#Corrado Gaipa

[pedroam-bang]

The Godfather (1972)

[erstwhile-punk-guerito]

[tina-aumont]

METELLO SCREENCAPS

Metello is a 1970 Italian drama film directed by Mauro Bolognini, based on Vasco Pratolini’s novel. It was entered into the 1970 Cannes Film Festival.

Plot (it may contain spoilers)

Metello struggles to escape from the poverty that led to the premature death of his parents, and that is the lot of the working class in northern Italy during the second half of the 19th century. Metello fights his way out from his condition through hard work, a determined will to resist oppression inherited from his father, but also by taking advantage of his good looks when dealing with women. Metello progressively assumes an important role in the organization of an emerging workers movement, and attempts to conciliate his risky political activities with his private life.

Cast

Massimo Ranieri - Metello

Ottavia Piccolo - Ersilia

Frank Wolff - Betto

Tina Aumont - Idina

Lucia Bosé - Viola

Pino Colizzi - Renzoli

Mariano Rigillo - Olindo

Luigi Diberti - Lippi

Manuela Andrei - Adele Salani

Corrado Gaipa - Badolati

Adolfo Geri - Del Bueno

Claudio Biava - Moretti

Franco Balducci - Chellini

Steffen Zacharias - Pallesi

Sergio Ciulli

The film was released on 10th March 1970.

[reginadeinisseni]

Ginger e Fred Official Trailer #1 - Marcello Mastroianni Movie (1986)

TONINO GUERRA Federico Fellini2 BALLERINI: QUANDO SI SEPARERANNO L UOMO ANDRA' IN MANICOMIOSoggetto Federico Fellini, Tonino Guerra. Sceneggiatura Federico Fellini, Tonino Guerra, Tullio Pinelli Produttore Alberto Grimaldi Fotografia Tonino Delli Colli, Ennio Guarnieri Montaggio Nino Baragli, Ugo De Rossi, Ruggero Mastroianni Effetti speciali Adriano Pischiutta Musiche Nicola Piovani Scenografia Dante Ferretti Trucco Amedeo Alessi Interpreti e personaggi Giulietta Masina: Amelia Bonetti/Ginger Marcello Mastroianni: Pippo Botticella/Fred Franco Fabrizi: Aurelio, il presentatore Ezio Marano: scrittore Totò Mignone: Totò Jacques Henri Lartigue: Frate Gerolamo Augusto Poderosi: Evelina Pollini Friedrich von Ledebur: ammiraglio Aulenti Friedrich von Thun: Armando Bissanti Antonino Iuorio: ispettore di produzione Fabrizio Fontana: Floris Tartarina Barbara Scoppa: Barbara, giornalista di gossip Elisabetta Flumeri: giornalista Claudio Botosso: giornalista nello studio televisivo Salvatore Billa: Clark Gable Leonardo Petrillo: Marcel Proust Daniele Aldrovandi: Marty Feldman Eolo Capritti: Telly Savalas Ginestra Spinola: chiromante Sergio Ciulli: figlio della chiromante Elena Cantarone: infermiera Alex Partexano: marinaio Stefania Marini: Stefania Roberto Accornero: autista pulmino Francesco Casale: Catanzaro, il mafioso Rosario Galli: Angelo Stefano Gragnani: De Nittis Ennio Antonelli: il facchino Giorgio Juorio: Salvatore Gianfranco Alpestre: avvocato rapito Franco Marino: impresario nani Davide Marotta: un nano Ivano Marescotti: un uomo del presidente Doppiatori originali Alberto Lionello: presentatore Tv Gianni Bonagura: Totò Mario Maranzana: Frate volante Corrado Gaipa: L'ammiraglio Aulenti Marco Bresciani: Travestito Oreste Lionello: presidente della rete televisiva, Woody Allen, scrittore Claudio Capone: un intervistatore Enzo Liberti: cameriere Pino Ammendola: onorevole Tartina Pino Insegno: cameriere Oreste Rizzini: presidente TV Solvejg D'Assunta: signora Silvestri, attrici, donna con corona Carlo Croccolo: signor Guadascone, frate guardiano Mario Maranzana: frate Gerolamo Piero Tiberi: Angelo HD

[danielebelloli]

Lezioni per doppiare sé stessi?

Trimalcione, quello del Satyricon di Federico Fellini, è interpretato da un famoso oste romano, Mario Romagnoli detto “il Moro”, che non aveva mai recitato prima. Fellini, niente affatto preoccupato del problema, gli chiede di elencare numeri a caso: 1, 2, 43, 50, …, ma “il Moro”, angosciato, non ci riesce. Geniale, però, risolve: “Ma io potrei dire dei menù. Perché lì io vado come un treno.” E così fu.

