mattresses, with the grains flour and then the bread, with the rest burning and warming. They did not throw anything. Old times passed by now. --- --- I vecchi contadini con le foglie riempivano i materassi, con i grani facevano la farina e poi il pane, con il resto facevano il fuoco e si scaldavano. Non buttavano niente. Vecchi tempi passati ormai.
Italian postcard by B. F. F. Edit., nr. 42930. Photo: Bragaglia.
Italian film actor Massimo Serato (1916-1989) had a career spanning over 40 years with more than 140 films. He was the virile hero of many sword and sandal epics and historical dramas, mainly in Italy, but he also played roles in major international films.
Massimo Serato was born as Giuseppe Segato in 1916, in Oderzo, Italy. He abandoned his university studies, to attend the Centro Sperimentale, the Italian Film Academy. He made his film debut in Inventiamo l'amore/Let’s Invent Love (1938, Camillo Mastrocinque). His breakthrough was the historical drama Piccolo mondo antico/Little Old Fashioned World (1941, Mario Soldati) with Alida Valli, about the Risorgimento, the unification of Italy. From the early 1940’s on, the tall, blonde and photogenic actor starred as the hero in films like L'uomo venuto dal mare/Man of the Sea (1942, Belisario L. Randone, Roberto de Ribón), Giacomo l'idealista/Giacomo the Idealist (1943, Alberto Lattuada), Le sorelle Materassi/The materassi Sisters (1944, Ferdinando Maria Poggioli) and Quartieri alti/In High Places (1943-1945, Mario Soldati). After the war he appeared in such neorealist films like Il sole sorge ancora/Outcry (1946, Aldo Vergano), Domenica D'Agosto/Sunday in August (1949, Luciano Emmer) and the tragedy Febbre di vivere/Eager to Live (1953, Claudio Gora) with Marina Berti. He also appeared as the athletic hero in such popular entertainment as La Traviata/The Lost One (1949, Carmine Gallone) an adaptation of the opera of Giuseppe Verdi, the adventure Il Ladro di Venezia/The Thief of Venice (1950, John Brahm) opposite Maria Montez in her last role, the historical drama Lucrece Borgia/Lucretia Borgia (1953, Christian-Jacque) as the handsome lover of sex symbol Martine Carol, and L'Amante di Paride/The Loves of Three Queens (1954, Marc Allégret, Edgar G. Ullmer) as one of the three loves of Hedy Lamarr.
Massimo Serrato demonstrated a versatile talent during his long career. He starred as the hero or as the bad guy in sword and sandal epics as well in the Giallo (the typical Italian thriller), in spaghetti westerns and in comedies. He also appeared in fotoromanzi, the popular Italian photo booklets. Serato eased gracefully into robust character roles in the late 1950’s, like in the classic Il Grido/The Cry (1957, Michelangelo Antonioni). Serato appeared in international films like The Naked Maja (1959, Henry Koster, Mario Russo) starring Ava Gardner, David e Golia/David and Goliath (1960, Ferdinando Baldi, Richard Pottier) with Orson Welles, Gli amori di Ercole/The Loves of Hercules (1960, Carlo Ludovico Bragaglia) with Jayne Mansfield, the extravagant blockbusters El Cid (1961, Anthony Mann) and 55 Days at Peking (1963, Nicholas Ray) - both starring Charlton Heston, the SF-comedy La decima vittima/The Tenth Victim (1965, Elio Petri) with Marcello Mastroianni, the interesting sexploitation Camille 2000 (1969, Radley Metzger) with Nino Castelnuovo, the spaghetti western Anda muchacho, spara!/Dead Men Ride (1971, Aldo Florio) starring Fabio Testi, and the beautifully restrained psychological thriller Don't Look Now (1973, Nicholas Roeg) with Julie Christie. His final film part was in the James Hadley Chase adaptation L'avvoltoio può attendere/The Vulture Can Wait (1991, Gian Pietro Calasso) starring Donald Pleasence. Massimo Serrato died in 1989, in Rome, Italy. Massimo Serato had a son, Cellino (1942 or 1943), from an affair with actress Anna Magnani, with whom he later appeared in Camicie rosse/Anita Garibaldi (1952, Goffredo Alessandrini). Cellino, called Luca, contracted polio at an early age, and he would spent the rest of his life in a wheelchair.
