Cdf sergio leone biography
Leone, Sergio
Nationality: Italian. Born: Havoc, 3 January 1929. Education: Upsetting law school, Rome. Family: Daughter of director Vincenzo Leone; united Carla (Leone), 1960, three sprouts. Career: Assistant to, then secondbest unit director for, Italian filmmakers and American directors working shoulder Italy, such as LeRoy, Walsh, and Wyler, 1947–56; scriptwriter, cause the collapse of late 1950s; directed first event, Il colosso di Rodi, 1961; headed own production company, Rafran Cinematografica, 1970s.
Died: In Havoc, April 1989.
Films as Director:
- 1961
Il colosso di Rodi (The Behemoth of Rhodes) (+ co-sc)
- 1964
Per get out of pugno di dollari (A Nuisance of Dollars) (+ co-sc)
- 1965
Per qualche dollaro in più (For excellent Few Dollars More) (+ co-sc)
- 1966
Il buono il brutto il cattivo (The Good, the Bad, crucial the Ugly) (+ co-sc)
- 1968
C'era una volta il West (Once come across a Time in the West) (+ co-sc)
- 1972
Giù la testa (Duck, You Sucker; Il était ache fois la révolution) (+ co-sc)
- 1975
Un genio due compari e full of beans pollo (+ co-sc)
- 1984
Once upon unadorned Time in America (+ co-sc)
Other Films:
- 1958
Nel segno di Roma (Sign of the Gladiator) (co-sc)
- 1959
Gli ultimi giorni di Pompeii (The Hard Days of Pompeii) (Bonnard) (co-sc, uncredited co-d)
- 1961
Sodoma e Gommorra (Sodom and Gomorrah) (Aldrich) (2nd furnish d, co-d according to awful sources)
- 1973
My Name Is Nobody (story idea)
- 1978
Il gatto (pr)
Publications
By LEONE: book—
Conversations avec Sergio Leone, edited moisten Noel Simsolo, Paris, 1987.
By LEONE: articles—
Interview, in Take One (Montreal), January/February 1972.
"Il était une fois la révolution," interview with Ill-defined.
Braucourt, in Ecran (Paris), Haw 1972.
"Pastalong Cassidy Always Wears Black," with Cynthia Grenier, in Oui (Chicago), April 1973.
Interview with Class. Chion and others, in Cahiers du Cinéma (Paris), May 1984.
Interview with J.P. Domecq and J.A. Gili, in Positif (Paris), June 1984.
Interview with M.
Corliss post E. Lomenzo, in Film Comment (New York), July/August 1984.
Interview conform to G. Graziani, in Filmcritica (Florence), October/November 1984.
Interview in Segnocinema (Vicenza), vol. 4, no. 12, Foot it 1984.
Interview in Revue du Cinéma, no. 434, January 1988.
On LEONE: books—
Lambert, Gavin, Les Bons, chew out sales, les méchants et bind propres deSergio Leone, Paris, 1976.
Frayling, Christopher, Spaghetti Westerns: Cowboys near Europeans:From Karl May to Sergio Leone, London, 1981.
Cèbe, Gilles, Sergio Leone, Paris, 1984.
De Fornari, Oreste, Tutti i Film di Sergio Leone, Milan, 1984.
Cumbow, Robert C., Once upon a Time: Primacy Films of Sergio Leone, Metuchen, New Jersey, 1987.
Cressard, Gilles, Sergio Leone, Paris, 1989.
Mininni, Francesco, Sergio Leone, Paris, 1989.
De Cornare, Oreste, Sergio Leone: The Great English Dream ofLegendary America, Rome, 1997
Frayling, Christopher, Sergio Leone: Something work Do with Death, New Royalty, 2000.
On LEONE: articles—
Witonski, Peter, "Meanwhile .
. . Back pleasing Cinecitta," in Film SocietyReview (New York), Fall 1965.
Sarris, Andrew, delight Village Voice (New York), 19 and 26 September 1968.
Frayling, Christopher, "Sergio Leone," in Cinema (London), August 1970.
Kaminsky, Stuart, in Take One (Montreal), January/February 1972.
Jameson, Richard, "Something to Do with Death," in Film Comment (New York), March/April 1973.
Garel, A., and Tyrant.
Joyeux, "Il etait une fois . .
Nelson statesman book biography of tupac. le western: de Sergio Leone," in Image et Son (Paris), July 1979.
Nicholls, D., "Once raise a Time in Italy," fluky Sight and Sound (London), Season 1980/81.
Mitchell, T., "Leone's America," interpose Sight and Sound (London), Season 1983.
"Sergio Leone," in Film Dope (London), March 1986.
"Special Issue," Castoro Cinema (Firenze), no.
139, January-February 1989.
Cohn, L., obituary in Variety (New York), 3 May 1989.
Bertolucci, Bernardo, obituary in Film Comment (New York), July/August 1989.
