The 50 year story of a ballroom in France, from the 1920s. The people who go there is always the same, even the musicians. You can see all kind of people dancing all the fashion dances (... See full summary »
Francesco De Rosa
In the 1860s, Giorgio (Giraudeau), a young Italian soldier, is sent to a remote post, far away from his lover, Clara (Antonelli). He is lodged in the house of the colonel (Girotti). He ... See full summary »
Traces events in the life of Carlo, from his christening in 1906, where his grandfather reminds his father that Carlo means "free man," to his 80th birthday party. The film principally ... See full summary »
Action opens in November of 1793, with Danton returning to Paris from his country retreat upon learning that the Committee for Public Safety, under Robespierre's incitement, has begun a ... See full summary »
Splendor is the name of an old movie theater managed by Jordan (Mastroianni), who inherited it from his father. The theater is in decay and only generates debts and trouble, but Jordan gets... See full summary »
In the Eighteenth Century, the "Traveling Company of Scenic Arts" composed of Tyrant, Lady Leonarde, Serafina, Isabella, Leandre, Zerbina, Matamore and Pulcinella gets lost while traveling ... See full summary »
Four generations of a family live crowded together in a cardboard shantytown shack in the squalor of inner-city Rome. They plan to murder each other with poisoned dinners, arson, etc. The ... See full summary »
Maria Luisa Santella,
When Louis XVI summoned the Etats-Generaux he unleashes a revolution that would change his country and cost his life. This is the story of one of the crucial points in the history of France, and Europe, divided into two parts.
Richard T. Heffron
Klaus Maria Brandauer,
Gianni, Nicola and Antonio become close friends in 1944 while fighting the Nazis. After the end of the war, full of illusions, they settle down. The movie is a the story of the life of ... See full summary »
A three-way love affair in the Rome of the early seventies. Construction worker Oreste and young fiancee Adelaide meet Nello, cook in a pizzeria. This love triangle often go to communist ... See full summary »
In June of 1791, a group of passengers in a stagecoach find themselves caught up in the events of the French Revolution, when they find themselves in the city of Varennes when revolutionists arrest the fleeing King Louis. Written by
Brilliantly conceived by longtime collaborators of Vittorio de Sica, cast with leading players for Marcel Carne, Federico Fellini and Martin Scorsese, this literally glowing film is a "restive" update of the era of Beaumarchais and the setting of his "Figaro," which directly inspired Renoir in Rules of the Game. Barrault and Mastroianni, with Keitel, discuss not only the events they observe (as has been mentioned) they discuss the unsettled and unsettling progress of liberty and liberation as figures of enormous note, themselves, to liberation literature and ancien regime manners, projecting sensibilities as actors we had admired in them for as much as 40 years. An authority of temperament in these players to portray their characters, including also Hanna Schygulla and those in superbly characterised parts like Pierre Malet's student, is so redundantly embedded in the scenario and production, under Scola's direction, that it is not only tempting but necessary to welcome this film as the descendant also of Les Enfants du Paradis. Imagine a coachful of radicals and fugitive aristocrats, almost as endangered (and sometimes, reciprocating) as Ford's odd lot in "Stagecoach," in an accidental salon furnishing a literal tour d'horison, externally, of the upheavals of revolution they discuss with the animation of their own convictions and reservations, within. From the moment the coach all but collides with Casanova's in an opening scene, this film concentrates in the mind two apprehensions of finality on parallel tracks, while two naive regimes careen together into history in the same reel -- the "age of conversation" of the Enlightenment in France, and the age of humanism in western European cinema. As a testamentary work it should be viewed with "Le Petit Theatre de Jean Renoir" and "Akira Kurosawa's Dreams," yet without the concordance of footnotes which younger viewers might need for these films. "La Nuit" wears its authority visibly and openly collegially, but very much to the same radiant effect.
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