Pietro Germi


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Pietro Germi
Birthday
BirthplaceGenoa, Italy
Died

Germi, Pietro

 

Born Sept. 14, 1914, in Genoa; died Dec. 5, 1974, in Rome. Italian actor and movie director.

Germi studied at the Rome Experimental Cinema Center. He was one of the initiators of neorealism; his first films were The Witness (1946) and Lost Youth (1947). Social themes and documentary (1965), and Amoral (1966). His castigating as a director he also attached great significance to the ability of his subject matter to capture the viewer’s attention. In his most significant films, In the Name of the Law (1949; released in the Soviet Union as Under the Skies of Sicily) and The Road to Hope (1950), the age-old poverty and backwardness of Sicily are boldly shown; both films aroused great public interest. The traditions of neorealism were developed in the multileveled social cinema novels The Engineer (1956) and The Spineless Man (1958); Germi played the title roles in both these films.

From the early 1960’s, Germi worked in the genre, new for him, of social and realist satiric comedy: Divorce Italian Style (1961), Seduced and Abandoned (1964), Ladies and Gentlemen (1965), and Amoral (1966). His castigating satire is at times filled with caustic bitterness and hopelessness. In 1969 he produced the merry and mischievous comedy Serafino, full of national spirit, which won the Gold Prize at the Sixth International Film Festival in Moscow in 1969.

WORKS

Razvod po-italïanski. Moscow, 1965. (With E. de Concini and A. Gianatti.)
“Soblaznennaia i pokinutaia.” Iskusstvo kino, 1965, no. 3. (With Age-Scarpelli and L. Vincenzoni.)
References in periodicals archive ?
9) D'altronde si era gia verificato con L'uomo di paglia di Pietro Germi, al quale non fu perdonato di aver ridotto in melodramma il lavoro operaio.
This list would be long but I really liked Divorzio all'italiana, a classic movie directed by Pietro Germi describing the old Italian society at a time when divorce was not allowed.
The author examines the cinematic movement through diverse film directors and their capolavori--Dino Risi with Una vita difficile (1961) and Il sorpasso (1962), Mario Monicelli with La grande guerra (1959), Pietro Germi with Divorzio all'italiana (1961) and Sedotta e abbandonata (1964), Alberto Lattuada with Mafioso (1962), Antonio Pietrangeli Il magnifico cornuto (1964), and finally Elio Petri with Il maestro di Vigevano (1963).
It was directed and co-written by Pietro Germi (1914-1974) -- in the view of some cineastes the most underrated filmmaker to arise from Italy's neo-realist movement.
Di fronte a un fotogiornalismo che nel secondo dopoguerra stento a liberarsi da un atteggiamento conformista nei confronti della politica governativa, la denuncia dell 'emigrazione come piaga sociale divenne cosi appannaggio soprattutto di pellicole cinematografiche come Il cammino della speranza di Pietro Germi (1950), per l'esodo all'estero, o Roteo e i suoi fratelli di Luchino Visconti (1960), per i flussi interni.
in 1962, picked up an Oscar for best original story as well as nominations for star Marcello Mastroianni and director Pietro Germi.
Con il successo straordinario del libro di Roberto Saviano* 2 e del film di Matteo Garrone (3), anticipato in un certo senso dalla sua quarta opera (4), e accaduto qualcosa di inaspettato e di simile a quanto avvenne alla fine degli anni quaranta alle opere di De Martino e nella cinematografia con La terra trema (1948) di Luchino Visconti, In nome della legge (1948) di Pietro Germi, Stromboli terra di Dio (1949) di Roberto Rossellini.
Internationally known through the work of filmmakers such as Mario Monicelli, with his seminal I soliti ignoti (Big Deal on Madonna Street, 1958), Pietro Germi with Divorzio all 'italiana (Divorce Italian Style, 1962) and Sedotta e abbandonata (Seduced and Abandoned, 1964), but also Dino Risi with Una vita difficile (A Difficult Life, 1961) and Il sorpasso (The Easy Life, 1962), Italian humor has always shown an inherent interest in faithfully observing reality and at the same time presenting a desecrating vision of the world.
Quanto a 1860 (8) di Blasetti, che Raffaelii (Raffaelli 1992: 89-90) ha definito il prototipo di noti viaggi nell'Italia dialettale, quali in particolare Paisa (1946) di Roberto Rossellini e I1 cammino della speranza (1950) di Pietro Germi, qui, per la prima volta, i dialoghi introducono il siciliano (9) accanto al toscano, (10) al piemontese, (11) al ligure e al veneto, (12) il tutto pero subordinato quantitativamente all'italiano.
Helmers Dino Risi and Pietro Germi are among other filmmakers the duo collaborated with on scores of hits, including Risi's "Il Mattatore" (Love and Larceny), starring Vittorio Gassman, and Germi's dramedy "Sedotta e Abbandonata" (Seduced and Abandoned), in which Stefania Sandrelli played a young Sicilian woman who breaks with convention after she is deflowered by her sister's future husband.
Di Palma worked with Pietro Germi on the noir comedy "Divorce, Italian Style," with Ettore Scola on his film "Jealousy, Italian Style" and on Bernardo Bertolucci's "Tragedy of a Ridiculous Man.
1963 "Divorce, Italian Style," Ennio de Concini, Alfredo Giannetti, Pietro Germi