viewers in general and film fans in particular, sometimes we often make the mistake, perhaps by the time spread with marketing studies and trends that we live, to forget or despise the work of producers, for the work of actors, directors, screenwriters, musicians, directors of photography. Obviously, without the work of all those we could not talk or film or movie, but without the invaluable work of a patron who financially sustain the project this would collapse without remedy. 
Most likely, this contempt, forgetting in the best case, of such valuable work is that by far the figure of the producer has gone from being that of a businessman who loved the film to an agent trends that the film gives a damn because all I contemplated are dividends, interest rates and zeros. Last November, we film lovers the misfortune of losing one of those producers of race, one of those businessmen who loved the film, and obviously looking to make money with it, but also cared about the quality of the movies, being able along its entire career switch commercial claim clear title with other much more risky. 
Agostino De Laurentiis was born in the Italian town of Torre Annunziata (Campania) on August 8, 1919, and showed his love for cinema when at the age of 17, he dropped his father's business selling spaghetti to study Experimental Film Center of Cinematography in Rome. However, the advent of World War II made him leave his studies film to be forced to fight. At the end of the war De Laurentiis started her first production in 1946, Dino De Laurentiis Cinematografica, debuting with two feature films: Black Eagle ( Riccardo Freda) and Il bandito (Alberto Lattuada ), which followed the production of other titles of interest The mysterious knight ( Riccardo Freda) (1948), or Naples millionaire (Eduardo De Filippo ) (1950). However, the emergence of De Laurentiis as a producer at the international level not came to the premiere of the film Giuseppe De Santis, Bitter Rice, which not only benefited himself at the level of notoriety, but also resulted in the launch to stardom of actress Silvana Mangano , with whom he married that same year and which lasted until 1988, a year before the death of the actress. 
In the mid 50's his association with producer Carlo Ponti , and founding producer Ponti-De Laurentiis , was a golden age of cinema not only Italian but also European thanks to the implementation of many film classics of the Alpine country as Guards and thieves ( Mario Monicelli and Steno) (1951), Ana ( Alberto Lattuada) (1951), Jolanda the figlia of black corsaro ( Mario Soldati) (1952), Europa'51 ( Roberto Rossellini) (1952), Totò a colori (Steno ) (1953), the first Italian film in color, Anni facili ( Luigi Zampa) (1953), especially La Strada ( Federico Fellini), whose international success and her subsequent Oscar for Best Foreign Language Film was a new incentive for De Laurentiis, who from here would join the international prestige productions performing more commercial projects, a trend that also develop subsequent U.S. tour. 
In this decade of the 50 De Laurentiis produced peplums like Ulysses ( Mario Camerini) (1954) and Man or demon ( Pietro Francisci), also in 1954, but also produced significantly more films Mambo risky as ( Robert Rossen) (1954), Nights of Cabiria ( Federico Fellini) (1957), The Great War ( Mario Monicelli ) (1959 ) War and Peace (King Vidor ) (1956), Barabbas ( Richard Fleischer) (1961) or Waterloo ( Sergei Bondarchuk) (1970) among others . At this time De Laurentiis begin their approach to American cinema in co-production as a gauge display titles, apart from some of those, Five Branded Women ( Martin Ritt) (1960) and The Bible (John Huston ) (1966), without leaving the predominantly Italian film production, as gauge titles attest home All ( Luigi Comencini ) (1960), Last Judgement (Vittorio De Sica ) (1961) or A difficult life ( Dino Risi ) (1961). Since the late 60's to its final stage in the 80's, De Laurentiis continued to alternate the non-exempt commercial paper quality Diabolik (Mario Bava ) (1968), Barbarella (Roger Vadim ) (1968), Serpico (Sidney Lumet ) (1973), The Death Wish ( Michael Winner) (1974), King Kong ( John Guillermin) (1976) or Flash Gordon (Mike Hodges ) (1980), with films from filmmakers risky reputation as Mandingo (Richard Fleischer ) (1975), The Serpent's Egg (Ingmar Bergman ) (1977), Ragtime (Milos Forman ) (1981), Dune (David Lynch ) (1984) or Manhattan South (Michael Cimino ) (1985).
With their disappearance leaves a way of understanding the film based on the prestige film production with other more commercial in nature with a greater sense of spectacle, not without quality, which entered a notorious amount of money that allowed him to undertake the production of those more prestigious films were the delight of the spectator cinephile. Rest in peace, Dino De Laurentiis .
0 comments:
Post a Comment