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Topic: Roberto Rossellini

	Roberto Rossellini - Wikipedia, the free encyclopedia
		Rossellini was one of the most important directors of Italian neorealist cinema, contributing films such as Roma città aperta to the movement.
		Rossellini's father built the first Roman "cinema" (a theatre in which films could be shown), granting Roberto an unlimited free pass; Roberto started frequenting the cinema at an early age.
		Rossellini had started now his so-called Neorealistic Trilogy, the second title of which was Paisà, produced with non-professional actors, and the third Germania anno zero ("Germany Year Zero") (1946), sponsored by a French producer and filmed in Berlin's French sector.
	en.wikipedia.org /wiki/Roberto_Rossellini (926 words)

	Roberto Rossellini (Site not responding. Last check: 2007-10-20)
		Filmed soon after the unexpected death of Rossellini's young son, Romano, in 1946, the protagonist, Edmund, becomes a tragic symbol of national guilt and personal pain: the embodiment of lost innocence; the uncertainty of profound change; the guilt of survival; the seeming hopelessness of the future.
		The second collaboration between Roberto Rossellini and Ingrid Bergman (after Stromboli), Europa 51 is a provocative, haunting, and compassionate examination of the isolating and often misunderstood path of personal redemption and spiritual service in contemporary society.
		A stylistic influence on the bleak industrial landscapes of Michelangelo Antonioni, Rossellini introduces the environment as a relevant, dynamic character in the lives of a married couple in crisis, and provides a visual metaphor for suppressed emotions.
	www.filmref.com /directors/dirpages/rossellini.html (1642 words)

	AllRefer.com - Roberto Rossellini (Film, Biography) - Encyclopedia
		Roberto Rossellini[rOber´tO rOs-sel-lE´nE] Pronunciation Key, 1906–77, Italian film director and producer.
		Beginning in the 1960s, Rossellini worked on a series of historical films for television, including The Rise of Louis XIV (1966).
		An affair with Ingrid Bergman, whom he later married, caused an international scandal that obscured the quality of the films they made together in the 1950s.
	reference.allrefer.com /encyclopedia/R/RosselnR.html (229 words)

	Isabella Rossellini - Wikipedia, the free encyclopedia
		Isabella Fiorella Elettra Giovanna Rossellini (born June 18, 1952) is an Italian-Swedish model and an actress, daughter of Ingrid Bergman and Roberto Rossellini.
		Rossellini's modeling and acting career also led her into the world of cosmetics.
		An exhibition of photographs of Rossellini, Portrait of a Woman, was held in March 1988 at the Musee d'Art Moderne in Paris.
	en.wikipedia.org /wiki/Isabella_Rossellini (543 words)

	Always a window: Tag Gallagher's Rossellini
		Rossellini's way with actors, for instance, and the very particular kinds of performances he elicited, relate to so many, contradictory aspects of his personality: manipulation, generosity, terrorism, haste, openness, love of pure "behaviour", the creation of "inner drama" from the incongruency of a person in relation to his/her role or environment.
		Rossellini's art in part drew from, and also gave to, this latter tendency, with its insistence on "not facts but vast vivid experience", a form of knowledge that needs "intuition, faith, love, and sexuality" (270).
		What is special about Rossellini's films, though, is their vivid temporality: in a sense, everybody and everything in them is in that liminal, suspended state in between the past and future, darkness and light, ignorance and insight.
	www.latrobe.edu.au /screeningthepast/shorts/reviews/rev0300/ambr9a.htm (4304 words)

	MSN Encarta - Roberto Rossellini
		Roberto Rossellini (1906-1977), Italian motion-picture director, leader of the neorealist movement in Italian cinema.
		Other notable Rossellini films include Stromboli (1949), starring Ingrid Bergman (whom he later married); Strangers (1954; originally Viaggio in Italia), considered his masterpiece by many critics; and General Della Rovere (1959), with Vittorio De Sica.
		Toward the end of his career Rossellini made a number of critically acclaimed historical films for Italian television, such as The Rise of Louis XIV (1966), Socrates (1970), and Blaise Pascal (1972).
	encarta.msn.com /encyclopedia_761554739/Rossellini_Roberto.html (296 words)

