2 items from 2014
Roberto Rossellini's Rome is dazed, disoriented and at the mercy of Nazis in this classic of neorealism
The Rome of Rossellini's film (now on rerelease) has a dazed, disoriented, stateless look – like the Vienna of Carol Reed's The Third Man or the studio-created Casablanca in Michael Curtiz's movie. The action is set over the winter of 1943-44: it is an "open" city because this was the wartime status conferred on it: in return for a cessation of bombing, the authorities would abandon its military defence. This was a concession to the Allies: but Rossellini's irony is that Rome is "open" to Italy's occupier, Germany, as the capital of northern Italy's new Nazi puppet-state, the so-called Salò Republic (which inspired Pier Pasolini's film Salò, or The 120 Days of Sodom).
The former stronghold of empire is unprotected, open to the forces of history – and to a new kind of film-maker. »
What makes a brilliant script? Is it quotable lines? Is it nuanced dialogue? Or is it just the ability to move the story along and not get in the way? When looking back through the history of screenwriting, there are plenty of iconic films based on previous work; the Writer’s Guild of America voted Casablanca the greatest screenplay of all time, but it’s adapted. So, what is the most important piece of film writing ever written directly for the screen? This list will shift from American to international, conventional to unconventional. Most importantly, these are the scripts that demonstrate how “screenwriting from scratch” is done.
courtesy of amazon.com
50. Last Year at Marienbad (1961)
Written by Alain Robbe-Grillet
Empty salons. Corridors. Salons. Doors. Doors. Salons. Empty chairs, deep armchairs, thick carpets. Heavy hangings. Stairs, steps. Steps, one after the other. Glass objects, objects still intact, empty glasses. A glass that falls, »
- Joshua Gaul
2 items from 2014
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