Podcasts about umberto d

Neste episódio, Fred e Alexandre recebem Luísa Lopes, curadora da Mostra Permanente de Cinema Italiano de São Paulo e também colaboradora no Podcast Cinema Italiano, para conversarem sobre o filme de Vittorio de Sica que deu a Sophia Loren o Oscar de melhor atriz, tornando-a a primeira a realizar tal fato atuando numa película de língua não-inglesa. Falamos, é claro, do clássico "Duas Mulheres" (La Ciociara, 1960), mais uma colaboração do roteirista Cesare Zavattini com De Sica e que neste podcast se torna o quinto filme do cineasta abordado em episódios de filmes individuais: já discutimos anteriormente "Ladrões de Bicicletas", "Vítimas da Tormenta”, "Umberto D." e "Matrimônio à Italiana" (fora “O Jardim dos Finzi-Contini”, em um Dicas Triplas).----------------------Acesse nosso site: ⁠http://www.filmesclassicos.com.br⁠Acesse nosso perfil no Instagram : @podcastfcNos procure no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

Felicia is joined by Geoff Thomas to discuss the effects of capitalism on an old man and his dog in Vittorio De Sica's Umberto D. (1952). We chat about this film as a bridge between De Sica's as a neo-realist filmmaker and his move towards comedies. Along with the themes of questioning the moral compass of authority figures present in this film. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Check out our previous episodes with Geoff: Diary of a Chambermaid (Luis Buñuel 1964) The Silence (Ingmar Bergman 1963) Follow Geoff here: IG: @cinema_gnt Letterboxd: @gnthomas Website: https://cinemamemry.wordpress.com/ Spotify: @cinematicmeoriespodcast Spotify: @dontdespisemepodcast Apple Podcasts: @cinematicmemoriespodcast Apple Podcasts: @dontdespisemepodcast Sources: https://web.archive.org/web/20110721100149/ http://www.ingmarbergman.se/universe.asp?guid=66DA7015-8017-4303-9A31-658D02296D45 https://www.criterion.com/current/posts/292-seeing-clearly-through-tears-on-the-smart-sentiment-of-umberto-d https://www.nytimes.com/1955/11/08/archives/screen-honest-realism-de-sicas-umberto-d-is-story-of-old-man.html https://www.deepfocusreview.com/definitives/umberto-d/ https://cinemafromthespectrum.com/2017/02/24/umberto-d-review/ OUTRO SONG: Umberto D. by Alessandro Cicognini FILMS MENTIONED: The Silence (Ingmar Bergman 1963) Diary of a Chambermaid (Luis Buñuel 1964) Bicycle Thieves (Vittorio De Sica 1948) The Leopard (Luchino Visconti 1963) Ikiru (Akira Kurosawa 1952) Shoeshine (Vittorio De Sica 1946) The Third Man (Carol Reed 1949) Miracle in Milan (Vittorio De Sica 1951) Terminal Station (Vittorio De Sica 1953) After the Fox (Vittorio De Sica 1966) The Voyage (Vittorio De Sica 1974) Sunflower (Vittorio De Sica 1970) Two Women (Vittorio De Sica 1960) Marriage Italian Style (Vittorio De Sica 1964) Yesterday, Today, and Tomorrow (Vittorio De Sica 1963) Boccaccio ‘70 (Vittorio De Sica, Federico Fellini, Mario Monicelli, Luchino Visconti 1962) Rebecca (Alfred Hithcock 1940) Il boom (Vittorio De Sica 1963) Anora (Sean Baker 2024) Wild Strawberries (Ingmar Bergman 1957) Tokyo Story (Yasujirō Ozu 1953)

This week we're discussing the Italian Neo-realism movement that shaped much of the later 20th century's films, by looking at Bicycle Thieves, Umberto D., and La Strada.. Films: Bicycle Thieves (1948, d. Vittorio De Sica) US Blu-ray: Amazon Umberto D. (1952, d. Vittorio De Sica) US Blu-Ray: Amazon UK Blu-Ray: Amazon UK La Strada (1954, d. Federico Fellini) US Blu-Ray: Amazon US Essential Fellini Box-set: [Amazon] (https://www.amazon.com/Essential-Fellini-Blu-ray/dp/B08FPJLQ4T) UK Blu-Ray: Amazon UK This podcast is produced by Brave Voice Films. You can reach out to us at framesofreference@bravevoicefilms.com Tweet us: @podcastfor Our episodes will run bi-weekly. Please email us your suggestions!

From power to societal marginalization to prejudicial greed, in this episode Alex and Jonathan talk about three films in which the subject characters are faced with various forms of injustice: The Passion of Joan of Arc (1928), Umberto D. (1952), and Killers of the Flower Moon (2023). We discuss the ways tragedy films evoke feelings of pity and fear in the Aristotelian view, the similarities between injustice and the absence of compassion, and when and how history becomes poetry. Skip to: (10:09) – The Passion of Joan of Arc (32:58) – Umberto D. (56:27) – Killers of the Flower Moon (1:38:21) – Overall (1:48:14) – Coming Attractions Coming Attractions: Ikiru (1952) Grave of the Fireflies (1988) Titanic (1997) For more information, visit the blog: https://thefilmlings.com/2024/09/06/tragedies-of-injustice/ Join us on Discord for ongoing film discussion: https://discord.gg/MAF6jh59cF

The downfall. The tragic flaw. Today Alex and Jonathan kick off a new series about tragic cinema with three stories where the protagonist is ultimately responsible for their own misery: The Magnificent Ambersons (1942), Brief Encounter (1945), and Tár (2022). We discuss Aristotle's six elements of tragedy, why tragedy doesn't necessarily have to have a sad ending, and scaling tragedy from the intimately personal to a societal scale. Skip to: (22:05) – The Magnificent Ambersons (50:22) – Brief Encounter (1:11:08) – Tár (1:46:18) – Overall (1:54:35) – Coming Attractions Coming Attractions: The Passion of Joan of Arc (1928) Umberto D. (1952) Killers of the Flower Moon (2023) For more information, visit the blog: https://thefilmlings.com/2024/08/02/tragedy-of-self/ Join us on Discord for ongoing film discussion: https://discord.gg/MAF6jh59cF