	Review of Roberto Rossellini's film, "Stromboli," by Fred Camper, from the "Chicago Reader."
		Rossellini, an Italian cut off from the Allies' cinema during the war and not much interested in Hollywood filmmaking anyway, had in fact never heard of Bergman — an acquaintance advised him of her fame.
		Rossellini began the 1950 essay "Why I Directed Stromboli" by stating "one of the toughest lessons from this last war is the danger of aggressive egotism," which he said leads to "a new solitude." This is the theme that unites Stromboli's subject and style.
		Though most accounts of Rossellini's life reveal that it was full of lies, deceptions, a love of seduction and luxury, and bad debts, in his films he managed to wrest from his own chaos a vision of true selflessness — transcendence not of the material world but of the mind's limits.
	www.fredcamper.com /Film/Rossellini.html (2253 words)

	The Adventures of Roberto Rossellini
		Elettra, who had borne Roberto at seventeen, was eight years her husband's junior, virtually confined to the house by the semi-cloistered mores of the day, and utterly incapable of coping with her children.
		Roberto and Renzo, accustomed as they were to the refined service and precise etiquette on which their mother insisted, were embarrassed by Luigi's shabby surroundings and Natalina's way of putting the food on the table in big dishes and leaving everyone free to help themselves.
		Roberto, having flunked the year before at the Tasso School, was the oldest in his class by age but the furthest behind academically, and he scorned to wear the school's Etonesque uniform.
	partners.nytimes.com /books/first/g/gallagher-rossellini.html (7135 words)

	ToxicUniverse.com - Roberto Rossellini - 1946 - Paisan Movies Review
		Roberto Rossellini will forever be remembered as the Italian filmmaker who pioneered neorealism, initially making film shorts for the Fascist government during the war and then breaking through internationally in 1945 with the remarkable Open City, which was filmed on location in real houses and apartments.
		Rossellini is probably best known to American audiences for his scandalous affair with Ingrid Bergman and their subsequent marriage, but it should be noted that this groundbreaking director also introduced Federico Fellini to filmmaking and served as his early mentor.
		Released in 1946,Paisan is Roberto Rossellini’s episodic tale of the American advance into Italy during WWII, chronologically divided into six vignettes that begin with the Allied invasion of Sicily in 1943 and conclude with liberation in 1945.
	www.toxicuniverse.com /review.php?rid=10001943 (1059 words)

	Rossellini and his project on Islamic Civilization
		Roberto asked me to write a different scenario on a monkey educated by humans -- that returns among his free brothers… remained in the animal universe… That is exactly the fourth episode of INDIA 59.
		Roberto exlaimed: "What beautiful movie one could make around this incident!" The case of Frederic II of Hohenstaufen interested him too: the monarch discussed in arabic of philosophy and mathematics and had implanted in Lucera a Sarrasin colony together with a mosque and all the trappings of oriental life in order to attract Moslem intellectuals.
		Rossellini had been struck by the attempts of al Haytham] (the Alazen of the Latinists) to check the rise of Nile by applying to nature mathematical conceptions; by the discoveries of Biruni according to whom the desert of Saudi Arabia was in a remote time a sea.
	www.hoveyda.org /rossellini-project2.html (5216 words)

	Guardian Unlimited Film \| Features \| Profile: Roberto Rossellini: sexual adventurer and master film-maker
		Maybe Rossellini was expecting too much from his audience, by demanding that they discover his films at the same time as his characters.
		Constantly on the move, Rossellini sold his furniture, begged and borrowed for cameras, and stole his light by running cables from a nearby betting shop to the offices of the US army newspaper Stars and Stripes, with the "friendly complicity" of someone who worked there.
		A season of Rossellini's history films is at Tate Modern from December 1 to 10, and a one-day symposium on Rossellini will take place at the Tate Modern on December 9 (details: 020 7887 8008).
	film.guardian.co.uk /features/featurepages/0,4120,405178,00.html (1148 words)

