#Danilo Donati

[dozydawn]

danilo donati

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One Dress a Day Challenge

August: Fantasy & Sci-Fi

Flash Gordon / Brian Blessed as Prince Vultan

You've got to hand it to Brian Blessed and the other Hawkmen actors: this is the sort of costume that can't be worn timidly. It must be worn with gusto or else it will utterly defeat its wearer. And they pull it off, wings and all. Interestingly, they're actually wearing slightly more than their comic counterparts (see below).

Prince Vultan's costume has some extra features that denote his rank. He has a fancy helmet with the badge of the hawkmen, showing crossed wings inside a star, and two tall horns? lightning bolts? stylized feathers? He also has a more substantial breastplate with another variation on the badge (crossed wings in front of a beaming sun). The breastplate appears to be made of leather, with overlapping scales in gold and deep brown.

[fashionbooksmilano]

Embodying Pasolini

Tilda Swinton & Olivier Saillard

Phot. Ruediger Glatz

Rizzoli, New York 2022, 112 pages, 26,2x31,6cm, ISBN 978-0-8478-72725

euro 78,00

email if you want to buy booksinprogressmilano@yahoo.it

Longtime creative collaborators Tilda Swinton and Olivier Saillard present an illustrated tribute to the costumes of legendary Italian director Pier Paolo Pasolini’s iconic films. Retracing Pier Paolo Pasolini’s entire cinematography—which continues to fascinate audiences almost half a century after his passing—Embodying Pasolini explores the costumes that brought his films to life. From The Gospel According to St. Matthew (1964), The Canterbury Tales (1972), and Arabian Nights (1974) to Salò, or the 120 Days of Sodom (1975), Pasolini’s movies are known for their provocative flair—making them staples of art cinema’s golden age. Styled by Danilo Donati, the costumes—garments, coats, and hats—enlivened the films with their rich textures, volume, color, and embellishments.

28/05/24

[sesiondemadrugada]

Caligula (Tinto Brass, 1979).

[costumeloverz71]

Katharina (Elizabeth Taylor) Red & green gown.. The Taming Of The Shrew (1967).. Costume by Danilo Donati.

[fantastica-daily]

Caligula: The Ultimate Cut - Less Debauchery, More... Dignity?

I’m Gen X, so of course, I watched Caligula on cable when I was a kid. It was always on heavy rotation – along with Friday the 13th, Beastmaster, History of the World Part 1, and Caddyshack. Oddly enough, you could call it a sentimental favorite.

"Caligula: The Ultimate Cut" has arrived, promising to transform Bob Guccione's infamous cinematic orgy into a respectable historical epic. Spoiler alert: it's still not going to win any Oscars for historical accuracy, but hey, at least now you can watch it without feeling the need to confess afterward.

Thomas Negovan, our intrepid new editor, spent three years meticulously combing through 90-plus hours of footage. His mission? To uncover the "lost masterpiece" hiding beneath all that gratuitous nudity. Well, he tried.

The good news is that Malcolm McDowell's performance as everyone's favorite unhinged emperor has been given a much-needed facelift. Gone are the histrionic reactions, replaced with - gasp! - actual nuance. And for all you Helen Mirren fans out there (and really, who isn't?), rejoice! Her screen time has tripled, proving that more Mirren is always a good thing.

The new film score is far too subdued and barely memorable. However, Danilo Donati's production design is a feast for the eyes - if your idea of a feast involves three-story beheading machines and landlocked ivory ships. It's so delightfully over-the-top, you half expect Liberace to pop out and declare it "too much."

But here's the rub: in the quest for artistic legitimacy, Negovan may have thrown out the baby with the bathwater (or should I say, the emperor with the bath oil?). Gone are the unintentionally hilarious moments and the sheer, jaw-dropping audacity that made the original a cult classic. In their place? Well, let's just say "restraint" isn't a word I ever thought I'd use in a review of "Caligula."

Look, we all know that Gore Vidal's screenplay for "Caligula" was never going to be a documentary. So why not embrace the madness? Give us the grand guignol spectacle we crave! After all, if you're going to do Rome, do it like the Romans - with excess, extravagance, and just a touch of insanity.

In the end, "Caligula: The Ultimate Cut" is like a toga party where someone swapped out the wine for sparkling grape juice. It's cleaner, classier, and you'll remember more of it the next day. But deep down, aren't we all just a little nostalgic for the original's debauched charm?

In any case, grab your finest laurel wreath, pour yourself a goblet of your favorite beverage, and settle in for a Roman holiday that's more "Rome" than "romping." It may not be the "ultimate" cut we were expecting, but it's certainly an interesting detour on the road to cinematic infamy.