COMPRA TUS PLAYERAS AQUÍ: https://www.instagram.com/p/C7p-Kk0Oxu2/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== No olvides seguirnos en Instagram y Tik Tok! https://www.instagram.com/cineparatod... https://www.tiktok.com/@cineparatodos... Redes personales. Gerry: Twitter: https://x.com/el_lyndon?s=2 Instagram: https://www.instagram.com/lyndon_phot... Letterboxd: https://boxd.it/12ZBh Lyndon YouTube: https://youtube.com/@Jerrylyndon?si=w... Miguel: Twitter: https://x.com/portalmike?s=21 Instagram: https://www.instagram.com/maps_2208?i... Letterboxd: https://boxd.it/198Zf Axel: Twitter: https://x.com/axldario21?s=21 Instagram: https://www.instagram.com/axlchalico2... Letterboxd: https://boxd.it/3Q9cn Tocayo: Twitter: https://x.com/gerry_movie?s=21 Instagram: https://www.instagram.com/gerry021?igsh=Z3JzMDE2djhoc2Y0&utm_source=qr Letterboxd: https://boxd.it/GLUZ Lista oficial de películas mencionadas en ZoomF7: https://boxd.it/pxHDi Lista de películas que marcaron al Tocayo: 10: Spiderman (2002) 9: Monsters Inc 8: Volver al Futuro 7: Taxi Driver 6: Birdman (00:00): Bienvenida (00:32): Merch Cine Para Todos (02:38): Películas que nos marcaron (04:05): La Tierra antes del Tiempo (11:12): Space Jam (17:33): Umberto D (21:37): Children of Men (26:28): Scream (30:02): Solo con tu pareja (34:03): El Ángel Exterminador (39:50): Godzilla (1998) (43:04): Drive (47:42): The Birds (54:04): El Planeta del Tesoro (57:12): Ikiru (01:00:20): Shin Godzilla (01:07:52): Avengers Endgame (01:11:44): Evil Dead 2 (01:12:49): Despedida #cineparatodos #ZoomF7

Neste episódio, Alexandre, Tony e Luísa recebem o jornalista e crítico Rafael Amaral (do blog Palavras de Cinema), para conversarem sobre aquele que é um dos movimentos mais debatidos e mais influentes da história do cinema: o neorrealismo italiano. Ao longo do episódio, são percorrido o antes, o durante e o depois do movimento, com destaque para oito filmes (dois escolhidos por cada um dos participantes): "Prisioneiros do Mar" ("Uomini sul Fondo", 1941, Francesco de Robertis), "Obsessão" ("Ossessione", 1943, Luchino Visconti), "Roma, Cidade Aberta" ("Roma, Città Aperta", 1945, Roberto Rossellini), "Angelina, a Deputada" ("L'Onorevole Angelina", 1947, Luigi Zampa), "Sob o Sol de Roma" ("Sotto il Sole di Roma", 1948, Renato Castellani), "Arroz Amargo" ("Riso Amaro", 1949, Giuseppe De Santis), "Stromboli" (idem, 1950, Roberto Rossellini) e "Umberto D" (idem, 1952, Vittorio De Sica).

doblesesion.com @doblesesionpdc #dsneoumberto 👴🏻 Nos adentramos por primera vez en el neorrealismo italiano para hablar de Umberto D. (Umberto D. 1952) de Vittorio de Sica. En la sección inicial nos hacemos eco de nuestra participación en el Expediente: Leatherface que organiza el podcast La Frikoteka y que repasará todos los títulos de la saga de La Matanza De Texas. Además, comentamos los próximos estrenos de secuelas de sagas de los años 80. A partir del minuto 0:32:43 hablamos de Umberto D. de Vittorio de Sica. Para complementar el visionado os recomendamos las películas La Noche Brava (La Notte Brava; Mauro Bolognini, 1959), El Limpiabotas (Sciuscià; Vittorio De Sica, 1946), Ladrón De Bicicletas (Ladri Di Biciclette; Vittorio De Sica, 1948), La Chica De La Fábrica De Cerillas (Tulitikkutehtaan Tyttö; Aki Kaurismaki, 1990) y el especial sobre la trilogía del proletariado de Aki Kaurismäki del podcast No Apaguen El Proyector. Escúchanos y síguenos ➡️ https://linktr.ee/doblesesion

Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.Umberto D'Ottavio"L'inno di Mameli"Una storia lunga 170 anni per diventare ufficialeNeos Edizioniwww.neosedizioni.itDal 4 dicembre 2017 Il canto degli Italiani è diventato l'inno ufficiale della Repubblica Italiana. In queste pagine vengono raccontati i suoi 170 anni di storia, dalla stesura di Gof fredo Mameli ai nostri giorni. “In Italia non c'è nulla di più definitivo del provvisorio e nulla di più provvisorio del definitivo” affermava Giuseppe Prezzolini, una citazione che definisce bene il percorso storico del Canto degli Italiani, scritto da Mameli e musicato da Novaro nel 1847 e assunto nel 1946 come inno provvisorio della Repubblica Italiana da De Gasperi. In questo libro viene narrata la storia del nostro inno nazionale e il percorso parlamentare fino all'ufficialità del 4 dicembre 2017, attraverso la voce dell'autore, il racconto diretto di quanti ci hanno creduto e la reazione di giornali e del web. L'autore, Umberto D'Ottavio, è il parlamen tare che ha inoltrato e sostenuto la proposta di legge affinché l'inno potesse finalmente, dopo 170 anni, diventare il simbolo ufficiale del nostro Paese. Perché si può essere patrioti, cioè agire in favore della propria terra, senza essere nazionalisti, cantando dopo Il canto degli Italiani anche l'Inno alla gioia, simbolo dell'Europa dei popoli. L'opera costituisce una testimonianza impor tantissima del percorso storico e politico dell'inno di Mameli, un testo che si rivolge a un ampio pubblico attraverso un linguaggio volutamente divulgativo nei capitoli storici e impreziosito da una raccolta di curiosità sugli inni nazionali degli altri Paesi. 104 pagine € 12,00 - Umberto D'Ottavio, deputato nella XVII Legislatura, è stato il promotore del riconoscimento del Canto degli Italiani come inno ufficiale della Repubblica diventato legge n. 181 del 4 dicembre 2017. Nato a Cerignola (FG) nel 1961, laureato in Scienze dell'Educazione, ha ricoperto molte cariche pubbliche sul territorio: per due mandati sindaco di Collegno (TO), dove vive con la sua famiglia; assessore all'Istruzione, Formazione professionale ed Edilizia scolastica dal 2004 al 2013 alla Provincia di Torino; presidente della Lega delle Autonomie del Piemonte dal 2000 al 2016. Nella XVII Legislatura è stato mem bro della Commissione Istruzione e Cultura della Ca mera dei Deputati e della Commissione Bicamerale per la Semplificazione. Lavora presso l'ASL TO3 nella sede aulica della Certosa di Collegno come funziona rio amministrativo. Collabora con il Dipartimento di Fi losofia e Scienze dell'educazione in qualità di cultore della materia in Storia dell'educazione presso l'Università di Torino.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.it

Italian Neorealism at its finest. --- Support this podcast: https://podcasters.spotify.com/pod/show/chris-levine/support