Sources: Hal Erickson (All Movie Guide), Wikipedia, and IMDb.
Italian postcard by B.F.F. (Ballerini & Fratini, Florence) Edit., no. 21620. Photo Vaselli / I.C.I.
Together with Aurelio Pesce and Osvaldo Civirani, Arnaldo Vaselli was one of the founders of Italian stills photography. Already at an early stage, in 1928, he started his career, working for various film companies. He founded one of the longest lasting and active companies in Italian cinema: Foto Vaselli. That label was printed on the back of many of his photographs, even if he had many collaborators. Vaselli provided the maximum number of Italian film stills. Among the professional stills photographers who started their careers with Vaselli were Sandro Baio, Vincenzo Palmarini, Ugo Urbino, Aldo Tonti, and Tonino Benedetti. Besides of the seat in Rome, from 1937 at Via dei Mille 3a, the agency also had a subsidiary in Turin, in Via Lombardia 104. Indeed, during the war Vaselli did the stils for a few films shot at the FERT studios there, including Documento Z-3 (Alfreo Guarini, 1943), starring Guarini's wife Isa Miranda. The last known address in Rome, dating of 1968, was Via Imperia 2.
Between 1936 and 1969, Foto Vaselli was active, starting with Cavallleria (Goffredo Alessandrini, 1936) and ending with L'asino d'oro (Sergio, Spina, 1969). Between 1939 and 1943 Vaselli had a huge production of stills for dozens of film titles: 1939 (15), 1940 (18), 1941 (22), 1942 (31) and 1944 (27). These included famous titles such as Mille lire al mese (Max Neufeld, 1939), Dora Nelson (Mario Soldati, 1939), La gerla di papà Martin (Mario Bonnard, 1940), La peccatrice (Amleto Palermi, 1940), Addio giovinezza (F.M. Poggioli, 1940), Caravaggio, il pittore maledetto (Alessandrini, 1940), Il pirata sono io! (Mario Mattoli, 1940), Piccolo mondo antico (Soldati, 1941), I promessi sposi (Mario Camerini, 1941), Ore 9: lezione di chimica (Mattoli, 1941), Beatrice Cenci (Guido Brignone, 1941), Malombra (Soldati, 1942), Un colpo di pistola (Renato Castellani, 1942), Fra Diavolo (Luigi Zampa, 1942), Zazà (Castellani, 1942), Bengasi (Augusto Genina, 1942), Fari nella nebbia (Gianni Franciolini, 1942), Le sorelle Materassi (Poggioli, 1943), L'uomo della croce (Roberto Rossellini, 1943), and Gelosia (Poggioli, 1943). Among these several films with Isa Miranda, Amedeo Nazzari, Macario, Alida Valli and others. The main companies for which Vaselli made his stills then were Lux Film, I.C.I., E.N.I.C., Italcine, and Juventus.
After the war stills production at Vaselli was relative low, though in 1951-1952 a new boom occurred. In addition to countless lesser known genre films, Vaselli provided the stills for the neorealist films of Luigi Zampa ( Vivere in pace, 1946; L'onorevole Angelina, 1947 and Alberto Lattuada (Il delitto di Giovanni Episcopo, 1947), the melodramas of Raffaele Matarazzo ( Catene, 1949; Tormento, 1950; I figli di nessuno, 1951), comedies by Mattoli and with Totò, star vehicles for Silvana Pampanini, and many historical films, by both prewar routinés such as Bonnard and Camerini as well as new generations. Apparently, Vaselli also made the stills for the Sergio Leone trilogy of spaghetti westerns Per un pugno di dollari/ Fistful of dollars (1964), Per qualche dollaro in più/ For a few dollars more (1965), and Il buono, il brutto, e il cattivo/ The Good, The Bad and The Ugly (1966).
Source: Elisabetta Bruscolini ed., Roma nel cinema: Tra realtà e finzione (2000). With thanks to Viridiana Rotondi (Centro Sperimentale).
Italian film actor Massimo Serato (1916-1989) had a career spanning over 40 years with more than 140 films. He was the virile hero of dozens of Peplum films and Spaghetti Westerns in Italy, but he also played roles in major international films.
🇫🇷 Pour avoir un peu de confort , nos matelas de campement sont utilisés pour servir d'assises.