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S.L. Wilson

[byneddiedingo]

Amarcord (Federico Fellini, 1973)

Cast: Bruno Zanin, Magali Noël, Pupella Maggio, Armando Brancia, Giuseppe Ianigro, Nando Orfei, Ciccio Ingrassia, Stefano Proietti. Screenplay: Federico Fellini, Tonino Guerra. Cinematography: Giuseppe Rotunno. Production design: Danilo Donati. Film editing: Ruggero Mastroianni. Music: Nino Rota.

Nostalgia, Fellini-style, with lots of bawdiness, plenty of grotesques, much comedy, and a little pathos. It was a huge hit, earning the foreign-language film Oscar and nominations for Fellini as director and as co-author (with Tonino Guerra) of the screenplay. It's certainly lively and colorful, thanks to the cinematography of Giuseppe Rotunno, the production and costume design of Danilo Donati, and of course the scoring by Nino Rota. What it lacks for me, though, is the grounding that a central figure like Marcello Mastroianni or Giulietta Masina typically gave Fellini's best films, among which I would name La Strada (1954), The Nights of Cabiria (1957), La Dolce Vita (1960), and 8 1/2 (1963). The presumed center of Amarcord is the adolescent Titta (Bruno Zanin), whose experiences over the course of a year in a village on Italy's east coast serve to link the various episodes together. But Titta is too slight a character to serve that function the way, for example, Moraldo (Franco Interlenghi) did as the Fellini surrogate in I Vitelloni (1953). There are some marvelous moments such as the sailing of the ocean liner SS Rex past the village, which goes out to greet it in a variety of fishing and pleasure boats. But too much of the film is taken up with the noisy squabbling of Titta's family, who soon wear out their welcome -- or at least mine.

[italiaefriends]

Oltre 30 costumi originali indossati durante le riprese del film "Brother Sun, Sister Moon" di Franco Zeffirelli

Fino al 30 novembre 2024, la sala della musica della Fondazione Zeffirelli ospiterà la mostra dei costumi disegnati da Danilo Donati per il film Fratello Sole, Sorella Luna di Franco Zeffirelli.L’allestimento, voluto dal presidente della Fondazione Zeffirelli, Pippo Zeffirelli, e da Regione Toscana in collaborazione con il direttore della Fondazione Cerratelli, Diego Fiorini, mette a disposizione…

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After his young lover, Gitone, leaves him for another man, Encolpio decides to kill himself, but a sudden earthquake destroys his home before he has a chance to do so. Now wandering around Rome in the time of Nero, Encolpio encounters one bizarre and surreal scene after another. Credits: TheMovieDb. Film Cast: Encolpio: Martin Potter Ascilto: Hiram Keller Gitone: Max Born Eumolpo: Salvo Randone Trimalcione: Mario Romagnoli Fortunata: Magali Noël Trifena: Capucine Vernacchio: Fanfulla Il predone: Gordon Mitchell Minotauro: George Eastman Il capitano: Carlo Giordana Enotea: Donyale Luna Arianna: Elisa Mainardi Proconsole: Marcella Di Falco L’imperatore: Tanya Lopert La schiavetta: Hylette Adolphe Il suicida: Joseph Wheeler La matrona: Lucía Bosè Abinna: Giuseppe Sanvitale Scintilla: Danika La Loggia Lica: Alain Cuny Orgy Musician: Richard Simmons Liberto arricchito: Eugenio Mastropietro Theather Group Woman (uncredited): Maria Mascarielli (uncredited): Dalia Zagni (uncredited): Ottaviano Dell’Acqua …: Genius …: Catharina Dahlin (uncredited): René Fiorentini Party Guest (uncredited): Nadia Balabine Imperatore nella rappresentazione: Alvaro Vitali Film Crew: Original Music Composer: Nino Rota Story: Federico Fellini Co-Writer: Brunello Rondi Producer: Alberto Grimaldi Set Decoration: Danilo Donati Director of Photography: Giuseppe Rotunno Editor: Ruggero Mastroianni Story: Bernardino Zapponi Novel: Petronius Original Music Composer: Tod Dockstader Original Music Composer: Ilhan Mimaroglu Original Music Composer: Andrew Rudin Production Design: Luigi Scaccianoce First Assistant Director: Maurizio Mein Second Assistant Director: Liliana Betti Line Producer: Enzo Provenzale Camera Operator: Giuseppe Maccari Makeup Artist: Rino Carboni Hair Department Head: Luciano Vito Production Manager: Roberto Cocco Unit Manager: Lamberto Pippia Script Supervisor: Norma Giacchero Visual Effects: Joseph Nathanson Assistant Editor: Adriana Olasio Second Assistant Director: Lia Consalvo Movie Reviews:

[dozydawn]

danilo donati

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One Dress a Week Challenge

February: Orange Redux

The Taming of the Shrew / Bice Valori as Widow

Here you can see the contrast between Irene Sharaff's designs for Elizabeth Taylor and the costumes for the rest of the movie by Danilo Donati. I'll quote from the writeup at Frock Flicks: "It is SUCH a great example of an era of Italian Renaissance costuming that is rarely done on film. The 1520s and 1530s got a bit weird with big sleeves, big hats, big skirts … just big everything."