I've made fun of film sequels, universes, and series on the pod, accusing Hollywood of taking anything that's successful and knocking it off repeatedly, for the dollars. As well as the yuan; many of the cinematic universes are action/hero/comic book films, which are short on plot and long on thrills and special effects, thus not needing extended passages of subtitled exposition. Which is not to excuse Hollywood, don't get me wrong! It's a lousy use of film, talent, and time, but I suppose an adequate way to make money. But allow me --- I'd like today to look at the end of an arc, a sort of sequel, if I may, on this pod. It's 1952's Umberto D, from the last of the era of Italian Neorealism. It's the antithesis of an action universe film, as very little occurs during the story. But it does sum one director's study of the ages of man --- Vittorio De Sica. email: David@thosewonderfulpeople.comWebsite and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

Alexandre e Fred convidaram o músico e cinéfilo Willian de Andrade (Instagram "Oitavo Dia") para conversar sobre o filme que é apontado como o último do "neo-realismo" italiano: "Umberto D." (1952), clássico absoluto dirigido por Vittorio De Sica. Com roteiro brilhantemente desenvolvido por Cesare Zavattini a partir de uma ideia original sua (ele foi indicado ao Oscar de Roteiro em 1957), o filme retrata a dura realidade de um idoso e seu cachorro na Itália do pós-guerra, numa sociedade que não mais vê utilidade em pessoas como ele. O professor universitário Carlo Battisti, mais um não-ator do cinema italiano, interpreta o personagem principal, um dos mais inesquecíveis deste período na Itália, acompanhado de seu cachorrinho Flike. ---------------------- Acesse nosso site: ⁠⁠http://www.filmesclassicos.com.br⁠⁠ Acesse nossa página no Facebook : ⁠⁠https://www.facebook.com/podcastfilmesclassicos/⁠⁠ Nos procure no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

For this week's Acteurist Oeuvre-view episode we watched two romantic comedies (sort of), Mister 880 (1950) and Callaway Went Thataway (1951), in which Dorothy McGuire assumes a role we haven't seen from her before: the character through whom we register the pathos that the movies explore via the respective plights of Edmund Gwenn's elderly counterfeiter and Howard Keel's TV cowboy impersonator. We focus particularly on Mister 880, a very unusual comedic drama directed by the great Edmund Goulding, with a screenplay by Robert Riskin, that in certain ways anticipates Umberto D., and try to grasp the essence of its elusive moral. In just what way does Gwenn's character embody an admirable form of life?    Time Codes: 0h 0m 45s:        MISTER 880 (1950) [dir. Edmund Goulding] 0h 35m 50s:      CALLAWAY WENT THATAWAY (1951) [dirs. Melvin Frank & Norman Panama]   +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

About six months ago, I did a pod on Goodfellas, Martin Scorsese's 1990 magnum opus on the wise guys of New York, which to me was sweeping, magnetic and a triumph. And as I said then, it's a young man's film --- it had all the adrenaline, obstinance, the hubris, and the self-belief that young men often possess. A lot of water under that bridge since 1990, with Scorsese directing a slew of incredible films to follow: the remake of Cape Fear, a huge change of pace in The Age Of Innocence, back to wise guys with Casino, Gangs Of New York for a take on the Protestant-Catholic and Nativist battles of the 1860s, The Aviator, a terrific film on Howard Hughes that didn't get its due, then winning the Best Director Oscar in 2006 for The Departed. You've heard me rant about that late, late recognition before, so I'll let it lie. Then through the latter part of the 2010s with amazing films like Hugo, The Wolf Of Wall Street and Silence. Where am I going with this laundry list? Here, you have the protagonist, but where's the antagonist, huh? Where's the drama?  Like De Sica and his Italian Neorealism series of Shoeshine, Bicycle Thieves, and Umberto D, tracing the ages of man in post-WWII Rome, you can conveniently stick a square peg in a square hole and assert that Scorsese is following a similar arc with his gang and wise guy films. Early work with young, promising actors in Mean Streets, followed by the crazy adults of Goodfellas, middle-aged and calculating in Casino. And what's at the end of the arc? The wise guys in old age, looking back. What we find is the film, The Irishman. email: David@thosewonderfulpeople.comWebsite and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

Hola Gerardo aquí en otro episodio de Simplemente Yo; La selección de esta semana es Umberto D, es una película neorrealista italiana de 1952 dirigida por Vittorio De Sica. La mayoría de los actores no eran profesionales, incluido Carlo Battisti, que interpreta el papel principal de Umberto Domenico Ferrari, un anciano pobre de Roma que intenta desesperadamente mantener su habitación alquilada. Su casera lo está desalojando y sus únicos amigos verdaderos, la criada y su perro Flike no son de ayuda. Espero que lo disfruten ;) Información adicional del podcast: Enlace del website official de Filmic Notion Podcast: https://filmicnotionpod.com/ Enlace a nuestra página de Facebook: https://www.facebook.com/fnpod

Umberto D. to jeden z najpiękniejszych, najbardziej humanistycznych i poruszających filmów w historii kina. W 2022 roku arcydzieło Vittoria De Siki kończy 70 lat, a razem z filmoznawczynią Dianą Dąbrowską z Accademii włoskiego kina zastanowimy się nad tym, jakie wrażenie robi w tak szacownym wieku. Opowiemy o jego najważniejszych twórcach, kontekstach oraz powojennym włoskim kinie, które stworzyło Umberta D.Obejrzyj film Umberto D. na FlixClasssic - https://flixclassic.pl/movies,1/umberto-d-1952,1907Diana Dąbrowska na FB - https://www.facebook.com/filmoznawczynidianadabrowskaAccademia Włoskiego Kina - https://www.facebook.com/accademiawloskiegokina

It's August, everyone is on vacation, and Paul and Corey wanted to take it easy. This month: Wild Card (Whatever the Hell You Want)! After the Fight Club debacle, Paul wanted to pick a movie that would restore Corey's faith in humanity, so he chose a beloved little Italian neorealist classic about an old man and his dog, Umberto D (1952). It…um…didn't work. It's the first film both Paul and Corey have jointly hated in a long time.

Composition by Joseph Sannicandro.  "Manual coffee grinders take a lot of effort. The work can be very monotonous, compounded by the fact that it is a daily labour often undertaken shortly after waking.  "I thought of a scene in Vittorio De Sica's Umberto D. (1952), in which a young pregnant maid named Maria wearily prepares the morning coffee. I chopped and manipulated the sound from this scene to provide the structure over which I arranged loops made from the coffee grinder, recorded onto a four-track TASCAM using a 60-second infinite loop cassette." This is part of the Obsolete Sounds project, the world's biggest collection of disappearing sounds and sounds that have become extinct – remixed and reimagined to create a brand new form of listening. Explore the whole project at https://citiesandmemory.com/obsolete-sounds

For this episode, Death Ensemble's P Owen Fasso joins me once again, but we're talking about real-life horrors instead. Here, we chose two films from Vittorio De Sica- "Bicycle Thieves" and "Umberto D"- to discuss the Italian neorealist movement, the value of art, and how themes from 70 years ago continue to be relevant.

