#franco brusati

[sslimbo]

[byneddiedingo]

Leonard Whiting and Olivia Hussey in Romeo and Juliet (Franco Zeffirelli, 1968)

Cast: Leonard Whiting, Olivia Hussey, John McEnery, Milo O'Shea, Pat Haywood, Robert Stephens, Michael York, Bruce Robinson. Screenplay: Franco Brusati, Masolino D'Amico, Franco Zeffirelli, based on a play by William Shakespeare. Cinematography: Pasqualino De Santis. Production design: Lorenzo Mongiardino. Film editing: Reginald Mills. Music: Nino Rota.

This is prime Zeffirelli, when he was attracting attention for not only movies but also operas with lavish sets and traditional costumes. His style has fallen out of favor now: Both moviegoers and opera lovers now want a fresh point of view on the classics. His 1998 production of La Traviata at the Metropolitan Opera was replaced in 2011 by the minimalist Willy Decker production whose action took place on a large clock face. And in 1996, Baz Luhrmann's movie Romeo + Juliet set the story of the star-crossed lovers in the fictional, gang warfare-riddled town of Verona Beach. But Zeffirelli's 1968 version of Romeo and Juliet remains fresh, largely because it is one of the few Shakespeare plays that lend themselves to movies: It has as much passionate romance and lively action as a moviegoer could want, and if you throw in a little discreet nudity, as Zeffirelli did, what's not to like?* Well, it could be a little more respectful to Shakespeare's verse, large chunks of which are cut for the sake of lively, breathtaking swordfights. Gone, for example, is Juliet's rapturous soliloquy in Act III, Scene II:

Come, gentle night, come, loving black-brow'd night, Give me my Romeo, and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun.

And when Juliet is preparing to drink the potion that will simulate death, we get none of her terrors of being sealed in the Capulet tomb. Zeffirelli's version is a safe compromise between the too-reverent George Cukor production for MGM in 1936, and Luhrmann's souped up modern version, but Leonard Whiting and Olivia Hussey are preferable to the aging Norma Shearer and Leslie Howard, and they handle the verse better than Leonardo DiCaprio and Claire Danes did in Luhrmann's film. One thing the Zeffirelli film also has going for it is Nino Rota's score, which grew over-familiar when it became a best-selling LP but is still evocative today. And there are some good actors in the cast, including Michael York's Tybalt, Pat Heywood's Nurse, and Milo O'Shea's Friar Lawrence, not to mention Laurence Olivier's uncredited narrator. (Olivier also supplied the voice for the Italian actor playing Montague.)

*Whiting and Hussey later found something not to like about the nudity, and filed suit in 2022, saying that they were underage at the time of the filming and had been tricked by Zeffirelli into the nude scene. The suit was dismissed, but they have said they would appeal the decision.

[claudiotrezzani]

L'avrete vista, la scena della partita.

La "scena della partita"?

Sì, in "Pane e cioccolata", di Franco Brusati.

Nino Manfredi entra in un bar tedesco per assistere - mercè condiviso apparecchio televisivo - ad un evento calcistico.

Lo chiamano "Herr", Nino, perché si era tinto i capelli di biondo.

Ma quando segna l'Italia, non resiste.

"Goal, goal!" con la disperazione per una identità troppo a lungo trattenuta.

Così il passante di Catia Montagna.

No, non si dispera e non grida, lui.

E non sappiamo se è italiano o no.

Ma anela ritrovarsi in un linguaggio, lui.

Anela congiungersi  - ricongiungersi? - ad una identità, lui.

Struggente l'atmosfera che Catia ha saputo conferire.

Freddo, oscurità.

Un paralume pare fumare, ma dev'essere qualcosa sul vetro.

E dentro, l'oasi.

Oasi di luce ch'ospita attori.

Rappresentazione del reale che incontra il reale vero.

Fotografia - ma par schermo, ancora, televisivo, per luminosa nettezza - in fotografia.

E fuori, desiderio.

Sapete, il viandante forse sta anche leggendo la parola "mozzarella" sul semibuio pannello.

Ecco, allora, italianità.

Qualsiasi nazionalità, epperò, potrebbe.

Potrebbe dipingere quell'universale saudade che muove Οδυσσευς, un dì, al ritorno.

All rights reserved

Claudio Trezzani

[agrpress-blog]

20 anni senza Nino Manfredi Vent’anni fa moriva Nino Manfredi, inte... #ninomanfredi https://agrpress.it/20-anni-senza-nino-manfredi/?feed_id=5724&_unique_id=66632b33b235a

[gatutor]

Virna Lisi "The girl who couldn´t say no" (Il suo modo di fare) 1968, de Franco Brusati.