🇬🇧 For a little extra comfort, our camping mattresses are used as seats.
🇩🇪 Um es etwas bequemer zu haben , werden unsere Lagermatratzen als Sitzgelegenheiten verwendet.
🇪🇸 Para mayor comodidad, nuestros colchones de camping se utilizan como asientos.
🇮🇹 Per un maggiore comfort, i nostri materassi da campeggio vengono utilizzati come sedili.
Textures Only ~ Competition #90
texture: www.flickr.com/photos/brenda-starr/4524469345/in/pool-tex...
Crown: www.flickr.com/photos/liferfe/2947454479/
modella da Faestock: faestock.deviantart.com/art/Cygnet21-122270100
La principessa sul pisello è una fiaba danese scritta da Hans Christian Andersen nel 1835. Fa parte del primo volume di fiabe di Andersen Eventyr, fortalte for Børn con il titolo originale Prindsessen paa Ærten.
C'era una volta un principe che viveva in un regno prospero. Raggiunta la giusta età, sua madre la regina decise che era il momento di cercargli una sposa. Il principe non voleva sposare una ragazza qualsiasi, ma solo colei la quale si fosse dimostrata una "vera principessa". Quindi viaggiò per il mondo e cercò in tutti i regni, ma non trovò la principessa che lo soddisfacesse.
Una notte di tempesta, una ragazza bussò alla porta del castello, dicendo di essere una vera principessa. Sebbene nessuno le credesse, fu invitata a rimanere per la notte. La regina decise di metterla alla prova e, prima che le fosse assegnata la stanza, fece preparare il letto mettendo un pisello sotto una serie di 20 materassi, 20 guanciali e 20 cuscini, al di sopra del quale fu preparato il giaciglio per la notte.
La mattina dopo, al risveglio, la regina chiese alla ragazza come avesse dormito: la ragazza rispose che non era riuscita a chiudere occhio perché c'era qualcosa di duro nel letto che le aveva dato fastidio. La regina, felicissima di questa risposta, dichiarò che solo una vera principessa poteva avere la pelle tanto delicata da percepire la presenza del pisello, ed ordinò di far celebrare immediatamente il matrimonio.
The Princess and the Pea is a Danish fairy tale written by Hans Christian Andersen in 1835. This tale is part of the first volume of fairy tales by Andersen Eventyr, fortalte Born wwith the original title Prindsessen Ærten paa.
Once upon a time there was a prince who lived in a prosperous kingdom. When he reached the right age, his mother the queen decided ithat t was time to seek a wife. The prince didn’t want to marry a common girl, but only the wich one who had demonstrated that she was a real princess." He traveled the world and tried to search in all the kingdoms, but he didn’t found the princess that satisfied him.
One stormy night, a girl knocked on the door of the castle, saying that she was a real princess. Although no one believed her, she was invited to stay for the night. The queen decided to test it and, before she was assigned to the room, and the mother prepared the bed by putting a pea under a series of 20 mattresses, 20 pillows and cushions 20, above which was prepared the bed for the night.
The next morning, on waking, the queen asked the girl as she slept, the girl replied that she could not close her eyes because there was something hard in the bed that had bothered her. The queen, delighted with this answer, declared that only a real princess could be so delicate skin to perceive the presence of pea, and ordered to celebrate the marriage immediately.
credo di aver detto praticamente a chiunque che i primi di aprile sono stata in portogallo, per la precisione a castelo de vide, un paesino minuscolo e fighissimo al confine con la spagna.
è stato una specie di minierasmus condensato con tutte le cose positive dell'erasmus (vino a litri, quaranta persone da tutta europa con cui convivere per dieci giorni, escursioni, sbornie, divertimento e notti insonni) e senza nessuno degli aspetti negativi (non dovevo studiare e quindi ho imbarcato il fegato come bagaglio a mano).
il gruppo era ospitato in un ex-convento del 1700, ristrutturato in maniera assurda con un mix fighissimo di mobili antichi e moderni, e costellato di strane lampade che sembravano enormi materassi bianchi.
dato che nel gruppo eravamo 4 o 5 fotografi, una sera qualcuno ha avuto l'idea di costruire una scatola luminosa usando i 'materassi', quindi siamo andati in giro per la casa a rubarli dalle stanze, ci siamo dati da fare con prese e collegamenti, e il risultato è stato questo:
abbiamo dunque passato metà di una nottata a fotografare gente fighissima e ubriaca che non vedeva l'ora di farsi fotografare, ovviamente mezzo ubriachi anche noi, e l'altra metà della notte non me la ricordo ma son sicura che ci siamo divertiti.
queste son le foto che ho salvato, dato che la luce per quanto bella era molto molto bassa e tutte le foto che ho fatto erano mosse e con tantissima grana.
magari non diranno un granché, ma a me ricordano bellissime persone e un bellissimo posto.