In fase di doppiaggio, poi, Fellini incollò alle labbra del “Moro” la voce perfetta di Corrado Gaipa. Fellini era un fiero sostenitore del doppiaggio, di cui disse: “Per me, il sistema italiano di doppiaggio è perfetto. Se non ci fosse stato il doppiaggio l’avrei inventato io, per avere un miglior controllo e per essere sicuro che le facce che ho scelto abbiano la voce giusta.”

Ecco fatto: “PER AVERE UN MIGLIOR CONTROLLO”; il doppiaggio è il mezzo di controllo del potere della voce. Perché dunque non imparare i fondamenti del doppiaggio per impossessarsi di questo controllo?

Doppiare sé stessi significa guadagnare la padronanza di quelle tecniche di gestione della voce, e prima ancora del pensiero, e applicarle a sé stessi per guadagnare sicurezza, autorevolezza e autocontrollo.

Le lezioni sono gratuite per i giovani in età scolare e, vi assicuro, utilissime in vista di esami. Parola di padre.

[twittercomfrnklin2001-blog]

Crazy Desires of a Murderer

If one of the standard giallo tropes is a red herring, does that make the film orange? Filippo Walter Ratti’s CRAZY DESIRES OF A MURDERER (1977, Shudder) ultimately seems less giallo than a blood-soaked, oversexed Agatha Christie murder mystery, though Dame Agatha would never have indulged in such a sloppy, meandering plot line. Against her aged father’s wishes, heiress Ileana (Isabella Marchall) invites a group of friends she made traveling round the world back to her family’s palatial manor. After a night of bad dancing, erotic charades and bed-hopping, one of the women is murdered, her jewelry stolen and her eyes removed. Disgrazia! Meanwhile, one of Marchall’s friends has stuck a shipment of cocaine among her souvenirs. When it goes missing, he has to face off with the crooks he’s been working with. What that has to do with the rest of the plot is anybody’s guess, but at least that subplot gets tied up. One of the men roofies Marchall and has his way with her, a crime promptly forgotten by all and sundry. The film’s only plus is the presence of character actor Corrado Gaipa, as the police inspector on the case. He’s got a tremendous presence and delivers some great melodramatic line readings as he ferrets out most of the guests’ secrets. In a good film, he’d find the killer through brilliant detective work. But since this isn’t a good film, he doesn’t. Even the title is a fake. There’s nothing crazy about the killer’s motivation, but I suppose RUN OF THE MILL DESIRES OF A MURDERER wouldn’t sell a lot of popcorn.

[tvln]

i vizi morbosi di una governante / crazy desires of a murderer (it, ratti 77)

[kenpiercemedia]

Paramount Pictures "The Godfather" 50th Anniversary Trailer

Paramount Pictures “The Godfather” 50th Anniversary Trailer

It’s without question that “The Godfather” is a spectacular and gripping dramatic film and believe it or not the release will celebrate its 50th Anniversary in the coming months. To help laud a limited theatrical run, Paramount Pictures has delivered a 50th Anniversary Trailer. Take a look down below at this clip and the legendary casting of this Academy Award winning film. About The Trailer: In…

[brokehorrorfan]

Blu-ray Review: Forgotten Gialli: Volume 3

Vinegar Syndrome launched its first Forgotten Gialli Blu-ray box set less than a year ago, but the powerhouse distributor is already on the third volume of obscure giallo (European murder-mystery) films. The latest installment features 1972's Murder Mansion (also known as The Mansion in the Fog), 1975's Autopsy (also known as The Victim), and 1977's Crazy Desires of a Murderer (also known as The Morbid Vices of a Housekeeper).

Murder Mansion is a Spanish-Italian co-production that only classifies as a giallo by a rather liberal definition. It starts out slow; the first line of dialogue isn't spoken until six minutes in, after the opening title sequence and a lengthy driving scene. When the night is consumed by fog, a group of strangers from different backgrounds seek refuge in an old mansion next to an abandoned village where local legends say vampires once resided. It's not long before they suspect that ghosts have risen from the nearby graveyard.

Written by Luis G. de Blain and Antonio Troiso (Beyond the Door), the murder-mystery aspects are more Agatha Christie - or even Scooby-Doo, given the cartoonish reveal - than giallo, lacking many of the subgenre's hallmarks; but even more so director Francisco Lara Polop seems to be drawing influence from gothic horror in both approach and execution. The chilling atmosphere is palpable as soon as the fog rolls in, but the first body doesn't pop up until nearly an hour into the 86-minute film. The last act makes admirable attempts to compensate with scares and shocks.