[lacinemaniaca]

Nino Manfredi e Anna Karina in "Pane e cioccolata" (1974)

[lookoutkid]

Nino Manfredi - Pane e cioccolata (Franco Brusati, 1973)

[mtonino]

Il disordine (1962) Franco Brusati

Jean Sorel and Antonella Lualdi in Il Disordine (1962)

[andrealilli]

Pane e cioccolata, di Franco Brusati (1974)

Pane e cioccolata, di Franco Brusati (1974)

di Andrea Lilli – Questo è il felice incontro sul set tra Nino Manfredi (Castro dei Volsci 1921) e Franco Brusati (Milano 1922), due caratteri che, a parte l’età e una laurea in Legge inutile per entrambi, avevano in comune davvero poco. Di radici contadine il primo, di estrazione alto-borghese il secondo, a cinquant’anni trovano una singolare convergenza su un tema, quello dell’emigrazione,…

[falsenote]

[indiasong]

Pane e cioccolata (1974, Franco Brusati)

[doncinema-blog]

[storyofmorewhoa]

I wrote a film review for a class several semesters ago and thought I’d post it. We had to follow a specific template, so I hope this isn't too difficult to read.

Film Review: Romeo and Juliet (1968)

Bruce Robinson wrote the screenplays for two influential films: The Killing Fields (1984) and Withnail and I (1987). The Killing Fields is about the Cambodian genocide of the 1970s. Withnail and I is a comedy about two destitute young actors in the 1960s. Killing Fields concludes with John Lennon’s idealistic “Imagine.” Withnail concludes with a Shakespearean soliloquy. Both films are acclaimed as masterpieces in their own rite: Killing Fields for its brutal poignancy while preserving a core of tenderness and sensitivity; Withnail for its dry and self-deprecatingly witty portrait of young people with classical aspirations amid squalor. However, the general public is far more familiar with another film that Robinson worked on— a film which is both about young people eloquently struggling to maintain their individuality in the face of desperate circumstances, and is also very much a reflection of the violent realities of the late 1960s that bled into the 1970s amidst the age of “Peace and Love.”

Romeo and Juliet (1968) was directed by Franco Zeffirelli under Paramount Pictures. The film is an adaptation of the William Shakespeare play which was written between 1591-1595. The screenplay was adapted by Zeffirelli, Franco Brusati, and Masolino D’Amico. It stars: Olivia Hussey as Juliet, Leonard Whiting as Romeo, Michael York as Tybalt, John McEnery as Mercutio, Bruce Robinson as Benvolio, Pat Heywood as the Nurse, Milo O’Shea as Friar Laurence, Robert Stephens as the Prince, Natasha Parry as Lady Capulet, Paul Hardwick as Lord Capulet.

The film seamlessly combines the elements of a traditional Shakespearean period film with the energy of its young leading characters. The production value found in the detailed costumes, authenticity of the Italian setting, and the training necessary for the fencing duels set the framework of an impressively crafted film. However, what truly makes the film come alive is its cast and the way it utilizes their vitality and exuberance. This skillful insertion of young actors into a highly researched and expertly constructed Shakespearean period film perfectly creates a world that looks and feels totally inhabited. The characters and events of the film have a sense of excitement and urgency that few other screen adaptations of Shakespeare’s plays have been able to rival.

The central theme of the film is the fragility of youth in spite of its passion and bravado. If youthful exuberance is not provided with a viable outlet, is mistreated and not nurtured, that energy self-implodes. Each character is grappling in some way with youth. Even the adults are dealing with what they did when they were young, what was expected of them, and what they expect of young people. For example, Friar Lawerance expects Romeo to be wise and cautious. Lord and Lady Capulet hypocritically expect Juliet to marry Paris even though Capulet says “too soon marred are those so early made.” Some characters like Mercutio deny or rebel against social dictates and expectation. Others accept it and try to reconcile it with some grace, like Friar Lawerance and Benvolio. Romeo and Juliet however, revel in their youth and the time they have together.