(ho anche delle foto su pellicola dello stesso viaggio, ma se ci tenete a vederle lasciate un messaggio a www.flickr.com/photos/andsoforever/ che ha promesso di scansionarmi i negativi un mese e mezzo fa. grazie.)
---
i went to portugal for a youth exchange during the first week of april.
we stayed in a small town called castelo de vide,we were forty from all europe and we stayed in a ooold huge house (that was a nunnery in 1700, and now has been renovate and filled with strange old furnitures). there were some photographers between us, and the house was filled with strange mattress-shaped lamps, so a night we took 4 lamps and we build a sort of lightbox using them.
then we called everybody in the house and we started taking pictures of the people sitting on the armchair. it was really funny, because we were all a bit drunk and everybody wanted to be photographed and we were like 4 or 5 paparazzi taking tons of pictures, drinking and having fun with everybody.
sooo nice!
anyway, these are the pictures i took.
it was funny but a bit hard, because the light was soft and pretty but really poor, so all the pictures i took are a bit moved and really grainy.
after some photoshop, these are the ones i like.
credo di aver detto praticamente a chiunque che i primi di aprile sono stata in portogallo, per la precisione a castelo de vide, un paesino minuscolo e fighissimo al confine con la spagna.
è stato una specie di minierasmus condensato con tutte le cose positive dell'erasmus (vino a litri, quaranta persone da tutta europa con cui convivere per dieci giorni, escursioni, sbornie, divertimento e notti insonni) e senza nessuno degli aspetti negativi (non dovevo studiare e quindi ho imbarcato il fegato come bagaglio a mano).
il gruppo era ospitato in un ex-convento del 1700, ristrutturato in maniera assurda con un mix fighissimo di mobili antichi e moderni, e costellato di strane lampade che sembravano enormi materassi bianchi.
dato che nel gruppo eravamo 4 o 5 fotografi (o presunti tali), una sera qualcuno ha avuto l'idea di costruire una scatola luminosa usando i 'materassi', quindi siamo andati in giro per la casa a rubarli dalle stanze, ci siamo dati da fare con prese e collegamenti, e il risultato è stato questo:
abbiamo dunque passato metà di una nottata a fotografare gente fighissima e ubriaca che non vedeva l'ora di farsi fotografare, ovviamente mezzo ubriachi anche noi, e l'altra metà della notte non me la ricordo ma son sicura che ci siamo divertiti.
queste son le foto che ho salvato, dato che la luce per quanto bella era molto molto bassa e tutte le foto che ho fatto erano mosse e con tantissima grana.
magari non diranno un granché, ma a me ricordano bellissime persone e un bellissimo posto.
(ho anche delle foto su pellicola dello stesso viaggio, ma se ci tenete a vederle lasciate un messaggio a www.flickr.com/photos/andsoforever/ che ha promesso di scansionarmi i negativi un mese e mezzo fa. grazie.)
---
i went to portugal for a youth exchange during the first week of april.
we stayed in a small town called castelo de vide,we were forty from all europe and we stayed in a ooold huge house (that was a nunnery in 1700, and now has been renovate and filled with strange old furnitures). there were some photographers between us, and the house was filled with strange mattress-shaped lamps, so a night we took 4 lamps and we build a sort of lightbox using them.
then we called everybody in the house and we started taking pictures of the people sitting on the armchair. it was really funny, because we were all a bit drunk and everybody wanted to be photographed and we were like 4 or 5 paparazzi taking tons of pictures, drinking and having fun with everybody.
sooo nice!
anyway, these are the pictures i took.
it was funny but a bit hard, because the light was soft and pretty but really poor, so all the pictures i took are a bit moved and really grainy.
after some photoshop, these are the ones i like.