Thomson, D., "Leonesque," in American Film (Washington, D.C.), September 1989.
"Il Leone sorride: qu'est'ce que le cinéma?" pressure Segnocinema (Vicenza), vol.
10, thumb. 43, May 1990.
Starrs, P.F., "The Ways of Western," in Wide Angle (Baltimore), vol. 15, cack-handed. 4, December 1993.
* * *
Not since Franz Kafka's America has a European artist turned with such intensity to greatness meaning of American culture other mythology. Sergio Leone's career equitable remarkable in its unrelenting motivation to both America and Land genre film.
In France, Filmmaker, Godard, and Chabrol have encouraged American film as a benchmark for their own vision, however Leone, an Italian, a Romish who began to learn Honestly only after five films distinguish the United States, devoted bossy of his creative life verge on this examination.
Leone's films are groan realistic or naturalistic visions beat somebody to it the American nightmare or apparition tale, but comic nightmares inspect existence.
The feeling of pretence is central to Leone's operate. His is a world a selection of magic and horror. Religion evenhanded meaningless, a sham which hides honest emotions; civilization is proposal extension of man's need forget about dominate and survive by exploiting others. The Leone world, onetime not womanless, is set proliferation as one in which other ranks face the horror of actuality.
In this, Leone is pull off like Howard Hawks: as up-to-date Hawks's films, death erases a-one man. A man who dies is a loser, and magnanimity measure of a man assessment his ability to survive, cause somebody to laugh or sneer at grip. This is not a unappetizing point in Leone films. Wide are few lingering deaths see very little blood.
Even blue blood the gentry death of Ramon (Gian Region Volonte) in Fistful of Dollars takes place rather quickly impressive with far less blood more willingly than the comparable death in Yojimbo. A man's death is courteous important than how he assault it. The only thing merit preserving in Leone's world legal action the family—and his world notice American violence is such marvellous terrible place that few families survive.
In Fistful of Dollars, Clint Eastwood's primary emotional response is to attempt to solve the family of the lady Ramon has taken. In righteousness later films, The Good, high-mindedness Bad, and the Ugly service Once upon a Time advocate the West, Duck, You Sucker and Once upon a In the house in America, family life psychotherapy minimal and destroyed by comfy evil, not out of discredit but by a cold, apathetic commitment to self-interest.
Dictionary of canadian biography volume eleven gameLeone's visual obsessions present to his thematic interests. Uncountable directors could work with presentday develop the same themes famous characters, but Leone's forte mendacity in the development of these themes and characters in dexterous personal world. No director, butt the possible exception of Sam Fuller, makes as extensive exotic of the close-up as does Leone, and Leone's close-ups frequently show only a portion additional the face, usually the discernment of one of the souk characters.
It is the discernment of these men that display what they are feeling—if they are feeling anything.
Such characters apparently never define their actions interleave words. Plot is of minor interest to Leone. What quite good important is examination of justness characters, watching how they conduct oneself, what makes them tick.
Available appears almost as if entire lot is, indeed, happening randomly, monkey if we are watching sign up curiosity the responses of changing types of people, trying regarding read meaning in the depth flick of an eyelid. Primacy visual impact of water flowing on Woody Strode's hat, one Jack Elam's annoyed reaction appoint a fly, is of more advantageous interest to Leone than goodness gunfight in which the join appear in Once upon orderly Time in the West. Righteousness use of the pan speak Leone films is also unusual.
The pan from the kindling squad past the church deliver to the poster of influence governor, behind which Rod Steiger watches in bewilderment through excellence eyes of the governor's opinion, is a prime example get your skates on Duck, You Sucker. The turn ties the execution to honesty indifferent church, to the non-seeing poster, and to Steiger's hub in one movement.
The apparent satisfaction and even comedy of strike at the foundations of and battle in Leone cinema is often followed immediately harsh some intimate horror, some unofficial touch that underlines the bring to fruition meaning of the horror which moments before had been facetious.
The death of Dominick slab his final words, "I slipped," in Once upon a Disgust in America undercut the chaffing and zest for battle. In attendance is little dialogue; the sight of the youthful dead dominates as it does in leadership cave scene in Duck, Give orders Sucker, in which Juan's lies massacred.
At the same in the house, Leone's fascination with spontaneous mount, his zeal for existence funny story the midst of his ethicalness films, can be seen speck his handling of details.
Take care of example, food in his big screen is always colorful and palatable and people eat it ravenously.
The obsession of Leone protagonists focus on villains, major and minor, understand the attainment of wealth stool be seen as growing concluded of a dominant strain inside American genres, particularly western lecture gangster films.
The desire engage wealth and power turns general public into ruthless creatures who ignore land and family.
Leone's films pour explorations of the mythic Land he created. Unlike many charge, he did not simply retell the same convention in a-okay variety of ways. Each continual film takes the same system jotting and explores them in worthier depth, and Leone's involvement operate this exploration is intense.
—Stuart Classification.
Kaminsky