The key moment of the film is the balcony scene. The scene begins when Romeo, having just snuck away from his friends, happens into a secluded area of the Capulet grounds that is thick with trees, shrubbery, and vines. As composer Nino Rota’s soft and delicate “Love Theme” plays, the camera follows Romeo’s point of view, past the overgrowth, to reveal Juliet alone on the balcony. Juliet’s skin tone and the simplicity of her dress match the bare unadorned pale walls of the mansion’s exterior. This is the first time in the film Juliet is shown with her hair down, and her beauty is complimented by the lush and verdant plant life that frames her. All this suggests that Juliet is a part of the natural world, apart from the violence and rigidity of Veronese society. It feels as though Romeo has truly made some totally new discovery in finding her. Likewise, in reflecting upon her meeting with Romeo, Juliet discovers her own emotions and sensuality. Whitting’s athleticism is also displayed as he climbs over a wall, climbs a tree, and jumps from the tree onto the edge of Juliet’s balcony. The actors are wonderfully able to channel physicality, passion, and excitement into the scene.

The major criticism against the movie is of Hussey and Whitting’s performances regarding the film’s more tragic elements, and their performances’ reliance on buttressing from the film’s other actors who possess more training and experience. However, Hussey and Whitting’s ability to portray excitement and passion far surpasses any negative criticism wielded against their performances. Their telegenic qualities and the chemistry they have with everything from other actors to the scenery, makes their performances paramount to the film’s success. This energy makes the plot’s unfolding events feel relevant and urgent in spite of the opening narration revealing that the film will conclude with the titular couple’s deaths.

Lastly, at the time of its release, the film’s juxtaposition of pointless violence against love and beauty resonated with audiences as they witnessed televised footage of America’s military involvement in Vietnam and the Flower Power movement. The needlessness of Verona’s bloody street brawls voiced by the Prince echoed how many felt about the Vietnam War. Juliet’s long hair lent itself to the naturalism that hippie counterculture aspired to, and the hairstyles of the young Capulet and Montague men are suggestive of Beatle haircuts and mod fashion. The film’s ability to simultaneously capture Renaissance Italy and the late 1960s tells of how well in tune Zeffirelli was with what was happening in the world.

[agrpress-blog]

Il grande attore americano, interprete di film come Invito a una sparatoria di Richard Wilson, Quiller memorandum di Michael Anderson, Chi ha paura di Virginia Woolf? di Mike Nichols, Il gufo e la gattina di Herbert Ross, Un tocco di classe di Melvin Frank, California Poker di Robert Altman e molti altri, avrebbe novant’anni. Nato a Great Neck - nello Stato di New York - nel febbraio 1934 (è morto nel marzo del 2021) da genitori figli di emigrati russi, si diploma alla Columbia University e frequenta l’Actor’s Studio. Dopo alcune apparizioni televisive, esordisce al cinema all’inizio degli anni Sessanta in Giorni senza fine (1961) di Phil Karlson, con Ben Gazzara e Fredric March, e, nel ’62, fa parte del cast corale di Il giorno più lungo di Ken Annakin e Andrew Marton, tratto dall’omonimo saggio storico (1959) di Cornelius Ryan sullo sbarco in Normandia. Segue un’intensa stagione - che durerà per circa vent’anni - da comprimario e poi da protagonista, dal western psicologico - Invito a una sparatoria (1964) di Richard Wilson, con Yul Brynner - al film di spionaggio - l’ottimo Quiller memorandum (1966), scritto da Harold Pinter, diretto da Michael Anderson ed interpretato anche da Senta Berger e Max von Sydow); è un pittore nel drammatico-grottesco La nave dei folli (1965) di Stanley Kramer, con Simone Signoret e Vivien Leigh (al suo ultimo film); ottiene una nomination all’Oscar come Miglior Attore non Protagonista per Chi ha paura di Virginia Woolf? (1966) di Mike Nichols, tratto dall’opera teatrale omonima di Edward Albee, ed interpretato da Elizabeth Taylor e Richard Burton. A prove drammatiche - Loving, gioco crudele (1970) di Irving Kershner - e di grande intensità - Il mio uomo è una canaglia (1971) di Ivan Passer - alterna commedie più indiavolate ed eccentriche come Il gufo e la gattina (1970) di Herbert Ross, con Barbra Streisand, Un tocco di classe (1973) di Melvin Frank, con Glenda Jackson, California Poker (1974) di Robert Altman, con Elliot Gould. Negli anni Ottanta e Novanta, sia pur continuando a lavorare a pieno ritmo, la sua carriera cinematografica si avvia verso il declino e Segal si orienta al film tv - Intrigo a Berlino (1984) di James Dearden ed alle serie televisive. Le sue apparizioni al cinema si orienteranno a ruoli di secondo piano, come ad esempio Senti chi parla (1989) di Amy Heckerling, con Kristie Alley e John Travolta, Giorni di gloria… giorni d’amore (1991) di Mark Rydell, Un orso chiamato Arturo (1992) di Sergio Martino, con Carol Alt, Senti chi parla adesso! (1993) di Tom Ropelewski, con K. Alley, J. Travolta e Elias Koteas, Caccia mortale (1993) di Vic Armstrong, Da morire (1995) di Gus Van Sant, Babysitter… Un thriller (1995) di Guy Ferland, Il rompiscatole (1996) di Ben Stiller, L’amore ha due facce (1996) di Barbra Streisand, con B. Streisand, Jeff Bridges, Lauren Bacall e Pierce Brosnan. Fra gli altri film ricordiamo Squadra di emergenza (1964) di John Rich, Qualcuno da odiare (1965) di Bryan Forbes, Né onore né gloria (1966) di Mark Robson, con Claudia Cardinale, Il massacro del giorno di San Valentino (1967) di Roger Corman, Addio Braverman (1968) di Sidney Lumet, Non si maltrattano così le signore (1968) di Jack Smight, con Rod Steiger e Lee Remick, Il suo modo di fare (1968) di Franco Brusati, Il ponte di Remagen (1969) di John Guillermin, La pietra che scotta (1972) di Peter Yates, con Robert Redford, Una pazza storia d’amore (1973) di Paul Mazursky, Roulette russa (1975) di Lou Lombardo, La volpe e la duchessa (1976) con Goldie Hawn e Marito in prova (1979) con G. Glackson entrambi di Melvin Frank, Rollercoaster - Il grande brivido (1977) di James Goldstone, con Richard Widmark, Henry Fonda ed una giovanissima Helen Hunt (al suo esordio cinematografico), Non rubare se non è strettamente necessario (1977) e Qualcuno sta uccidendo i più grandi cuochi d’Europa (1978), di Ted Kotcheff, Sfida alla vita (1985) di Michael Tuchner, Scherzare con il fuoco (1985) di Burt

