La Casa Malaparte on Capri and the kitchen Tognazzi
Je t'ai Aimée tallement, maintenant je Mépris you.
I loved you so much. But now I despise you.
I loved you so much. But now I despise you.
the words with which I am a beautiful Brigitte Bardot freezes the feelings of her husband Michel Piccoli in Godard's film, Contempt , inspired by the homonymous novel by Alberto Moravia.
The background of this 1963 film is the beautiful Casa Malaparte in Capri, situated on a narrow rocky promontory overlooking the sea. To get there, a thin line of stones was the path to walk away from the road. So how do we see, luggage in hand, to Bardot and Piccoli, the couple in a crisis that reaches the stage where it will consume the tragedy of separation. She, in practice, will leave for a second spring - unfortunately - with an American producer, Jack Palance. The scene takes place on the fateful
long and exotic terrace, which stands out against a background of Greek tragedy: bare rock, trees overlooking the sea and the waves. Moreover, the striking red of the exterior walls of the Pompeian villa located behind the story of two thousand years, a task facilitated by the constant references to the Odyssey which is dotted with the film.
A location perfect for this kind of drama that offered by the house that the writer and journalist Curzio Malaparte had built in the late thirties. To design and build, the architect Adalberto Libera , current leader of the rationalist.
Internal structures reflect the positions of Freedom: a large, simple, furnished with tasteful and chaste, that nothing but lose in charm and beauty. The rooms encircle a large living room that opens on all four walls, thanks to the spectacular windows, different views from the panorama of the promontory. The real valuable Casa Malaparte, however, is the beautiful terrace with steps to walk on the habitable zone, closed to prying eyes by a particular comma-shaped wall. A sort of leaning towards the trampoline nature, seeking harmony with the elements.
just the opposite of claustrophobic and anxiety-producing environments that are home to another (less known) films of the sixties, this time Italian: it is Dillinger died by Marco Ferreri.
On the verge of a dispute, in 1968, the Milanese director has set a history of madness in the homes of the painter Mario Schifano in the kitchen and Ugo Tognazzi.
In the frame of a typical bourgeois Italian sixties, surrounded by bookshelves, prints, home appliances and furniture period, a man (Michel Piccoli yet) made a series of normal household activities, daily. Among these, however, with the same ease (or rather alienation) with which the kitchen or watching TV, opens a small box, cradle in your hands a gun and then uses it to shoot his wife in his sleep. Then, leaves home and goes to sea, seraphic.
At this point, it is perhaps worth asking whether it is better to see a movie, cinema, without bringing on the terrace or worse in the kitchen.
Stefano Vannucci
The background of this 1963 film is the beautiful Casa Malaparte in Capri, situated on a narrow rocky promontory overlooking the sea. To get there, a thin line of stones was the path to walk away from the road. So how do we see, luggage in hand, to Bardot and Piccoli, the couple in a crisis that reaches the stage where it will consume the tragedy of separation. She, in practice, will leave for a second spring - unfortunately - with an American producer, Jack Palance. The scene takes place on the fateful
long and exotic terrace, which stands out against a background of Greek tragedy: bare rock, trees overlooking the sea and the waves. Moreover, the striking red of the exterior walls of the Pompeian villa located behind the story of two thousand years, a task facilitated by the constant references to the Odyssey which is dotted with the film.
A location perfect for this kind of drama that offered by the house that the writer and journalist Curzio Malaparte had built in the late thirties. To design and build, the architect Adalberto Libera , current leader of the rationalist.
Internal structures reflect the positions of Freedom: a large, simple, furnished with tasteful and chaste, that nothing but lose in charm and beauty. The rooms encircle a large living room that opens on all four walls, thanks to the spectacular windows, different views from the panorama of the promontory. The real valuable Casa Malaparte, however, is the beautiful terrace with steps to walk on the habitable zone, closed to prying eyes by a particular comma-shaped wall. A sort of leaning towards the trampoline nature, seeking harmony with the elements.
just the opposite of claustrophobic and anxiety-producing environments that are home to another (less known) films of the sixties, this time Italian: it is Dillinger died by Marco Ferreri. On the verge of a dispute, in 1968, the Milanese director has set a history of madness in the homes of the painter Mario Schifano in the kitchen and Ugo Tognazzi.
In the frame of a typical bourgeois Italian sixties, surrounded by bookshelves, prints, home appliances and furniture period, a man (Michel Piccoli yet) made a series of normal household activities, daily. Among these, however, with the same ease (or rather alienation) with which the kitchen or watching TV, opens a small box, cradle in your hands a gun and then uses it to shoot his wife in his sleep. Then, leaves home and goes to sea, seraphic.
At this point, it is perhaps worth asking whether it is better to see a movie, cinema, without bringing on the terrace or worse in the kitchen.
Stefano Vannucci
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