Amore Films

[Katrine Freggiaro]

LAmore ('Love') is a 1948 Italian drama anthology film directed by Roberto Rossellini starring Anna Magnani and Federico Fellini.[1][4] It consists of two parts, The Human Voice (Una voce umana), based on Jean Cocteau's 1929 play of the same title, and The Miracle (Il miracolo), based on Ramn del Valle-Incln's 1904 novel Flor de santidad.[1][5] The second part was banned in the United States until it was cleared in 1952 by the Supreme Court's decision upholding the right to freedom of speech.

An unnamed woman, desperate and alone in her apartment, is having one last conversation with her former lover over the telephone. He asks her to return their letters to him. During their conversation, which is repeatedly interrupted, it is revealed that the man left her for another woman, and that she has just attempted suicide out of grief. As a last favour, she begs him not to take her successor to the same hotel in Marseilles where she and he had once stayed.

Nannina, a simple-minded and obsessively religious woman, tends goats at the Amalfi coast. When a handsome bearded wanderer passes, she takes him to be Saint Joseph. Offering his flask of wine, he gets her drunk and she falls asleep. When she awakens, he is gone and she is convinced that his appearance was a miracle. A few months later, when she faints in an orchard, the women who help her discover that she is pregnant. Nannina believes this is another miracle, but to the townspeople she becomes a figure of ridicule, so she flees into the mountains. A single goat leads her to an empty church, where she gives birth to her child.

While Rossellini was preparing his next film, Germany, Year Zero, Anna Magnani suggested to the director to adapt Cocteau's play The Human Voice which she had already performed on stage in 1942.[2] Rossellini agreed and, because he and Magnani were staying in Paris at the time, filmed the first episode in a studio in Paris with a French crew.[2] In order to enable the short film a regular release, Rossellini had Federico Fellini script a second piece for Magnani, based on Valle-Incln's novel Flor de santidad,[2] which Rossellini turned into a screenplay with Tullio Pinelli.[1]

L'Amore premiered at the Venice Film Festival on 21 August 1948 and was released in cinemas in Rome on 2 November the same year.[1] Reactions to the film were mostly negative; even French critic Andr Bazin, usually supportive of Rossellini's work, accused the first episode of "cinematic laziness".[2]

For the 1950 New York premiere, The Miracle was removed from L'amore and placed in a three-part anthology film called The Ways of Love with two other short films, Jean Renoir's A Day in the Country (1936) and Marcel Pagnol's Jofroi (1933).[4] While Rossellini's film had passed Italian censors without complaints, its New York screening was condemned by the National Legion of Decency and Catholic authorities for blasphemy.[2] As a result, the city authorities revoked the license for the film's screening.[2] Distributor Joseph Burstyn appealed the revocation in a lawsuit "Joseph Burstyn, Inc. v. Wilson", which was finally heard at the U.S. Supreme Court.[2] In its May 1952 decision, the Court upheld Burstyn's appeal, declaring that the film was a form of artistic expression protected by the freedom of speech guarantee in the First Amendment to the United States Constitution.[6][7]

For the first time in U.S. box-office history, two movies with Asian-led casts recently finished in the top-five of the weekend box-office. Crazy Rich Asians, the first movie since 1993's Joy Luck Club with a predominantly Asian-descent cast is a bona fide phenomenon, reigning supreme with a haul of more than $28 million in its third weekend of release. However, the considerable shadow cast by Crazy Rich Asians, may cause one to miss the notable success of Searching, in its first weekend of wide release. In Searching, a thriller shot entirely from the point of view of smartphones and laptop screens, John Cho (of Harold and Kumar fame) plays a father whose 16-year old daughter goes missing. While Searching finished with a weekend total of $6 Million, its success coupled with Crazy Rich Asians is all the more noteworthy when one calculates the per-theater averages for films with wide release i.e., movies shown in more than 600 theaters. Crazy Rich Asians and Searching finished first and second in box-office performance respectively, with averages of $7,325/theater and $6,338/theater.