Reynolds, Heights (2004) di Chris Terrio, 13 giorni a Las Vegas (2007) di Charlie Picerni, 2012 (2009) di Roland Emmerich, Amore & altri rimedi (2010) di Edward Zwick, Elsa &Fred (2014) di Michael Radford, con Christopher Plummer e Shirley MacLaine. Molto attivo, come già detto, anche in televisione, è apparso in vari film tv - Death of a Salesman (1966) di Alex Segal, Le piccanti avventure di Robin Hood (1984) di Ray Austin - ed in alcuni episodi di serie e miniserie - Channing (1963), La signora in giallo (1993), Just Shoot Me (1997-2003), circa centocinquanta episodi , Law & Order - Unità vittime speciali (2003), Retired at 35 (2011-13, oltre venti episodi), The Goldbergs (2013-21, oltre centosettanta episodi).

[elcinelateleymickyandonie]

Jean-Pierre Aumont.

Filmografía

Cine

1931 : Jean de la Lune, de Jean Choux, con Michel Simon y Madeleine Renaud

1931 : Échec et mat, de Roger Goupillières

1932 : Faut-il les marier ?, de Pierre Billon y Karel Lamač

1933 : Dans les rues, de Victor Trivas

1933 : Un jour viendra, de Gerhard Lamprecht y Serge Véber

1933 : La Merveilleuse Tragédie de Lourdes, de Henri Fabert

1933 : Ève cherche un père, de Mario Bonnard

1934 : Lac aux dames, de Marc Allégret, con Simone Simon y Michel Simon

1934 : Le Voleur, de Maurice Tourneur, con Victor Francen

1934 : Maria Chapdelaine, de Julien Duvivier, con Madeleine Renaud y Jean Gabin

1935 : Les Yeux noirs, de Victor Tourjansky, con Harry Baur, Viviane Romance y Simone Simon

1935 : L'Équipage, de Anatole Litvak, con Annabella y Charles Vanel

1935 : Les Beaux Jours, de Marc Allégret, con Simone Simon y Raymond Rouleau

1936 : Tarass Boulba, de Alexis Granowsky, con Harry Baur y Danielle Darrieux

1936 : La Porte du large, de Marcel L'Herbier, con Victor Francen

1937 : Le Chemin de Rio, de Robert Siodmak, con Jules Berry y Suzy Prim

1937 : Drôle de drame ou L'étrange aventure de Docteur Molyneux, de Marcel Carné, con Louis Jouvet y Michel Simon