Stāsta teātra zinātniece, mūzikas un teātra kritiķe un žurnāliste, Dr.Art. Lauma Mellēna-Bartkeviča Itāļu komponista Umberto Džordāno verisma opera "Andrē Šenjē" stāsta par Lielās Franču revolūcijas laiku 18. gadsimta beigās, kad Robespjēra valdīšanas laikā uz nāvi tika notiesāti un giljotinēti vairāki desmiti tūkstoši francūžu, ne vien revolūcijas pretinieki un aristokrāti, bet arī daudz nepatiesi apmelotu cilvēku.  Andrē Šenjē bija  18. gadsimta franču dzejnieks, diplomāts un politiskais žurnālists, kas vienlīdz kritizēja gan monarhistus, gan asiņaino revolūcijas teroru, iestājoties par morālo veselumu pāri visam. Gan dzīvē, gan Luidži Illikas libretā Andrē Šenjē tiek piespriests nāvessods zem giljotīnas asmens. Šenjē loma rakstīta spinto tenoram – spēcīgai un vīrišķīgai balsij ar metāliski spožām, bez piepūles sasniegtām virsotnēm augstā tesitūrā. Plāsido Domingo reiz izteicies, ka Andrē Šenjē ir, iespējams, grūtākā tenora partija, taču noteikti arī viena no skaistākajām. Operas pēdējā cēlienā ir tenora emocionālākā ārija Un bel di del maggio ("Kādā skaistā maija dienā") – viens no Šenjē pēdējiem dzejoļiem, ko viņš nolasa, gaidīdams savu nāves stundu, un tajā ir rindas "Ak, dzejas dieviete, aizdedzini vēl liesmu, kura, dzīvi kvēlodama, no sirds pārvēršas vārsmās, lai arī dzejnieka gars jau kļuvis salts nāves priekšā." Starp latviešu tenoriem leģendārs Andrē Šenjē ir Jānis Vītiņš – viens no izcilākajiem 20. gadsimta 20. – 30. gadu latviešu dziedātājiem ar veiksmīgu karjeru Eiropas opernamos, galvenokārt Vācijā –Desavā,  Berlīnē, Leipcigā un citur. Rīgā Andrē Šenjē lomu Vītiņš dziedājis divreiz  – 1928. un 1937. gadā. Tās arī ir vienīgās reizes, kad opera tikusi iestudēta Latvijas Nacionālajā operā.  1928. gadā kritiķis Eduards Ramats par Vītiņu raksta: “Jaunais dziedonis spīdoši izturēja grūto pārbaudījumu, parādīdams savas balss izcilās īpašības. Nopietnā darbā veidojies, Vītiņš ar šo partiju uzstājās kā rutinēts spēks. Viņa tenoram kā tembra, tā plašuma ziņā [piemīt] visas saistošās īpašības.”  Tenora Jāņa Vītiņa biogrāfijā līdzās spilgtai opermākslinieka karjerai Eiropā ir arī militārais dienests – Pirmā pasaules kara laikā krievu, pēc tam Latvijas armijā 1919. gadā, vēlāk Vītiņš organizē zemessargu mācības, formē brīvprātīgo rotas, dienē militārajā policijā un 8. Daugavpils kājnieku pulkā. 1940. gadā padomju okupācijas sākumā Jānis Vītiņš iesaistījās pretošanās kustībā "Tēvijas sargi",  tika apcietināts un apsūdzēts spiegošanā Vācijas labā. Staļingradas garnizona kara tribunālā viņu notiesā uz nāvi par dzimtenes nodevību gluži kā Andrē Šenjē operā. 1941. gadā pirms nošaušanas Astrahaņas cietumā Vītiņš lūdz atļauju nodziedāt Andrē Šenjē āriju, un tā viņam tiek dota. Jānis Vītiņš ir latviešu Andrē Šenjē, kas sava likteņa dēļ padomju laikā tika pilnībā izdzēsts no latviešu opermākslas vēstures. Pirmoreiz pēc 1937. gada opera "Andrē Šenjē" skatuves iestudējumu piedzīvoja 2018. gadā Siguldas Opermūzikas svētkos.

