Francesco Rosi


Also found in: Wikipedia.
Francesco Rosi
Birthday
BirthplaceNaples, Italy
Occupation
Director, Producer
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Rosi, Francesco

 

Born Nov. 15, 1922, in Naples. Italian film director.

Rosi began working in films in 1949. His early films included Red Shirts (1952; in collaboration with G. Alessandrini), Kean (1955; adapted from the drama by Dumas père; in collaboration with V. Gassman), and The Challenge (1958), which denounced the Neapolitan camorra (society of bandits). His best films, Salvatore Giuliano (1961) and Hands Over the City (1963), have a social orientation and reconstruct actual events.

In the 1960’s and early 1970’s, Rosi was one of the most typical representatives of Italian “political cinema,” which has given a new interpretation to neorealist traditions. His film People Opposed (1970) is devoted to World War I. The Mattei Affair (1972) deals with an Italian industrialist who advocates trade with the socialist and Arab countries and becomes a victim of the Mafia and of international monopolies. Lucky Luciano (1973) is concerned with the Italian-American gangster Luciano. These films, like Salvatore Giuliano and Hands Over the City, re-create actual events. The popular Italian actor G. M. Volonté stars in most of Rosi’s films.

REFERENCE

Ferrara, G. Francesco Rosi. Rome, 1965.

G. D. BOGEMSKII

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
Mentioned in ?
References in periodicals archive ?
Il saggio si concentra sull'analisi del film Uomini contro (1970) di Francesco Rosi, analizzandolo nell'ottica lukacsiana dei concetti di totalita, tipico e realismo.
With a sort of hypnotized despair, Bracho chronicles a story of torture, murder, and multiple betrayals that, as a political thriller, is comparable to Costa-Gavras if not Francesco Rosi.
La Sicilia e pertanto fortemente presente nella raccolta, dal saggio iniziale di Lucilla Bonavita, che esamina gli aspetti multietnici che emergono nelle novelle di ambientazione siciliana nel Decameron, a quello di Gaetana Marrone, che esamina, in una sorta di racconto del "making of", la produzione de La terra trema viscontiano attraverso le testimonianze contrastanti dei due principali collaboratori del regista milanese, Franco Zeffirelli e Francesco Rosi, individuando la forza mitica del film nella presenza omerica, latente tra i luoghi dove nasce il film: la Aci Trezza del Ciclope.
Francesco Rosi, the insufficiently heralded Italian master best known for his socially engaged films, who, at 89, is being honored with Venice's Golden Lion for lifetime achievement, kicked off his career on the Lido where his first feature "La sfida" ("The Challenge") scooped the Special Jury prize in 1958.
Comunque il cinema ha riscoperto il meridione d'Italia, non piu soltanto la patria della comicita vernacolare di Franco Franchi e Ciccio Ingrassia, di Lino Banfi, di Lando Buzzanca--pure attori a tutto tondo--di un sottogenere napoletano che guarda all'inarrivabile principe de Curtis senza raggiungerlo mai, ma luogo dove si dovra scegliere, prima o dopo, da che parte stare: le infiltrazioni malavitose preconizzate da Leonardo Sciascia, filmate da Francesco Rosi, sono sulla soglia del potere e il cinema puo fare molto per mostrare come funzionano.
Lefty Italian directors like Roberto Rossellini and Francesco Rosi used to do that kind of thing, but I saw Che's premiere at Cannes and still remember Latin American critics gnawing their gizzards at what struck them as a weird new form of Yanqui imperialism: Soderbergh had appropriated their greatest hero of the last hundred years, then stripped him and his story of its romantic, world-rattling power.
DeMille, Jacques Feyder, Jean-Luc Godard, Francesco Rosi, and Carlos Saura, Rita Hayworth's version, and Marlene Dietrich's portrayal in The Devil is Woman.
There was The Truce--the last really big movie by Francesco Rosi, a great director who put all his heart into retelling the book by Primo Levi--but even Godard seems to have missed that one.