By Matilde Hochkofler
Anna Magnani si è sempre sentita abbandonata sin da quando bambina viveva a Roma con los angeles nonna “tra una lacrima di troppo e una carezza in meno”, quella carezza che avrebbe voluto ricevere dalla mamma lontana. Proprio dal desiderio di quell’amore negato nasce los angeles sua vocazione artistica che los angeles spinge a cercarlo nell’applauso del pubblico. Dalle tavole del palcoscenico dove si rivela interprete di dolente drammaticità all’affermazione comica nelle riviste accanto a Totò, dalle particine nei movie degli esordi al grande riconoscimento internazionale con Roma città aperta, fino a los angeles rosa tatuata che, prima attrice italiana, le fa conquistare l’Oscar. Nei suoi ricordi, in quelli del figlio Luca, nelle lettere degli amici e dei compagni di lavoro rivivono i retroscena drammatici e irresistibili del cinema tra Cinecittà e Hollywood sullo sfondo della società italiana e dei suoi cambiamenti.
Il volto irregolare segnato dalle esperienze della vita, i grandi occhi luminosi, i capelli scarmigliati, los angeles voce roca, l. a. risata improvvisa, Anna vive il profondo bisogno di libertà che l. a. porta a cercare l’indipendenza. Le sue appassionate storie d’amore, le tempestose litigate, le polemiche e le provocazioni ne fanno l’interprete-personaggio che sullo schermo si alimenta della propria fragilità, delle insicurezze e delle contraddizioni di un carattere distinctiveness, sempre sul punto di esplodere. los angeles donna e l’attrice non sanno separarsi l’una dall’altra nelle determine femminili a cui dà vita con tutta se stessa, con l. a. partecipazione totale di chi non si allontana mai dalla propria autobiografia. Nei personaggi indimenticabili dei suoi movie – l. a. chief di L’onorevole Angelina, l’amante di Una voce umana, l. a. mamma di Bellissima, l. a. darkish woman di Nella città l’inferno, l. a. comparsa di Risate di gioia, los angeles prostituta di Mamma Roma – Anna ci viene incontro con le braccia aperte in una richiesta di aiuto, di complicità, d’amore.
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Amongst his 500-strong ﬁlm canon, one production in particular seems to operate as an unmarked ‘sequel’ to a previous ﬁlm, with important results. Méliès’s ‘sequel’ arguably departs from a very successful earlier work to showcase his improvements both technologically and artistically within an increasingly progressive and competitive market. Méliès’s 1902 ﬁlm, the fourteen-minute Le Voyage dans la Lune (Trip to the Moon) was inspired by Jules Verne’s novel, De la Terre à la Lune (From the Earth to the Moon) (1865) and H.
Film companies moved quickly to produce their own copies despite Méliès’s Star Film trademark stamped on every scene, which imitators simply erased. Ever the brazen pirate – and at the time engaged in one of many court cases initiated by Edison for copyright enfringement – Siegmund Lubin reportedly tried to sell one of his copies of Méliès’s ﬁlm to Méliès himself. Prior to Le Voyage dans la Lune, Lubin had caused much confusion when he pirated Méliès’s The Astronomer’s Dream (1897) and re-titled it Trip to the Moon.
Sequels, return and retaliation: the case of GODZILLA From the 1930s to the 1960s, both the sequel and the serial served predominantly to achieve economic objectives as the major Hollywood studios attempted to grow ﬁnancially. ,1938]), and Republic’s massive serial output (everything from before and after the blockbuster 35 Darkest Africa [B. , 1941]). The sequel’s association with the serial throughout its heyday ensured its employment by studios as a commercial tool. As a result, critical responses to the sequel became less and less favourable.