Nando Cicero
Yönetmen · 1931 – 1995 · Asmara, Eritrea
Fernando Cicero, better known as Nando Cicero (22 January 1931 – 30 July 1995), was an Italian film director, screenwriter and actor. Born in Asmara, Cicero debuted as an actor, working with directors such as Luchino Visconti (Senso, 1953), Roberto Rossellini (Vanina Vanini, 1961), Francesco Rosi (Salvatore Giuliano, 1962) and Alberto Lattuada (The Steppe, 1962). He starred in eleven films between 1953 and 1962, always in supporting roles. After his directorial debut with Lo scippo he directed three Spaghetti Western films ( Professionals for a Massacre, Last of the Badmen, and Twice a Judas). From 1970 he focused on comedy genre, directing some parody films starred by Franco and Ciccio. Starting with The School Teacher Cicero established himself as one of the most important and successful directors of the commedia sexy all'italiana film genre. Following the decline of the genre, he retired in 1983; his last film was Paulo Roberto Cotechino, starring Alvaro Vitali and Carmen Russo.
Filmler8
Film5.1FantastikAksiyonEn route to Thebes for an important diplomatic mission, Hercules drinks from a magic spring and loses his memory. He spends most of the movie in the pleasure gardens of Queen Omphale of Lydia. While young Ulysses tries to help him regain his memory, political tensions escalate in Thebes, and Hercules' new wife Iole finds herself in mortal danger.
Film7.2RomantikDram"Günahkâr Gönüller", 1866 yılında Avusturya işgalinin son günlerinde Venedik'te işgalcilere karşı tepkilerin dorukta olduğu bir zamanda, direnişin başındaki Kont Ussoni'nin evli yeğeni Kontes Livia Serpieri'nin Avusturyalı Teğmen Franz Mahler'le yaşadığı yasak aşkı anlatır. Visconti romandan farklı olarak filminde bu aşkı biraz daha geri plana iterek savaşı ve direnişi öne çıkarmıştır. Ayrıca Visconti teğmenin romandaki Remigio Ruz olan adını filmde büyük besteci Gustav Mahler'e olan hayranlığından dolayı Franz Mahler yapmıştır. Çöküşü ve çürüyüşü yücelten, bunu yaparken de zerafetle ustaca harmanlayan bu destansı film başta İtalya olmak üzere birçok ülkede sansüre takılmıştı. Film 1968'de ABD'de kesilerek gösterilebildi. "The Wanton Contessa" adlı bu İngilizce versiyonun bazı diyalogları Tennessee Williams ve Paul Bowles tarafından yeniden yazılmıştır.
Film7.5SuçDramSicilian bandit Salvatore Giuliano's bullet-riddled corpse is found facedown in a courtyard in Castelvetrano, a handgun and rifle by his side. Local and international press descend upon the scene, hoping to crack open the true story behind the death of this young man, who, at the age of twenty-seven, had already become Italy’s most wanted criminal and celebrated hero.
Salvatore Giuliano
1962 · 122 votes
Film6.5SavaşIn the summer of 1942, during the Second World War, a group of young paratroopers from the Folgore Division, after having been subjected to a long and tiring training in Italy, was transported by air to the Libyan desert to cover the Italian-German front.
Divisione Folgore
1954 · 6 votes
Film7.0SavaşTarihIn this sword-and-sandal saga set on the steppes of Asia, Roland, leader of the Paladin troops, who must proves his mettle against the dreaded Saracen invaders, and withstand their evil plots
Film6.0DramTarihVanina Vanini, a bored, spoiled Roman countess, falls in love with a dedicated young patriot who is in Rome to assassinate a traitor to the brotherhood of the Carboneria.
Vanina Vanini
1961 · 13 votes
Film10.0KomediIl campanile d'oro
1955 · 1 votes
Film5.9KomediParigi O Cara is probably the most camp in the history of Italian cinema, certainly a favourite with the queer community who quote its lines by heart. Unique as it's the only film where Franca Valeri (now 90) is the unquestioned star, in the role of Delia, a snobbish, stingy prostitute who is moving to Paris looking for greener and more lucrative pastures. An anti-neorealist, amoral, almost abstract comedy, which anticipates Almodóvar, a ferocious, though gentle, non-moralistic portrayal of the 60's boom and its broken dreams. The dialogue between Delia and her brother (played by Fiorenzo Fiorentini), when he does (or does not) tell her he is a homosexual, is memorable, a primordial coming-out, a masterpiece of allusions. But what makes it one of the first examples of a film with a "gay point of view" is the approach: perceptive, non-conformist, caustically witty. A film ahead of its times, still unbeaten.