Stāsta teātra zinātniece, mūzikas un teātra kritiķe un žurnāliste, Dr.Art. Lauma Mellēna-Bartkeviča Vai zini, kura latviešu dziedātāja aizbēga no noklausīšanās pie slavenā itāļu diriģenta Arturo Toskanīni? Kas zina, kā būtu izvērties latviešu dramatiskā soprāna Alīdas Vānes liktenis, ja pagājušā gadsimta 20. gadu beigās viņa tomēr būtu atdziedājusi Aīdas āriju leģendārajam diriģentam Arturo Toskanīni Milānas Teatro alla scala? Ja vien  tur būtu bijis klāt Alīdas Vānes skolotājs Mario Vanco vai diriģents Džino Marinuci, kas pārliecinoši mudināja "nešaubīties, bet dziedāt" 1926. gada janvārī, kad sasirgušās Džanīnas Arandži-Lombardi aizstāšana Aīdas lomā Dženovas Carlo Felice teātrī atnesa jaunajai latvietei spožu debiju opermākslas dzimtenē Itālijā. Iespējams, tad arī mēs Latvijā neraustītu plecus par dziedātāju, kuras balss, kas 1937. gada aprīlī, pirmoreiz koncertējot Latvijas Nacionālajā operā, sajūsmināja visus Rīgas kritiķus "Aīdā", bet vēlāk rudenī - titullomā "Toskā", izraisot apbrīnu klausītājos, izbrīnu toreizējā operas vadībā un augošu skaudību konkurentēs. Svešiniece starp savējiem, savējā vien dzimtajā ciemā, kur ļaudis runāja viņas latviešu valodā, proti, ventiņu izloksnē, Alīda Vāne uzauga Bostonā, kurp viņas tēvs, jūrnieks Jānis Vāne no Sarkanmuižas Ventspils apkaimē devās jau 1902. gadā, bet māte Teofīla ar mazo meitiņu pievienojās pēc četriem gadiem. Tikai viena ziema – 1914. gadā pavadīta Ventspils pusē, toreiz jau kara apstākļos, caur Hāpsalu un tālo Arhangeļsku ilgā un mokošā ceļā atgriežoties Amerikā. Mūziku Alīda Vāne mīlēja kopš bērnības. 1922. gadā pēc sava Amerikas dziedāšanas profesora Viljama Vitnija ieteikuma doties uz Itāliju mācīties bel canto, mātes pavadībā Alīda Vāne dodas uz Milānu pie maestro Mario Vitorio Vanco, pie kura cita starpā mācījies arī slavenais krievu bass Fjodors Šaļapins. Pēc spožās debijas Dženovā Alīda Vāne ar panākumiem iekaro Itālijas operteātrus, Merano, Trevizo, Neapolē, Turīnā, Boloņā, Varēzē, Palermo, Kremonā, Ferrārā, Triestē, Parmā un citur dziedot titullomu Džuzepes Verdi "Aīdā", Margarētu Arigo Boito "Mefistofelī", titullomu Amilkāres Ponkjelli "Džokondā", Elzu Riharda Vāgnera "Loengrīnā", Leonoru Džuzepes Verdi "Trubadūrā", Santucu Rudžēro Leonkavallo "Zemnieka godā", Frančesku Rikardo Candonai operā "Frančeska da Rimini", tātad visai plašu un daudzveidīgu dramatiskā soprāna repertuāru jaunai, Milānā dzīvojošai, tikko studijas beigušai dziedātājai. Turklāt cildinošām recenzijām Itālijas presē. Pēc pieciem panākumu pilniem gadiem Itālijā, draugu un kolēģu iedrošināta, dziedātāja ieradās teātrī, kas tolaik un tagad ir ikviena operdziedātāja sapnis. Koncertmeistars sācis Aīdas ārijas ievadu, vajadzējis tik sākt dziedāt, bet uznākušas tādas bailes, ka ne muti atvērt, balss neklausījusi arī pie trešoreiz iesākta ārijas ievada. Lampu drudža trakumā Alīda Vāne steidzīgi paņēmusi no klavierēm notis un aizbēgusi no skatuves. Toskanīni, būdams, tuvredzīgs, manījis mākslinieci pēkšņi nozūdam un izsaucies: "Kur tad tas krievs aizskrēja?!" Par krievieti Alīdu Vāni Rietumeiropā uzskatīja tādēļ, ka jaundibināto Latviju lielākoties vēl 20. gadu sākumā zināja vien retais, bet dziedātāja mēdza teikt, ka nāk no mazas zemes, kas, kad viņa to kā bērns atstājusi, bijusi Krievijas sastāvā. Vēlāk bijuši kuriozi, kad dziedātāja dēvēta par vācieti, somieti vai Rīgā dzimušu igaunieti. Pēc šī gadījuma Alīda Vāne par La Scala vairs pat neiedrošinājās sapņot. 1920. gadu beigās viņa atkal dodas uz ASV, uzstājas Ņujorkas Roxy teātrī muzikālā teātra iestudējumā "Modernā Pelnrušķīte", dzied vasaras brīvdabas viesizrādēs Klīvlendā, San Carlo Opera Company rīkotajās izrādēs Ņujorkā, Bostonā un Providensā. Savukārt 1930. gados dziedātājas radošā ģeogrāfija vispirms ved atpakaļ uz Eiropu – Pulu Horvātijā, Amsterdamu, Hāgu un Roterdamu Nīderlandē  ar Džakomo Pučīni Manonu Lesko un Umberto Džordāno Andrē Šenjē Madalēnas lomā, taču 1935. gadā mākslinieci aicina pievienoties kādai vācu operas trupai viesizsrādēs Dienvidamerikā – Argentīnā, Čīlē un Urugvajā, šoreiz Vāgnera repertuārā – Freija "Reinas zeltā", Zīglinde "Valkīrā", Gutruna un norna "Dievu mijkrēslī", Elizabete "Tanheizerā". Līdzās šīm lomām – titulloma Žila Masnē operā "Taīsa" un Margarēta Šarla Guno "Faustā", Amēlija Džuzepes Verdi "Masku ballē". Tas ļauj secināt, ka 30. gadu vidū Alīda Vāne pārvaldīja praktiski visu klasisko operrepertuāru, atskaitot krievu operas, kuras viņai nekad nebija radusies izdevība dziedāt.  Uz Latviju vilināja ne vien asinsbalss un šurp pārcēlušies vecāki, bet arī 1936. gadā Buenosairesā sastaptais, savulaik Rīgā labi zināmais diriģents Emils Kupers un uz kuģa atceļā uz Eiropu iepazītais jaunais latviešu tenors Arturs Priednieks-Kavara.  Lai arī debija dzimtajā Latvijā bija spoža, diemžēl pastāvīgu darbu operā viņai nepiedāvāja. Uzstājoties Latvijas Nacionālajā operā sarežģītajā laikā 30. gadu beigās viņa būtu bijusi neērta konkurente tolaik par prima donna assoluta atzītajai Mildai Brehmanei-Štengelei. Savukārt padomju okupācijas laikā tika atrasti citi iegansti, lai Alīda Vāne operas iestudējumos būtu dzirdama reti un lai praktiski nebūtu saglabājušies viņas balss ieraksti, lai arī pēc kara dziedātāja bija LPSR Filharmonijas soliste.  Tikai 1991. gadā, kad iznāk Artura Birnsona grāmata Celeste Aida, Latvijas publika plašākā lokā uzzina par dziedātāju, kas tikusi noklusēta Latvijas operas vēsturē, aprobežojoties vien ar skopām ziņām, kamēr pasaules teātru abpus Atlantijas okeānam programmiņās viņas vārds savulaik bija lasāms gana bieži.

Por motivo de la nueva película de Wes Anderson, The French Dispatch (2021), estaremos conversándola junto con una película del gran director Vittorio de Sica, L'oro di Napoli (El Oro de Nápoles, 1954), junto con lo que hemos visto estas semanas. Estén atentos a nuestro Instagram, nuestro Twitter, nuestro canal de Youtube y nuestro TikTok Puedes invitarnos un café en https://www.buymeacoffee.com/ppppodcast Letterboxd: Christiam Reymei y Jesús bac_line (00:08:09) L'oro di Napoli (1954) (00:35:32) Lo que vimos en la semana The Harder They Fall (2021) (00:42:22) Lamb (2021) (00:56:20) Spoilers Lamb (2021) (01:05:50) The Office U.S. (serie, 2005-2013) (01:15:30) Mr Robot (serie, 2015-2019) (01:28:40) Una Película de Policías (2021) (01:37:45) The French Dispatch (2021) Referencias: Les Diaboliques (1955) Ostre sledované vlaky (Closely Watched Trains, 1966) 8½ (1963) La Dolce Vita (1960) Ladri di biciclette (1948) Accattone (1961) Umberto D. (1952) Django (2012) The Last Balck Man in San Francisco (2019) Me, Earl and the Dying Girl (2015) Judas and the Black Messiah (2021) Atlanta (serie, 2016) Dancer in the Dark (2000) Rams (2015) The VVitch (2015) One Piece (serie, 1999) How I Met Your Mother (serie, 2005-2013) Malcolm in the Middle (serie, 2000) Modern Family (serie, 2009) Parks and Recreation (serie, 2009) The Thin Blue Line (1988) The Act of Killing (2012) Nun va Goldoon (Un Momento de Inocencia, 1996) Las Tres Muertes de Marisela Escobedo (2020) Sicario (2015) Moonrise Kingdom (2013) Fantastic Mr. Fox (2009) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Esta noche volvemos a la literatura y el cine que nos obsesiona. En esta ocasión, "Ordesa", de Manuel Vilas, sirve de punto de partida para un viaje por la memoria y los hechos del pasado. Nos trasladamos a la Italia de la posguerra, "Umberto D", y llegamos a la actualidad del Holocausto con "Remember" y la curiosísima "Agente Topo" chilena. Sed bienvenidos... Intervienen: Pablo González, Alfonso De Lucas. https://www.facebook.com/tipososcuros/ @CineHeroico