The success of these two films with multiple Asian-descent actors in the principal cast underscores the box-office potential of diversity. While much needed attention has been garnered for the under-representation of Black actors in Hollywood, the same issue of under-representation for Asian actors has received relatively less attention. The success of Crazy Rich Asians and Searching this past weekend is indicative of a pent-up demand for Asian representation on movie screens and it would serve producers well to recognize the box-office potential in casting Asian actors in prominent roles.

A celebration of compelling French films. Presented in partnership with the Columbus Council of World Affairs, StudioCanal, and Distrib Films, and thanks to the generous support of Donna and Larry James.

Introduction

Until it's publication in 2011, very little was known about this film by Henry Chapier. It turns out to be an incomprehensible love story, set to the cityscapes of Venice. What was longtime suspected but unverifyable by the unavailability of the film, indeed Vangelis provided an original score to this movie.

"Amore" played in French cinemas for a short while, and afterwards was swiftly forgotten. Until 2011 when French French website Ina.fr published the movie after almost 40 years since its original release!

Recording Studio

The music for "Amore" is recorded at EuropaSonor Studio in Paris, France. This is the same studio where also the albums "666" (Aphrodite's Child), "Fais que ton reve soit plus long que la nuit" and "Earth" are recorded.

"This film examines the problem of rescuing Venice. But is neither a documentary on art, nor a television special like S.O.S. Venice. A Young reporter goes to Venice, considering he is there on a 'special assignment'. Between him and the city there is no warmth, no affinity. Like a surgeon naively engrossed in his operation, Alquier examines the city's wounds, photographing them and imagining ways to heal them.

Paolo, his Italian collaborator, tries to show him the unusual side of Venice, rather than the postcard, folk tenor version. Alquier visits the dilapidated palaces and the teeming slums and sees people's faces loom into view, but a myth can not be easily erased.

While strolling alone through the city Alquier thinks he sees a face in the stone... The age-old 'love at first sight' takes a different turn. What follows is not a romantic, nor even a realistic, love story. Right away, he films the girl, Marina, in his fantasy. We never find out if the girl has a real flesh-and-blood, everyday existence, or if she merely represents Venice in Alquier's mind.

Alquier pursues his assignment, but it becomes more sensitive, peotic, more human. What was documentary description becomes a genuine encounter. Marina triggers a daydream in Alquier's mind and begins to have an existence of her own in which the other character, Paolo, plays an important part; he is refractory, rebellious and scoffs at the system, declaring that Venice and the rescue project are nothing more but a farce, a cultural alibi to soothe the conscience of the western world. He is the negative image of an architect.

Rescuing Venice is like winning a person's affection or encountering love; it can not be done from the outside. Daniel Alquier's experience serves as an example and a warning to all who think they can solve major problems with disembodies formulas and viewpoints lacking faith. As for Venice herself, her heartbeat is slower as it once was. Are the stones, pollution and the tides solely to blame? What about the Venetians?

"Un jeune architecte, Alqui, est envoy par le gouvernement franais tudier une solution pour sauver Venise. Son collaborateur, photographe italien, estime que le Franais ne connat pas suffisamment l'me de la ville et de ses habitants pour statuer de son sort; afin de lui faire mieux saisir cette ambigut, il utilise les charmes de Marina, jeune comtesse dsoeuvre qu'il a sduite facilement. Celle-ci, nigmatique comme la ville, frquente les deux hommes jusqu'au jour o sa mre dcide de la marier un richissime compatriote, plus intressant par la noblesse de ses anctres que par sa valeur personnelle. Comprenant que les Vnitiens prfrent se sclroser et conserver leurs traditions surannes, Alqui quitte, coeur, Marina et Venise."

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D'Amore has starred in a number of successful Italian films and television shows, including Gomorrah, Dogman, and The Immortal. He has also directed and written several films, including Un posto sicuro and Napoli velata.

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