Murder Mansion has been newly restored in 4K from its 35mm original camera negative. It includes the original Spanish language audio with newly translated English subtitles as well as the English and Italian dubs. The disc includes a 20-minute interview with actress Evelyn Stewart (The Psychic). While she admittedly doesn't remember the specifics about much of the production, she recalls working with the special effects and explains her use of a stage name. She’s noticeably pleased by the film, particularly Polop's direction.

The most well-known title among the three Forgotten Gialli sets, Autopsy opens with a montage of grisly suicides plaguing Rome, purported to be caused by sun spots. A young, female pathologist (Mimsy Farmer, Four Flies on Grey Velvet), serendipitously writing a thesis on the differences between simulated and authentic suicides, teams up with an epileptic race car driver-turned-priest (Barry Primus, Boxcar Bertha) following the alleged suicide of his sister to investigate.

Directed by Armando Crispino (The Dead Are Alive), who co-wrote the script with Lucio Battistrada, the Italian giallo is convoluted even by the subgenre's standards. It's also shockingly sleazy, from a misogynistic coroner to maddening visions of being molested by cadavers. The film is uneven in both tone and pacing and bloated at 100 minutes, but it ends on a high note with a memorable finale. On the whole, it's more unnerving than most gialli, due to the taboo buttons it pushes as well as the hints of surrealism in which Crispino indulges. A score by Ennio Morricone (The Thing, The Good the Bad and the Ugly) certainly doesn't hurt.

Autopsy has been newly restored in 2K from its 35mm original camera negative. It includes both the English and Italian (with newly translated English subtitles) mono soundtracks. It offers a variety of special features: a featurette on Crispino consisting of 38 minutes of insight from the late director's son, Francesco Crispino; a 10-minute interview with Francesco Crispino, who dissects various versions of the film and discusses his father's influences; an 11-minute interview with editor Daniele Alabiso conducted by Francesco Crispino, in which they examine the film's peculiar rhythm; an introduction by the director from a screening; alternate Italian titles and credits; and the theatrical trailer.

If only Crazy Desires of a Murderer's plot was as stimulating as its traditionally verbose giallo title. It centers around an affluent, globe-trotting countess, Ileana (Isabelle Marchall, Black Emanuelle). She returns to her familial castle with new friends she met while traveling in China, who unwittingly used her as a drug courier. Meanwhile, her traumatized half-brother is kept locked away in the basement. But those are the least of her problems once someone starts murdering the inhabitants of the castle.

Aesthetically, this one most closely resembles a traditional giallo. What the drab castle lacks in color palette, director Filippo Walter Ratti and cinematographer Gino Santini (Django the Bastard) make up for with interesting camerawork. There's also ample gore, as the killer's modus operandi involves removing the victims' eyes, and heavy doses of sleaze, although it pales in comparison to Autopsy. But writer Ambrogio Molteni (Black Emanuelle) employs an Agatha Christie-esque sleuth (Corrado Gaipa, The Godfather) to solve the mystery, and the abundance of clunky procedural scenes weigh down the film.

Crazy Desires of a Murderer has been newly restored in 4K from its 35mm original camera negative with Italian mono audio and newly translated English subtitles. The disc includes a 15-minute interview (in Italian with subtitles) with actor Giuseppe Colombo (who more notably went on to produce The Stendhal Syndrome and other Dario Argento productions). He candidly recalls frequent disagreements with Ratti and other drama that befell the production.

While the films are hit or miss, the experience of unearthing them is always a thrill. Even the packaging is great, with each film in its own individual Blu-ray case with reversible artwork, all of which are housed inside a sturdy box (limited to 6,000). Between Forgotten Gialli and the forthcoming Home Grown Horrors, I hope Vinegar Syndrome never stops spoiling us with box sets of hidden gems.

Forgotten Gialli: Volume 3 is available now on Blu-ray via Vinegar Syndrome.

[rpsabetto]

The Godfather

(USA 1972)

“Why did you go to the police? Why didn’t you come to me first? What have I ever done to make you treat me so disrespectfully?”

—Don Vito Corleone

“My father is no different than any powerful man, any man with power. Like a president or a senator.”

—Michael Corleone

“And may their first child be a masculine child.”