In this episode, I talk about the 1945 film "Humoresque." Joan Crawford plays a socialite tormented by her love for a younger man--played by John Garfield--who is a passionate violinist trying to break into the music world. Her money and connections help him find success, but her hard-drinking and intense desire lead to her own self-destruction. I adore this film. I talk about the music in it, how it looks at desire, and much more. As always, there are spoilers in this episode.Consider making this podcast sustainable by supporting it on Patreon.Subscribe to the Her Head in Films Newsletter.Follow me on Facebook, Twitter, Tumblr, and Instagram.Original logo by Dhiyanah HassanFull Show Notes: Use the code “CINEMA” to get your first month free at OVID.TVMy favorite films on OVIDKelly Loves TonyA Maid for EachMy episode on Michael Curtiz's Mildred PierceMy episode on Jane Campion's In the CutAutumn LeavesFranz WaxmanIsaac SternRebecca by Daphne du MaurierRebecca by Alfred HitchcockThe Postman Always Rings TwiceLauraDouble IndemnityLeave Her to HeavenOn the WaterfrontA Streetcar Named DesireRebel Without a CauseMy episode on Joachim Trier's Oslo August 31stMy episode on Wim Wenders's Wings of DesireMy episode on Vittorio De Sica's Umberto D."Vissi d'arte" sung by Maria Callas"China" by Tori AmosSusan Sontag's "Reborn"All My SourcesHumoresque DVDYou Must Remember This episode on John GarfieldYou Must Remember This series on Joan Crawford

Emission catalogue pour cette rentrée. Au menu: Suicide Squad, Bac Nord, La Loi de Téhéran, Annette, Police connection, Umberto D, et A Man called Adam.On commence plutôt fort dans le vieuxconisme, on va tâcher de tenir la note.A vos agendas!Cet été, la moitié poilue vous a concocté un petit voyage cinéphile au Cinéma Arvor. Dernière séance mardi 7 20h avec La Mort aux trousses de tonton Hitch.Concernant Le Film du Dimanche Soir, rendez-vous dimanche 5/09 21h pour Le Festin Chinois de Tsui Hark, prochain rendez-vous le 10 octobre, 20h pour le meilleur film du monde.

In this episode, I talk about Mike Newell's 1991 film, "Enchanted April." It's about four women in 1920s Britain who rent a castle in the Italian countryside. Their vacation in Italy will forever transform their lives. The much-needed break from ordinary life leads to spiritual rejuvenation, a deep connection to nature, and a powerful bond with each other. There are spoilers in this episode. Consider making this podcast sustainable by supporting it on Patreon.Subscribe to the Her Head in Films Newsletter.Follow me on Facebook, Twitter, Tumblr, and Instagram.Original logo by Dhiyanah HassanFull Show Notes: My episode on Audrey Wells's Under the Tuscan SunMy episode on David Lean's SummertimeAll Things Must Pass by George HarrisonAura meditation appThe Enchanted April by Elizabeth von ArnimFour Weddings and a FuneralMy episode on James Ivory's Maurice"Funeral Blues" by W.H. AudenThe HoursBridget Jones's DiaryLove ActuallyPride and PrejudiceMy episode on Girl with a Pearl EarringKatherine Mansfield"Bliss" by Katherine Mansfield"Miss Brill" by Katherine Mansfield"The Garden Party" by Katherine Mansfield"A Dill Pickle" by Katherine Mansfield"The Stranger" by Katherine Mansfield"Katherine Mansfield, Virginia Woolf, and the Benefits of Jealous Friends" (The Paris Review)The Great BeautyMy episode on L'avventuraMy episode on Umberto D.My episode on Journey to ItalyMy episode on Joanna Hogg's UnrelatedThe White Lotus 

Majo mi chiede di parlare delle influenze del neorealismo nel cinema italiano e del cinema italiano contemporaneo.Contenuti⏱️ 00:35 La domanda di Majo ⏱️ 01:06 La "fine" del neorealismo⏱️ 04:57 New Italian Cinema?⏱️ 05:45 Tre registi italiani contemporanei che mi piaccionoFilm citati

Steps toward being productive! https://tinyurl.com/unhousedla/https://www.waterdropla.org/The Oscars Regain Their Goodwill, And Then Immediately Squander All of It: https://merrygoroundmagazine.com/the-oscars-regain-their-goodwill-and-then-immediately-squander-all-of-it/CheapRVliving: https://www.youtube.com/channel/UCAj7O3LCDbkIR54hAn6Zz7A Aya Lehman: https://twitter.com/ayalhmnKevin Cookman: https://twitter.com/KevinCookmanContact/Mailbag: ayavsthebigboys@gmail.com A Merry-Go-Round Magazine Podcast: https://merrygoroundmagazine.com/Support Merry-Go-Round Magazine!: https://www.patreon.com/mgrm 

Only the good parts about puppies. When does a puppy become a dog? If you were a dog, which breed would you be? Why are talking dog movies not critically acclaimed? Lysa, Natalie, and G.J. play the game, Our canine pals. Send us your biggest questions, if we answer it on the air you'll receive a fabulous prize! https://my.captivate.fm/GoodPartsPodcast@gmail.com (GoodPartsPodcast@gmail.com ) Website: https://goodparts.captivate.fm/ (https://goodparts.captivate.fm/) InstaGram: @GoodPartsPod Dog movies and shows discussed: Beverly Hills Chihuahua Dog with a Blog Bolt Scooby Doo Beethoven Rotten Tomatoes Top Ten Dog Movies Old Yeller (1957) - 100% 101 Dalmatians (1961) - 99% Umberto D (1955) - 97% Heart of a Dog (2015) - 96% Wallace & Gromit: The Curse of the Were-Rabbit (2005) - 95% Best in Show (2000) - 94% Lassie Come Home (1943) - 94% Lady & the Tramp (1955) - 93% Lassie (2006) - 93% Snoopy Come Home (1972) - 93%

Na terceira edição do PodCast dos Amigões Indica, o filme escolhido pelo nosso amigão Rafael foi Umberto D., película italiana dirigida por Vittorio de Sica, lançada em 1952, abordando a história de um idoso que tenta sobreviver na Itália pós Segunda Guerra Mundial, sempre ao lado do seu companheiro que aqui é seu cachorro #neorealismo #italiano # vittorio #cachorro

Its wednesday and this weeks film review is 1952's Umberto D as chosen by George.

