Video

Unodeipiubei film della storiadel cinema stupendi i 2 primattori

NMi fa venire ansia il film con queste voci fasciste

Russian version

Lui, il diverso, le aveva sistemato la lampadina del lampadario della cucina.....aveva disegnato dei segni sul pavimento per riprodurre i passi di un ballo....cose che, il virile marito, non aveva mai fatto

La descrizione, fuori campo, della voce che descrive la visita di Hitler a Roma.....la colonna sonora del film

La portiera che ai tempi controllava.....spiava...riferiva. Il fascismo e' un'idea.....un "comportamento" orrendo....senza menzionare, poi, le leggi razziali

In fondo due diversi

Per prendere coscienza di se' stessa, e' stata sufficiente una giornata....una giornata particolare. Un film che deve essere costato pochissimo, ma che ha un valore altissimo. D'altra parte se hai ",da dire" non hai bisogno di effetti speciali, questi vengono ampiamente sostituti dalle parole, dai silenzi, dagli sguardi

Grande Mark !

Lo riguardo oggi,con l'italia reduce dalle elezioni che inneggia alla destra...una vergogna

Che marito de mmmm......da

“Ma vafangul”!!😂😂

Mama suffered

Bravo Bernardini...

Sorvinov?

CONDIVIDO TUTTI I COMMENTI N0N CI SONO PAROLE NE PREMI ALL'ALTEZZA DI QUESTI ATTORI, REGIA TUTTO COMPRESO SUPERLATIVO❤❤❤❤❤

Nel 1978 fui espulso dalla scuola di stato perché iscritto nel FDG di Giorgio Almirante. Nel 1987 fui eletto Cons. Circos. Col MSI di Giorgio Almirante! Sono sempre stato escluso da tutti i concorsi pubblici! Su di me furono applicate le leggi vigenti e razziali!! Oggi sono un' Ufficiale di Bordo in pensione; Amo Tantissimo il mio passato e la Fiamma tricolore ❤ , Viva l'Italia! A NOI!!!

Ostia che spussa babbo 😂😂😂😂

Matrogianni. ..The absolutr man!