	ITALIAN FILMS BY Roberto Rossellini on video from THE NEW YORK FILM ANNEX
		The stories include a fl G.I. whose boots are stolen by an impoverished orphan; a soldier who tries to communicate with a Sardinian peasant girl; a nurse who risks her life to join her partisan-leader lover; the capture and execution of partisans and a thrilling action packed episode of battle in a marshy swamp.
		Rossellini shot the film in secret on the streets and in apartments of Rome under occupation.
		Strange that Rossellini would pick this man's as a subject, as he noted: "(Pascal) was a very boring man who never made love in his life..." Yet, the film does achieve moments of great intensity through its depiction of Pascal's inner struggles including the conflict between scientific thought & religion.
	www.nyfavideo.com /content/cat-ROSELLINI.htm (991 words)

	CBC.ca - Arts - Film - In the Name of the Father
		Rossellini also reveals herself as a gifted writer, combining a delicate lament for her father with a robust argument about the nature and purpose of cinema.
		For example, the elder Rossellini is represented by a giant talking stomach, a reference to Isabella’s memories of her father’s soft, warm, almost maternal belly.
		Roberto Rossellini, meanwhile, spits out his distrust of cinematic pleasure, berating Fellini for abandoning the narrow neorealist path for the broad boulevard of dreams — “wet dreams,” the former adds, somewhat spitefully.
	www.cbc.ca /arts/film/maddin.html (1309 words)

	BBC - BBC Four Cinema - Roberto Rossellini: Profile
		The war trilogy won Rossellini the admiration not only of leading international critics but also of popular Swedish actress Ingrid Bergman, who felt moved to write to the director declaring her eagerness to work with him.
		Throughout his career, Rossellini's more prominent pictures revealed an interest in the personal conflicts that emerge from issues of faith and the events of war.
		Rossellini turned his attentions to television in the late 1950s and worked extensively for the medium throughout the following decade.
	www.bbc.co.uk /bbcfour/cinema/features/roberto-rossellini.shtml (528 words)

	Malaspina Great Books - Roberto Rossellini (1906-1977)
		Rossellini was one of the most important directors of Italian neorealist cinema, contributing films such as Roma citta aperta to the movement.
		Rossellini had started now his so-called Neorealistic Trilogy, the second title of which was Paisa, produced with non-professional actors,; and the third Germania anno zero (1946), sponsored by a French producer and filmed in Berlin's French sector.
		In Berlin too Rossellini preferred non-actors, but he was unable to find a face he found "interesting"; he placed his camera in the center of a town square, as he did for Paisa, but was surprised when nobody came to watch.
	www.malaspina.org /home.asp?topic=./search/details&lastpage=./search/results&ID=1003 (1098 words)

	Roberto Rossellini
		The complexity of Rossellini's work, as well as the number of problems it raises, forces one to a non-chronological analysis.
		A good example of the importance of this community basis to Rossellini's own knowledge and ethics within his work is the treatment homosexuality receives in it, a treatment in line with the clearly reactionary prejudices of his time.
		As said before, for Rossellini knowledge is always involved in a process in which it is constantly confronted and modified by the consequences of the encounter between human action and appearances.
	www.sensesofcinema.com /contents/directors/02/rossellini.html (4015 words)

	Roberto Rossellini and his Italian Cinema: The Search for Realism (Site not responding. Last check: 2007-10-20)
		In 1945, Roberto Rossellini was hailed "The Father of Neorealism" with his first international success "Rome, Open City" which was consistent with the neorealist prescription.
		First, Rossellini's interest in the portrayal of realism was deeply rooted within the Fascist cinematic era in which he was trained by truly Fascist film makers and government officials.
		Even though, with each consecutive film, the ticket sales steadily decreased, Rossellini continued to forge ahead in the development of his own personal portrayal of truth and realism, a movement which, though contrary to that of the mainstream, was important in shaping post-war cinema.
	ccat.sas.upenn.edu /italians/resources/Amiciprize/1996 (518 words)

	The Films of Roberto Rossellini - Cambridge University Press
		Beginning with Rossellini’s work within the fascist cinema, it discusses his invention of neorealism, a new cinematic style that resulted in several classics during the immediate postwar period.
		Almost immediately, however, Rossellini’s continually evolving style moved beyond mere social realism to reveal other aspects of the camera’s gaze, as is apparent in the films he made with Ingrid Bergman during the 1950s; though unpopular, these works had a tremendous impact on the French New Wave critics and directors.
		Rossellini’s late career marks a return to his nonrealist period, now critically reexamined, in such works as the commercially successful General della Rovere, and his eventual turn to the creation of didactic films for television.
	www.cambridge.org /catalogue/catalogue.asp?ISBN=0521398665 (244 words)