—Luca Brasi

“Hey Mikey, why don’cha tell that nice girl you love her?…

[giallofever2]

La Polizia Ringrazia

Direct by STENO (STEFANO VANZINA)

Data di uscita: 25 febbraio 1972

Paese di produzione: Italia, Germania Ovest

Musica composta da: Stelvio Cipriani

Scritto da: Steno, Lucio De Caro

Curiosità

In questo e nel successivo film drammatico con Alberto Sordi, Anastasia mio fratello, il regista si firma con il suo vero nome, Stefano Vanzina, poiché lo pseudonimo Steno era troppo legato alla commedia.

L'incasso totale è stato di 1.696.360.000 di lire dell'epoca, ed è stato visto all'epoca da circa 4.162.847 spettatori al cinema.

Premi

1972 - Festival Internazionale del Cinema di San Sebastián

Concha de Plata - Stefano Vanzina

Interpreti e personaggi

Enrico Maria Salerno: commissario Bertone

Mariangela Melato: Sandra

Mario Adorf: sostituto procuratore Ricciuti

Cyril Cusack: ex questore Stolfi

Franco Fabrizi: Francesco Bettarini

Laura Belli: Annamaria Sprovieri

Jürgen Drews: Michele Settecamini

Ezio Sancrotti: vice commissario Santalamenti

Corrado Gaipa: avvocato Armani

Giorgio Piazza: ministro dell'Interno

Piero Tiberi: Mario Staderini

Diego Reggente: giornalista

Ada Pometti: sorella di Staderini

[pedroam-bang]

The Godfather (1972)

[mcbastardsmausoleum]

the Vinegar Syndrome February titles have been announced and are up on the VS site!

FORGOTTEN GIALLI VOL. 3: AUTOPSY (1975), MURDER MANSION (1972) & CRAZY DESIRES OF A MURDERER (1977)

THE FEAR (1995)

HITCHER IN THE DARK (1989)

SPECS AND EXTRAS:

FORGOTTEN GIALLI 3

AUTOPSY (1975)

Dir: Armando Crispino

Cast: Mimsy Farmer, Barry Primus, Ray Lovelock, Carlo Cataneo

1975 / 100 min / 1.85:1 / English & Italian Mono

Extras:

• Region Free Blu-ray

• Newly scanned & restored in 2k from its 35mm original camera negative

• Includes both the English and Italian language soundtracks

• Archival theatrical introduction with director Armando Crispino

• “Editing & Rhythm” - an interview with editor Daniele Alabiso

• “The Autopsy Papers” - an interview with Francesco Crispino, film historian & son of director Armando Crispino

• “Black Hole Sun” - a featurette on the career of director Armando Crispino

• Original theatrical trailer

• Alternate Italian titles & credits

• Reversible cover artwork

• Newly translated English SDH subtitles

MURDER MANSION (1972)

Dir: Francisco Lara Polop

Cast: Evelyn Stewart, Analía Gadé, Lisa Leonardi, Andrés Resino, Yelena Samarina

1972 / 86 min / 1.85:1 / Spanish, English & Italian Mono

Extras:

• Region Free Blu-ray

• Newly scanned & restored in 4k from its 35mm original camera negative

• Includes the original Spanish language soundtrack with new English translations, as well as the English and Italian language dubs (Italian dub is not translated)

• “Lady of the Mansion” - an interview with actress Ida Galli aka Evelyn Stewart

• Reversible cover artwork

• Newly translated English SDH subtitles for the original Spanish soundtrack

CRAZY DESIRES OF A MURDERER (1977)

Dir: Filippo Walter Ratti

Cast: Corrado Gaipa, Roberto Zattini, Isabelle Marchall, Annie Carol Edel

1977 / 89 min / 1.85:1 / Italian Mono

Extras:

• Region Free Blu-ray

• Newly scanned & restored in 4k from its 35mm original camera negative

• “Crazy Memories of an Actor” - an interview with actor Giuseppe Colombo

• Reversible cover artwork

• Newly translated English SDH subtitles

HITCHER IN THE DARK (1989)

Dir: Umberto Lenzi

Cast: Joe Balogh, Josie Bissett, Jason Saucier

1989 / 95 min / 1.85:1 / English

Extras.