[fashionbooksmilano]

Embodying Pasolini

Foreword by Tilda Swinton, Text by Olivier Saillard and Clara Tosi Pamphili, Photographs by Ruediger Glatz

Rizzoli, New York 2022, 112 pages,  26.19 x 31.6 cm, Hardcover,  ISBN  978-0847872725

euro 78,00

email if you want to buy :booksinprogressmilano@yahoo.it

Longtime creative collaborators Tilda Swinton and Olivier Saillard present an illustrated tribute to the costumes of legendary Italian director Pier Paolo Pasolini’s iconic films.   Retracing Pier Paolo Pasolini’s entire cinematography—which continues to fascinate audiences almost half a century after his passing—Embodying Pasolini explores the costumes that brought his films to life. From The Gospel According to St. Matthew (1964), The Canterbury Tales (1972), and Arabian Nights (1974) to Salò, or the 120 Days of Sodom (1975), Pasolini’s movies are known for their provocative flair—making them staples of art cinema’s golden age. Styled by Danilo Donati, the costumes—garments, coats, and hats—enlivened the films with their rich textures, volume, color, and embellishments.  This exquisite volume documents the eponymous performance that took place in Rome on July 25, 2021, in Solomeo on April 30, 2022, and which will be presented in Paris on December 3 through 10, 2022. Conceived by Olivier Saillard and poetically interpreted by Tilda Swinton, the sold-out event—an ephemeral artwork in itself—showcased thirty of the most influential costumes of Pasolini’s films. With fascinating texts by Swinton, Saillard, and Clara Tosi Pamphili and evocative photographs by Ruediger Glatz, this publication—part art object, part catalog—is an extraordinary tribute to cinematic fashion and the sole record of the critically acclaimed production.

17/03/23

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[sesiondemadrugada]

Flash Gordon (Mike Hodges, 1980).

[delectablywaywardbeard-blog]

In mostra 30 abiti del 'Romeo and Juliet' di Zeffirelli

Oltre 30 costumi originali indossati durante le riprese del film Romeo and Juliet del 1968 diretto da Franco Zeffirelli con Olivia Hussey e Leonard Whiting, realizzati da casa d’Arte Cerratelli, in mostra dal 16 gennaio al 18 febbraio nella sala della musica della Fondazione Zeffirelli a Firenze. . ‘Romeo&Giulietta, i costumi da Oscar di Danilo Donati dal film del 1968 di Franco Zeffirrelli’ il…

[the-embroidered-screen]

Embroidered wit a Star Advent Calendar 6

Flash Gordon, 1980, costume design by Danilo Donati

[byneddiedingo]

Oedipus Rex (Pier Paolo Pasolini, 1967)

Cast: Franco Citti, Silvana Mangano, Alida Valli, Carmelo Bene, Julian Beck, Luciano Bartoli, Francesco Leonetti, Ahmed Belhachmi, Giovanni Ivan Scratuglia, Giandomenico Davoli, Ninetto Davoli. Screenplay: Pier Paolo Pasolini, based on a play by Sophocles. Cinematography: Giuseppe Ruzzolini. Production design: Luigi Scaccianoce. Costume design: Danilo Donati. Film editing: Nino Baragli.  

Pier Paolo Pasolini's Oedipus Rex is sometimes raw and rough-edged by the standards of mainstream cinema. The Technicolor camerawork is often very beautiful, with its astonishing images of the Moroccan desert and ancient buildings, but there are some bobbles in the hand-held camera sequences that move beyond shakycam into wobbly-out-of-focuscam. Franco Citti, who made his debut in the title role of  Pasolini's Accattone (1961) and appeared in many of his other films, is a bit out of his depth as Oedipus, but Silvana Mangano is an impressive-looking Jocasta, and Julian Beck is a suitably foreboding Tiresias. Pasolini's screenplay does justice to its Sophoclean origins as well as to the perdurable myth, although the frame story that begins in Italy during the Mussolini era, with the Fascist anthem "Giovinezza" on the soundtrack, and ends in Pasolini's present seems extraneous. But the truly astonishing contribution to the film was made by costume designer Danilo Donati, whose eerie designs, seemingly cobbled together from scrap metal, clay, and leaves and branches, don't belong to any particular era but have the right aura of primitive myth.