In our 174th episode we're talking spine #201 in the Criterion Collection: Vittorio De Sica's UMBERTO D from 1952. First RJ talks about THE IRISHMAN, then Jarrett talks about DEATH OF STALIN, THE FANATIC, HELLBOY, and rewatching THE LONG GOODBYE. Podcast's intro song 'Here Come the Creeps' by Ugly Cry Club. You can check out her blossoming body of work here: uglycryclub.bandcamp.com/releases Like us on Facebook! www.facebook.com/criterioncreeps/ Follow us on that Twitter! twitter.com/criterioncreeps Follow us on Instagram! instagram.com/criterioncreeps We've got a Patreon too, if you are so inclined to see this podcast continue to exist as new laptops don't buy themselves: patreon.com/criterioncreeps You can also subscribe to us on Soundcloud, iTunes, Google Play, and Stitcher!

In this episode, I talk about Vittorio De Sica's classic 1952 Italian Neorealist film, "Umberto D." It's about an elderly man trying to evade eviction against the backdrop of post-World War II Italy. As his life becomes more precarious and desperate, he clings to his only companion, his dog Flike, and struggles to survive. I talk about Italian Neorealism, why this film moves me so much, and more. At the beginning of the episode, I also reflect on this being my 100th episode! I'm thankful for all my listeners. Consider making this podcast sustainable by supporting it on Patreon. Subscribe to the Her Head in Films Newsletter. Follow me on Facebook, Twitter, and Instagram. Original logo by Dhiyanah Hassan Full Show Notes Criterion Collection edition of UMBERTO D. Martin Scorsese's MY VOYAGE TO ITALY Italian Neorealism: Rebuilding the Cinematic City (Short Cuts) by Mark Shiel "Seeing Clearly Through Tears: On the Smart Sentiment of Umberto D." by Stuart Klawans (Criterion.com) "Umberto D." by Peter Becker (Criterion.com) Review of Umberto D. by Roger Ebert

Tom & Chris start the new year with the return of their friend Colleen, as the three make their way through the streets of Rome with an elderly gentleman and his dog trying to make sense of the changing world around them and find their place within it.

Programa dedicado al "Neorealismo Italiano" con películas como "Obsessione (1943)", "Ladri di Biciclette (1948)" y "Umberto D. (1952)". Además, con las secciones de Noticias, Soundtracks, Los Parecidos, Realizadores a Seguir y Lo Que Vimos en la Semana.

Programa dedicado al "Neorealismo Italiano" con películas como "Obsessione (1943)", "Ladri di Biciclette (1948)" y "Umberto D. (1952)". Además, con las secciones de Noticias, Soundtracks, Los Parecidos, Realizadores a Seguir y Lo Que Vimos en la Semana.

Un tiempo de posguerra, en blanco y negro, desolador, de niños con ropas raídas, suburbios, descampados, hambre y sobre todo pena. La pena de un crío que adora a su padre y lo ve humillado dos veces. En la primera le roban la bicicleta que le iba a dar el sustento, después el desesperado desenlace junto al estadio de fútbol donde juega la Roma contra el Módena. Para su nuevo empleo pegando carteles Antonio Ricci necesita la bicicleta, lleva dos años parado. Su tenaz esposa empeña las sábanas, se puede dormir sin ellas, lo que sea por un salario en casa. De Sica sabe imprimir suspense a la acción, cuando Ricci está fijando el cartel de Gilda coloca la bicicleta apoyada sobre la pared, en el centro del plano, alguien va a aparecer para llevársela, cualquier chico del arroyo, ya te avisaron, Ricci, ese trabajo era fácil pero había que estar espabilado y atento. La grandeza de esta película radica en la relación entre un padre y un hijo, ambos recorren los rincones de Roma en busca del instrumento de trabajo de un hombre asustado, el rostro curtido, sudoroso, la angustia enfatizada por la música de Cicognini, por los ruidos de una ciudad cansada, la ternura de un niño que quiere a su padre, como es natural, que llora, come mozzarella en una trattoria, sonríe. En la puesta en escena invisible de De Sica la lluvia parece calar, ese niño anda junto a su padre, los dos con el mismo pensamiento, dos almas unidas vagan por los vecindarios, la iglesia donde se juntan los pobres y los ricos, la orilla del Tiber, la casa de una vidente miserable que se aprovecha de la desgracia de sus iguales. Dos actores no profesionales, tan auténticos, Lamberto Maggiorani y el crío Enzo Staiola, cuyos rasgos recuerdan a los niños de Murillo, y la denuncia social de un guión elaborado y desgarrador. El padre dice que todo tiene remedio, menos la muerte, la esperanza, ese niño que ofrece la mano al padre, ahí está la luz entre tanta herrumbre. De Sica, jugador empedernido, también perdió dinero con Ladrón de bicicletas o Umberto D, lo que contaban era demasiado real, demasiado humano, por fortuna el mundo las puede disfrutar, gracias Vittorio. Raúl Gallego Esta noche nos sentamos sobre el bordillo de la acera, entre Bruno y Antonio… José Miguel Moreno, Gervi Navío y Raúl Gallego.

We investigate Murder on the Orient Express and get high on Good Time plus we also discuss The Post trailer and talk The Square, Silver Streak, Umberto D., Jumanji and Bill Murray's secret whisper in Lost in Transation. 0:00 - Intro 7:50 - Review: Murder on the Orient Express 33:25 - Review: Good Time 53:15 - Headlines: The Post Trailer, Rian Johnson to Kick Off New Star Wars Trilogy, Disney Lifts L.A. Times Blackout After Pressure from Film Critics 1:14:35 - Other Stuff We Watched: Umberto D., Murder on the Orient Express (1974), The Square (2017), Silver Streak, Lost in Translation, Jumanji, Zathura 1:47:20 - This Week on DVD and Blu-ray 1:49:45 - Outro 1:52:40 - Spoiler Discussion: Murder on the Orient Express

We investigate Murder on the Orient Express and get high on Good Time plus we also discuss The Post trailer and talk The Square, Silver Streak, Umberto D., Jumanji and Bill Murray's secret whisper in Lost in Transation. 0:00 - Intro 7:50 - Review: Murder on the Orient Express 33:25 - Review: Good Time 53:15 - Headlines: The Post Trailer, Rian Johnson to Kick Off New Star Wars Trilogy, Disney Lifts L.A. Times Blackout After Pressure from Film Critics 1:14:35 - Other Stuff We Watched: Umberto D., Murder on the Orient Express (1974), The Square (2017), Silver Streak, Lost in Translation, Jumanji, Zathura 1:47:20 - This Week on DVD and Blu-ray 1:49:45 - Outro 1:52:40 - Spoiler Discussion: Murder on the Orient Express