Additional info:

• Region Free Blu-ray

• Newly scanned & restored in 4k from its 35mm original camera negative

• Commentary track with film historians and authors Samm Deighan and Kat Ellinger

• Archival video interview with writer/director Umberto Lenzi

• Original theatrical trailer

• Reversible cover artwork

• English SDH subtitles

THE FEAR (1995)

Dir: Vincent Robert

Cast: Eddie Bowz, Heather Medway, Ann Turkel, Vince Edwards, Wes Craven

1995 / 102 min / 1.85:1 / English Stereo

Extras:

• Region Free Blu-ray

• Newly scanned & restored in 4k from its 35mm original camera negative

• Brand new commentary track with director Vincent Robert

• Brand new commentary track with executive producer Greg H. Sims

• “Face to Face with The Fear” - a 50 minute making-of documentary, featuring interviews with the crew and cast

• Reversible cover artwork

• English SDH subtitles

[queen-of-mothra]

The Cauldron Of Death - 1979 Directed by: Lucio Fulci Starring: Lando Buzzanca, Lionel Stander, Laura Antonelli, Corrado Gaipa

[reginadeinisseni]

Amarcord Trailer (Federico Fellini, 1973)

TONINO GUERRA

Amarcord, univerbazione della frase in lingua romagnola "a m'arcord", cioè "io mi ricordo"

lo zio paterno Teo, ricoverato in manicomio e il nonno che scoppia di salute e che tra un detto moraleggiante e l'altro non si fa mancare delle libertà con la domestica.

Federico Fellini

ProduttoreFranco

Giuseppe Rotunno

MontaggioRuggero Mastroianni

Effetti specialiAdriano Pischiutta

Musiche  Nino Rota

ScenografiaDanilo Donati

TruccoRino Carbone

Interpreti e personaggi    Pupella Maggio: Miranda Biondi

Armando Brancia: Aurelio Biondi

Magali Noël: Ninola detta "Gradisca"

Ciccio Ingrassia: Teo

Nando Orfei: Lallo

Luigi Rossi: Avvocato

Bruno Zanin: Titta Biondi

Gianfilippo Carcano: Don Balosa

Josiane Tanzilli: Volpina

Maria Antonietta Beluzzi: tabaccaia

Giuseppe Ianigro: nonno

Marcello Di Falco: principe

Alvaro Vitali: Naso

Ferruccio Brembilla: capo fascista

Doppiatori originaliAve Ninchi: Miranda Biondi

Corrado Gaipa: Aurelio Biondi

Adriana Asti: Ninola detta "Gradisca"

Enzo Robutti: Teo

Paolo Carlini: Lallo

Piero Tiberi: Titta Biondi

Solvejg D'Assunta: tabaccaia

Fausto Tommei: nonno

Logo ufficiale del film

Amarcord è un film del 1973 diretto da Federico Fellini.

È uno dei film più noti del regista, al punto che la parola Amarcord, univerbazione della frase in lingua romagnola "a m'arcord", cioè "io mi ricordo", è entrata nella cultura popolare diventando un neologismo della lingua italiana, con il significato di rievocazione in chiave nostalgica[1][2].

Indice

l'altro non si fa mancare delle libe

[giallofever2]

4 Italian LOCANDINE for the Cult Movie

1972

Afyon - Oppio

Also Known As (AKA)

Canada (English title) (dubbed version) The Sicilian Connection

Finland Huumereitti

France Action héroïne

France (video title) La filière

Greece (transliterated) Gia ton nono apo ti sikelia, me agapi

Portugal Na rota da droga

Spain La ruta del opio

Sweden Sicilian Connection

UK (video box title) Sicilian Connection

USA (dubbed version) The Sicilian Connection

West Germany The Opium Connection

Yugoslavia (Serbian title) (literal title) Krvavi opijum

Release Dates

Italy 22 December 1972

Norway 23 June 1975

USA January 1977

France 1 February 1978

West Germany September 1985 (video premiere)

Portugal 1987 (video premiere)

Directed by Ferdinando Baldi

Music by Guido & Maurizio De Angelis

Writing Credits

Ferdinando Baldi

Duilio Coletti

technical specifications

Runtime 1 hr 40 min (100 min) (France)

1 hr 45 min (105 min) (Italy)

1 hr 40 min (100 min) (USA)

Cast

Ben Gazzara: Joseph Coppola

Silvia Monti: Claudia

Malisa Longo: Rosalia Calogero

Teodoro Corrà: Ciro

Luciano Rossi: Hans

Bruno Corazzari: Larry

Fausto Tozzi: don Vincenzo Russo

Steffen Zacharias: Sally

Luciano Catenacci: Tony Nicolodi

Mario Pilar: Ibrahim

Jess Hahn: Sacha

José Greci: Lucia

Corrado gaipa: Calogero

Carlo Gaddi: Marsigliese

Giuseppe Castellano: Mike

#afyonoppio #sicilianconnection #ferdinandobaldi #bengazzara #malisalongo #silviamonti #teodorocorrà #giallofever