Tolfa Short Film Festival

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FRIDAY, OCTOBER 6 th 21,00 ROBERTO ROSSELLINI - The history of a man, by DONATELLA BAGLIVO

 

Directed by: Donatella Baglivo

Assistant director: Maurizio Baglivo, Antonella Valeriani

Researches: Donatella Baglivo, Antonella Valeriani

Cinematography by: Edmondo Pisani, Fabrizio Mangoni, Roberto Romei, Piergiorgio Albertini

 

 

Edited by: Donatella Baglivo, Maurizio Baglivo

Music by: Pietro Grignani, Giuseppe Gandolfo

Executive Producer: Adriano Zonin

Year:2000

Running time: 90 minutes

 

Production wishes thank to the following personalities for sharing their memories: Adriano Aprà, Ingrid Bergman, Ettore Bernabei, Giuseppe Cino, Marcella De Marchis, Luigi Ferrara, Indira Gandhi, Vittorio Giacci, Carlo Lizzani, Tullio Kezich, Luca Magnani, Franco Mariotti, Giuseppe Palermo, Alfonso Pasca, Daniele Pettinari, Adriano Pintaldi, Ugo Pirro, Gianluigi Rondi, Francesco Rosi, Alessandro Rossellini, Isabella Rossellini, Martin Scorsese, Padre Saverino, Marco Cesarini Sforza, François Truffaut, Madeleine Truffaut, Mario Vitali, Johnatan Zonin

 

A Ciak 2000 s.r.l production

 

It’s Roberto Rossellini himself who preludes this film dedicated to him. He explains how he began to deal to Cinema in 1933. from documentaries to scripts, in a certain extent he felt the will of “making a jam playing with the camera”. Later he marries with Marcella De Marchis, who states that the marriage lasted for few years. From this union was born Renzo Rossellini and it is precisely in that period when Roberto Rossellini shows the world that he is a great director.

In 1945, thanks to “Roma città aperta”, it begins a new age to the Italian cinema as well as to the International one. Rossellini was the first director who came out from the film studio to shoot on the street. It was born the Neorealism and, to the director, this was the most beautiful period of his life. In 1946 Rossellini shoot “Paisà”. It was filmed at Maiori, at the Amalfi’s coast, and many actors were took from the street. Rossellini was used to not following a fixed script; he changed it very often and some times he created totally new during the take. This did not make to like a lot to the actors. Adriano Aprà, cinematographic critic, states that, to Rossellini, making a film was equivalent to going on journey.

Rossellini hated to be defined like the man who discovered the Neorealism.

He was a man that always looked into the future and hated to talk about the past films: he was annoyed, he found them bad.

It was at this point of his life that yellow press begins to be interested about his life: it is on that period that, in fact, he leaves Anna Magnani and begins a new relationship with Ingrid Bergman. Between the both of them was born an intense love story and from this union was born Isabella Rossellini.

In 1952 he directs “Europa 51”, with Ingrid Bergman as the main character.

In 1953 he directs “Viaggio in Italia” and Bergman is the main actress once again. What Rossellini wanted to show with this film was to faces the problem of separation and its consequent loneliness of a couple during a trip across Italy. Renzo Rossellini underlines that his father never was well-appreciated by Italian criticism, that he considers it the worst at a world-wide level.

Rossellini has always had a very positive relationship with television broadcast. He himself states that “television offers me the possibility to make what I do want. Cinema is much more conditioned by commercial reasons, that television is”.

For television, Rossellini makes first “La storia del ferro”, a very educational documentary that shows his will to transmit information and to teach people. Ettore Bernabei, ex RAI’s Director, explains how, when RAI proposed to some directors to make some work to TV, the one who answered immediately was just Roberto. The others almost shamed and underestimated a lot TV media.

In 1966 Rossellini makes “La presa del potere di Luigi XIV”, for the television. By the way, he states the need to renew making things.

In 1973 Rossellini teaches at Boston University, in Massachussets and two years later he directs his latest film "Il messia".

The director Francesco Rosi gives his testimony about Rossellini as a person and as a director. “Rossellini was the will of showing, not demonstrating; Rossellini was morality”.