Edición nº 147 Un caballo a galope, el jinete espolea su montura, contrae sus facciones salvajes, al fondo un cielo que presagia tormenta. Hoy recordamos la fuerza, el ritmo y la épica de un director inusual , de un artista japonés al que llamaban el emperador, "Tenno". Como descendiente de samuráis, Kurosawa procuró seguir los dictados del código bushido en su propia vida, el código de honor de sus películas de samuráis y ronin, de Rashomon, Yojimbo, Sanjuro, de los Siete Samurais, quintaesencia de su legado. Su humanismo es la base de toda su obra, de Dersu Uzala, la historia del cazador solitario, o Barbaroja, el médico acomodado que se enfrenta a la pobreza, películas que lo encumbraron en el Olimpo de los grandes realizadores mundiales. Kurosawa Comenzó a destacar como guionista en sus tiempos de ayudante de dirección de su sensei o maestro, el realizador Kajiro Yamamoto, y se dio a conocer en el mundo occidental ya en los 50 con Rashomon, su relato caleidoscópico sobre un crimen, que impresionó a propios y extraños, ya contaba con la poderosa presencia de su actor favorito, Toshiro Mifune. Kurosawa amalgama su amor por las tradiciones japonesas, por el teatro Noh, por la historia feudal de sus antepasados, y su admiración por las formas occcidentales, por la agilidad del cine que se hacía allende el Pacífico. El hombre que filmaba los veranos tórridos y los inviernos helados, las tormentas de nieve, la lluvia y el viento, como nadie, que tan bien integraba en su cine, desde su primera La leyenda del gran Judo a sus tardías explosiones de movimiento y color, Kagemusha, la sombra del guerrero y Ran. Adaptó brillantemente a Shakespeare y sus universos de realidad y ficción, a sus personajes majestuosos o necios, serenos o agitados. En Trono de sangre, su particular Macbeth trasladado al Japón feudal, y El rey Lear en Ran, también a su admirado Dostoievski en El idiota, que no obtuvo buenos resultados en taquilla. Autor visceral, fatalista, melodramático en ocasiones, épico, moral, bucólico, humanista ante todo, joyas imperecederas como la obra maestra Ikiru, el Umberto D japonés que se aferra a la vida, o su pintura en celuloide sobre la pobreza, Dodes'ka-den, entre vital y abúlica, reverso de su anterior Los bajos fondos. Esta noche José Miguel Moreno y Raúl Gallego comparten una botella de sake y un poco de miso, recordando al maestro en Radiopolis.

This week on the InSession Film Podcast, we discuss Danny Boyle's latest film in T2 TRAINSPOTTING, the sequel to the cult classic TRAINSPOTTING released 20 years ago. We also discuss our favorite Danny Boyle scenes and we finish our Italian Neorealism Movie Series with a review of the 1952 film, UMBERTO D.   - Review: T2 Trainspotting (5:27)   - Top 3 Danny Boyle Scenes (37:14)   - Italian Neorealism: Umberto D. (1:12:32)   Thanks for listening and be sure to subscribe on iTunes, Google Play, Stitcher, Soundcloud or TuneIn Radio!   iTunes: https://itunes.apple.com/us/podcast/insession-film-podcast/id605634337   Google Play: https://play.google.com/music/listen?authuser&u=0#/ps/It5foal422yoktioaclalk3ykyi   Stitcher: http://www.stitcher.com/podcast/insession-film   Soundcloud: https://soundcloud.com/insession-film   TuneIn Radio: http://tunein.com/radio/The-InSession-Film-Podcast-p522717/   Listen Now: http://insessionfilm.com/insession-film-podcasts-listen-now/

The death of Italian neorealism, despite examples of the movement from years later.

Michael Wolf (MTV, The Triplets of Kings County), a film buff if there ever was one stops by on this show, a film podcast if there ever was one. We watch the Italian neo-realist classic Umberto D. about an old man and his dog and the hard times that makes life suck for said old man and dog.

And now for that image of the Sad face and the smiley face that one often sees as the cliche in theater - Italian Neo-Realism at its most striped down and masterful, and Hollywood escapism as its most ebullient. Isn't this what cinema can do, folks? Andrew goes back for more Vittorio De Sica, while Jack finally sees one of Andrew's favorite films (previously talked about in episode 1 of this show). Vittorio De Sica's UMBERTO D Michael Curtiz and William Keighley's THE ADVENTURES OF ROBIN HOOD

Todd and Ken discuss Vittorio De Sica’s poignant saga of an aged pensioner trying to avoid eviction. What are the differences between empathy and pity and which does the film invoke? Is Umberto D. unlikable?

Todd and Ken discuss Vittorio De Sica’s poignant saga of an aged pensioner trying to avoid eviction. What are the differences between empathy and pity and which does the film invoke? Is Umberto D. unlikable?

El Óscar a la Mejor Película Extranjera fue creado para entregárselo a Vittorio De Sica y su equipo por Lustrabotas. La Academia no tenía en aquel entonces una forma oficial de reconocer a los realizadores de un filme que removió al mundo entero y que tenía muy desarrollado el germen de lo que después se conocería como "Neorrealismo italiano". Dos años después, De Sica volvió a recibir un Oscar por Los ladrones de bicicletas, cinta que incluso figuró en el primer lugar de la lista Sight and Sound de las mejores películas de la historia. Cuatro años después, Umberto D. cierra esta fase de la obra del director, porque simplemente no se podía retratar la desesperación con más detalle. De eso y más hablamos en el podcast.

VITTORIO DE SICA raccontato da Patrizia Pistagnesi. Il 13 novembre 1974 muore a Neuilly – sur-Seine Vittorio De Sica con Patrizia Pistagnesi Repertorio - Vittorio De Sica racconta la scelta dell'attore per Umberto D e l'incontro con Tatiana Pavlova - frammento dallo sketch radiofonico Dura minga in coppia con Umberto Melnati - De Sica ricorda l'incontro con Mario Camerini - frammenti dai film Gli uomini che mascalzoni, Il generale Della Rovere, Ladri di biciclette, Umberto D, Pane , amore e..., - assegnazione dell'oscar (1948) al film Sciuscià come miglior film straniero (Archivio Luce) Brani musicali frammento dalla colonna sonora del film Il viaggio diretto da Vittorio De Sica (1974) - Parlami d'amore Mariù, Vittorio De Sica

Todd and Ken discuss Vittorio De Sica's poignant saga of an aged pensioner trying to avoid eviction. What are the differences between empathy and pity and which does the film invoke? Is Umberto D. unlikable? SHOW NOTES: 0:00 - Intro and plot summary. 8:40 - Simply not a likable fellow. 18:00 - Umberto D. vs. Karin in Stromboli. 18:50 - A moment of grace? 30:55 - Just step in front of the train and be done with it... 39:00 - We should all just love our dogs and be happy. 42:02 - Walking back some of the criticisms. DON'T FORGET: You can contact us by emailing thethinplace@filmgeekradio.com. Thanks for listening!