Mi permetto di presentare degli aneddoti e ricordi dalla visita di Santi a Milwaukee, Wisconsin: "In January, 1999, Santi Migneco came to Milwaukee to serve as Costume Designer for the Milwaukee Repertory Theater's production of Goldoni's "Servant of Two Masters," directed by Paolo Emilio Landi. Two students in one of my evening Italian Language classes who worked at the Theater informed me that they had recommended me to assist as Interpreter for Santi, as he did not speak English. Kelly Fitzpatrick, Head of Wardrobe at the time, made sure I was at Santi's side every working day, from January 19 up until Opening Night on February 25. It was an unforgettable experience for me! Shortly after the production rehearsals began, Kelly drove Santi and me to a Chicago fabric store specializing in theatre goods. The ride there was harrowing, as we were in the middle of a Blizzard, but neither Kelly nor Santi seemed affected by the dangerous conditions; in fact, Kelly played a long CD I had given Santi of me singing various international songs while Santi pulled up his coat collar and closed his eyes, asking me to let Kelly know that he trusted in her driving skills. At the shop, the silks, the brocades, the sequin appliques, the pearls, the laces were inspected by Santi and Kelly with an eye to creating a sumptuous visual experience for the audience and the actors. They succeeded! No one was immune to the energy that Paolo and Santi brought to the MRT. The seamstresses often expressed their awareness of a special "electricity" in the Department that they had never experienced before! They were impressed by the level of excellence required at every step: for the first three minutes of the play, they sewed magnificent cloaks for all the actors, ripping up several mink coats to sew fur trims on the cloaks. The final 10 minutes of the play has the leading lady appear briefly in a black gown on which Santi had sewn the gorgeous applique he had purchased in Chicago. No detail was neglected in creating this magical play! On the ride home, we stopped for some food. Santi requested we get a McDonald meal, which he had never tasted. He ate everything, including the French fries, saying that he was confident it would not harm him to have just one meal. As Opening Night drew near, Santi allowed me to help him sew some of the sequin and rhinestone appliques on the main actors' gorgeous costumes. As we sat together, he shared stories about amazing experiences in his long career as Costume Designer in many foreign countries. One such story was about a production in an impoverished nation behind the former Soviet Union, where all the actors and even the residents of the city took part in sewing the costumes, which were made from old costumes or remnants of fabric. That was one of his favorite productions, as it had brought everyone in it together at every level. At the urging of the two students in my class, I approached Santi with the request to address my class. I was hesitant, as I knew how hard he worked every day and how he no doubt needed the evening to relax. However, to our delight, Santi came and gave a two-hour impromptu presentation on the history of masks in theatre. Every day, we worked at the corner of a large table covered with fabric, designs, threads, needles and thimbles. "This table is very much like my studio at home," he commented. "All the designs you have seen here were drawn on a small corner of my worktable. It inspires me to see it all at once." After Opening Night, he graciously gave me a couple of the drawings as a souvenir. One of my Italian Language students was assigned the task of creating authentic Commedia dell'Arte masks under the direction of Paolo, Santi, and Fabio Mangolini, specialist from Italy on all Commedia dell'Arte aspects. Portia immersed herself completely in the challenge and at the end of the semester, she decided to move to Italy to pursue this art! On Opening Night, Santi presented every actor with a tiny hand-made souvenir that captured the essence of the character they played. Lee Ernst, who played Truffaldino, said several times during the costume tryouts, "I cannot believe that I have taken on such a physically demanding role at my age!" The tumbling, jumping, juggling, climbing, and dancing were so taxing that he needed several Harlequin costumes in order to change between acts. Every performance garnered numerous standing ovations. My family was delighted to have been able to see it three times. Two of our daughters, Olivia and Victoria, collaborated in creating a poem and a painting for Lee, whose brilliant performance of Truffaldino captured their hearts and imaginations. Olivia, who was 19 years old at the time, composed the following Acrostic: The Harlequin's Enigma.... Make up the face that is pallid with suffering Add a broad smile and the voice of a clown Spring to your feet with the grace of a harlequin Kill yourself laughing to lighten a frown. Only laughter Frightens death The truth is Runningleapingdancing in the form of the Ubiquitous Fool so Full of life ~ As the Laughter covers his weeping and Death removes his mask In his silence, in his stillness Now his secret is revealed: Only clowns truly suffer for they know but conceal the beautiful vanity of life. Victoria, who was 15 years old at the time, painted a small watercolor Harlequin holding up a letter -- which had been the subject of a skit in Act 1 of the Play. The text was mailed on December 31, 1999, to Lee and his wife, Sandy, who also worked at the MRT, with the following message: "Dear Sandy and Lee, Nine months ago, our family so thoroughly enjoyed the Goldoni play that it sent us on a search for Truffaldino masks, pins and postcards during our trip to Venice last summer. Lee, we purchased a small pin with you in mind. It is our pleasure to give it to you along with a watercolor miniature by our second-oldest daughter, Victoria, who relished the comic elements of the play, along with an acrostic poem by our oldest daughter, Olivia, who was deeply moved by its melacholy aspects. The play enriched our lives in many ways, and we are pleased to be able to say "GRAZIE!" for all you do to bring theatre to life!" On January 17, 2000, Lee wrote the following reply: "Dear Marisa, I can't describe to you how moved I was by your family's gift to me -- nearly four weeks ago! One aspect of this profession which has always amazed me is its ability to plant in the hearts of strangers a common love; in this case the Commedia and Truffaldino. It is a generative phenomenon which spurs the creative child in all of us, manifesting in acts of indescribable beauty, such as Victoria' watercolor and Olivia's poem -- STUNNING, both! I can't thank you enough! Sincerely, Lee Ernst" The play's "magic" continues in our family, as Olivia's second daughter's middle name is "Colombina."

Un'esposizione squisita!!! BRAVISSIMI!!! Bellissimo e caro ricordo alla memoria di Santi Migneco, uomo gentile e artista raffinato! Che privilegio aver potuto essere la sua interprete quando venne a Milwaukee nel 1999 per realizzare "The Servant of Two Masters" (Goldoni)! Un'esperienza indimenticabile per la mia famiglia!!!

Immenso

Светлая память Санти🙏❤

А меня привлекают керамические плитки на кухне. Так хочется на них взглянуть, пощупать.

bravissimo

Quando parla di due popoli fatti per intendersi …e’ il contrario

Che schifo di uomo il marito!

E poi e' una scena cronologicamente sbagliata....e poi sotto il regime fascista non si viveva, almeno materialmente, molto bene???!!!

Piu' che miseria materia, descrive la miseria morale

Ad un 'igmorante gl puoi fare di tutto

Grandissimo Santino!! L'ho avuto con la mia famiglia come guida con altri italiani in Sudafrica nel 2012!!!

Какое интересное кино не могу найти где можно посмотреть полностью весь фильм!!!

...poteva anche chiamarlo..nonno...bah

Grande De Sica!

👏☺️

...os oscars tem atribuições estranhas...Sophia Loren tem uma interpretação magistral...uma master classe de como se faz cinema...perdeu para uma insipida e deslavada Julie Andrews numa interpretação fraca de Mary Poppins...na altura muitos criticos disseram que era um prémio moral pelo facto dela não ter feito My Fair Lady...verdade ou não os oscars são sempre pouco crediveis por vezes...

Bellissimo

Lo squallore della famiglia fascista

Два моих самых любимых фильма: "Брак по-итальянски" и "Бал"Этторе Скола!

Winnie Mandela My Hero❤