 

Donatella Baglivo

 

Director, producer and film editing expert At 18 years old make her debut as editor for first feature length movie. After editing works for RAI programs, she founded CIAK STUDIO at 19, becoming the youngest female entrepreneur in italian cinema. Donatella Baglivo began her intense activity in RAI and privates, editing for documentaries, surveys, advertsing and teleplay. Many works includes: “La città del sole” (1973) directed by Gianni Amelio, a TV special about director Theodoros Anghelopulos (1979) (awarded at 50th Venice Film Festival) and another one about Eugène Ionesco. In 1981 she goes in America for nine movie about Hollywood Star System: James Dean, Montgomery Clift, Marlon Brando, etc. As director in 1982 makes a trilogy about Andrei Tarkovskij (competitor at 37th Cannes Film Festival) also presented in 1984 at Harvard University of Cambridge (USA). In 1995, for centenary of cinema, Donatella begins to work for “I GRANDI DEL CINEMA ITALIANO”, a biographic series project which are completed 50 titles of 100 expected (as 2016).In 2011 she receives Honoris Causa degree from Lviv National Academy of Arts in Ukraine. From 2015 director Donatella amplifies her activites on cultural and social disciplines in Italian and foreign countries, including researches, studies and education for young students around the world and a cinema museum dedicated to Andrey Tarkovskij in “Spazio Cinema Alfredo Bini”, located at Montalto di Castro (VT).

In 2017 she directed “Il futuro in una poesia” produced in association with Zeroconfini Onlus and Antonica s.r.l.

 

THE STARS OF ITALIAN CINEMA

Directors, actors and actresses, but also the technicians that made history of Italian cinema great.

The very first audiovisual encyclopedia of Italian Cinema, conceived, realized and directed by Donatella Baglivo.

 

Manv years of very hard work hale elapsed since Donatella Baglivo conceived the idea for this series: to create the very first authentic audiovisual encyclopedia of Italian cinema.

For its scope and completeness it is a unique piece of work meant to be a passionate tale on Italian cinema narrated directly by stars of the screen and their relatives acquaintances and collaborators.

These talents with their professional and above all human experiences, are the subject and the object of these monographs. Excerpts from classics and less known works, photographs, new reportages and interviews enrich each biography helping to filter the myth and to recover the humanitv hidden behind the stardust. This gives us a chance to discover the “real” people, their lives, and careers, as well as reasons behind their personal and professional choices.

Each biographv contains, where possible, an interview with the talent. Questions are designed to discover everv aspect of their life and career, so as to unveil the causes their existential choices. Starting from their family background, we witness their first steps in show business through to lame. Archive footages are inserted in the form of notes and digressions to enrich this material. The smooth transition from images to interviews and the clever editing are such as not to require a narrating voice; there results the unique and fascinating structure of these monographs. At times the effect may be harsh, at others strongly emotional, but always filtered by the ironic gentleness of the author, which is her distinguishing trademark.

 

filmed at Maiori, at the Amalfi’s coast, and many actors were took from the street. Rossellini was used to not following a fixed script; he changed it very often and some times he created totally new during the take. This did not make to like a lot to the actors. Adriano Aprà, cinematographic critic, states that, to Rossellini, making a film was equivalent to going on journey.

 

Rossellini hated to be defined like the man who discovered the Neorealism.

 

He was a man that always looked into the future and hated to talk about the past films: he was annoyed, he found them bad.

 

It was at this point of his life that yellow press begins to be interested about his life: it is on that period that, in fact, he leaves Anna Magnani and begins a new relationship with Ingrid Bergman. Between the both of them was born an intense love story and from this union was born Isabella Rossellini.

 

In 1952 he directs “Europa 51”, with Ingrid Bergman as the main character.

 

In 1953 he directs “Viaggio in Italia” and Bergman is the main actress once again. What Rossellini wanted to show with this film was to faces the problem of separation and its consequent loneliness of a couple during a trip across Italy. Renzo Rossellini underlines that his father never was well-appreciated by Italian criticism, that he considers it the worst at a world-wide level.

 

Rossellini has always had a very positive relationship with television broadcast. He himself states that “television offers me the possibility to make what I do want. Cinema is much more conditioned by commercial reasons, that television is”.

 

For television, Rossellini makes first “La storia del ferro”, a very educational documentary that shows his will to transmit information and to teach people. Ettore Bernabei, ex RAI’s Director, explains how, when RAI proposed to some directors to make some work to TV, the one who answered immediately was just Roberto. The others almost shamed and underestimated a lot TV media.

 

In 1966 Rossellini makes “La presa del potere di Luigi XIV”, for the television. By the way, he states the need to renew making things.

 

In 1973 Rossellini teaches at Boston University, in Massachussets and two years later he directs his latest film "Il messia".

 

The director Francesco Rosi gives his testimony about Rossellini as a person and as a director. “Rossellini was the will of showing, not demonstrating; Rossellini was morality”.