	The religion of director Roberto Rossellini
		By the time Fellini met Roberto Rossellini, the charismatic Roman was approaching forty and already outgrown two or three personalities...
		Though Rossellini directed for Vittorio Mussolini he no more believed in Fascism than in the Communism and Catholicism he embraced later.
		Rossellini almost certainly, in this Communist/atheist phase of his career, saw the story as ambiguous and ironic.
	www.adherents.com /people/pr/Roberto_Rossellini.html (845 words)

	Roberto Rossellini
		Often identified with the constrictive "neorealist" label, Roberto Rossellini stands as one of the greatest directors in the history of Italian film: the man responsible for the postwar rebirth of Italian cinema and one of the few truly great humanists (along with Jean Renoir) to work in the medium.
		Rossellini's documentary INDIA (1958) was a box-office failure, although its critical reputation remains high.
		By 1964, Rossellini had been canonized by numerous critics, as well as fellow filmmakers like Jean-Luc Godard and Bernardo Bertolucci (in the latter's BEFORE THE REVOLUTION, 1964, a character declares, "One cannot live without Rossellini!").
	www.theoscarsite.com /whoswho3/rossellini_r.htm (563 words)

	Yours very truly and devoted, R. Rossellini \| MetaFilter
		This is how he responded -- by writing a part for her in his 1949 film "Stromboli." It was the beginning of one of the most famous love stories of the twentieth century.
		Add to that that she became pregnant with Rossellini's child while he was still married to another woman and before he and Bergman were married.
		Oh, and one of their love-children was Isabella Rossellini, in case someone out there's been living locked in a basement for the past few decades.
	www.metafilter.com /mefi/46279 (1173 words)

	AskMen.com - Isabella Rossellini
		Born in Rome to Roberto Rossellini and Ingrid Bergman, the trilingual Isabella Rossellini was always poised to conquer Europe and America.
		Isabella Fiorella Elettra Giovanna Rossellini was born in Rome on June 18, 1952.
		The cinematic equivalent of royalty, she is the daughter of screen legend Ingrid Bergman and master director Roberto Rossellini.
	www.askmen.com /women/actress_250/260_isabella_rossellini.html (365 words)

	Guardian Unlimited Film \| Features \| Roberto Rossellini: The Rise To Power Of Louis XIV
		Lionel Trilling called him a highly politicised intellectual, but he was also a philosopher of cinema, and certainly his series of didactic reconstructions of history, of which 1966's The Rise To Power Of Louis XIV is the most perfectly achieved, emphasised that.
		But it is also informed by Rossellini's sensibility, which contrasts the ambitious machinations of this world with the inevitability of decay and death.
		Rossellini uses costumes, decor, architecture, mise en scène and some amazing colour photography to illustrate how Louis created a hierarchy that had nobles fighting to climb the slippery pole, often bankrupting themselves in the process.
	film.guardian.co.uk /Century_Of_Films/Story/0,4135,36059,00.html (600 words)

	Roberto Rossellini @ Filmbug
		Roberto Rossellini (1906 - 1977), was an Italian film director.
		Rossellini's father built the first Roman cinema (a theatre in which films could be showed), granting Roberto an unlimited free pass; Roberto started frequenting the cinema at an early age.
		Tell us what you think of Roberto Rossellini in the Filmbug forum...
	www.filmbug.com /db/343339 (794 words)

	Barnes & Noble.com - Germany Year Zero -- Roberto Rossellini - DVD - Black & White
		Roberto Rossellini, Edmund Meschke, Ernst Pittschau, Ingetraut Hintze
		In the third and final film of Rossellini's WWII trilogy, the director shifts his focus from his native Italy to the bombed-out ruins of Berlin, where 12-year-old Edmund Koehler struggles for survival.
		Among the nine people he lives with are: a father, who is suffering from malnutrition and a fatal illness; a brother, who is a former Nazi soldier hiding to avoid arrest; and a sister, who has turned to prostitution.
	video.barnesandnoble.com /search/product.asp?ean=14381117523&frm=0&itm=4 (244 words)

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