1937 : Le Messager, de Raymond Rouleau, con Jean Gabin y Gaby Morlay

1937 : Maman Colibri, de Jean Dréville

1937 : La Femme du bout du monde, de Jean Epstein, con Charles Vanel

1938 : Chéri-Bibi, de Léon Mathot, con Pierre Fresnay

1938 : Hôtel du Nord, de Marcel Carné, con Annabella, Louis Jouvet y Arletty

1938 : Le Paradis de Satan, de Félix Gandéra, con Pierre Renoir

1938 : Belle Étoile, de Jacques de Baroncelli, con Michel Simon

1939 : Le Déserteur, de Léonide Moguy

1939 : S.O.S. Sahara, de Jacques de Baroncelli, con Charles Vanel

1943 : Assignment in Brittany, de Jack Conway

1943 : The Cross of Lorraine, de Tay Garnett, con Gene Kelly

1944 : Croix de Lorraine en Italie, corto de François Villiers

1946 : Heartbeat, de Sam Wood, con Ginger Rogers

1947 : Song of Scheherazade, de Walter Reisch

1948 : The first gentleman, de Alberto Cavalcanti

1948 : Siren of Atlantis, de Arthur Ripley y Gregg G. Tallas, con Maria Montez

1949 : Hans le marin, de François Villiers, con Maria Montez y Lilli Palmer.

1949 : Golden Arrow, de Gordon Parry

1950 : La vie commence demain, documental de Nicole Vedrès

1950 : L'Homme de joie, de Gilles Grangier

1951 : L'Amant de paille, de Gilles Grangier

1951 : La vendetta del corsaro, de Primo Zeglio, con Maria Montez

1951 : Ultimo incontro, de Gianni Franciolini, con Alida Valli y Amedeo Nazzari

1951 : Hollywood sur Seine, corto de François Villiers

1952 : Les loups chassent la nuit, de Bernard Borderie

1953 : Moineaux de Paris, de Maurice Cloche

1953 : Lili, de Charles Walters, con Leslie Caron y Mel Ferrer

1953 : Kœnigsmark, de Solange Térac

1953 : Vedettes en pantoufles, corto de Jacques Guillon

1954 : Charge of the lancers, de William Castle, con Paulette Goddard

1954 : Si Versailles m'était conté..., de Sacha Guitry

1955 : Dix-huit heures d'escale, de René Jolivet, con Maria Mauban y Georges Marchal

1955 : Napoléon, de Sacha Guitry

1955 : Mademoiselle de Paris, de Walter Kapps

1956 : Hilda Crane, de Philip Dunne, con Jean Simmons

1957 : The seventh sin, de Ronald Neame

1959 : La Verte Moisson, de François Villiers

1959 : John Paul Jones, de John Farrow, con Robert Stack y Bette Davis

1960 : The Enemy general, de George Sherman, con Van Johnson yt Dany Carrel

1961 : Una americana en Buenos Aires, de George Cahan

1961 : El diablo a las cuatro, de Mervyn LeRoy, con Spencer Tracy y Frank Sinatra

1961 : Le Puits aux trois vérités, de François Villiers

1961 : L'Art de vivre, corto de Edouard Berne

1962 : Les Sept Péchés capitaux, episodio "L'Orgueil", con Marina Vlady y Samy Frey

1962 : Five miles to midnight, de Anatole Litvak, con Sophia Loren y Anthony Perkins

1962 : Una domenica d'estate, de Giulio Petroni

1962 : The horse without a head, de Don Chaffey

1962 : Socia de alcoba, de George Cahan

1963 : Vacances portugaises, de Pierre Kast

1965 : Il était une fois un tracteur, de Leopoldo Torre Nilsson

1967 : Blind man's bluff, de Edward Mann, con Boris Karloff

1969 : Castle keep, de Sydney Pollack, con Burt Lancaster

1970 : El coleccionista de cadáveres, de Santos Alcocer

1971 : L'Homme au cerveau greffé, de Jacques Doniol-Valcroze

1971 : Biribi, de Daniel Moosmann

1973 : La noche americana de Franço.

Televisión

1951 : Robert Montgomery Presents, episodio A christmas gift

1951 : Celanese Theatre, episodio No Time for Comedy

1952 : Goodyear Television Playhouse, episodio A Softness in the Wind

1952 : Studio One, episodio Letter from an Unknown Woman

1953 : The Philco Television Playhouse, episodio The Way of the Eagle

1953 : Lux Video Theatre

1954 : Lady Warner a disparu, de François Chatel

1954 : Studio 57, de Paul Landres

1955 : The Martha Raye Show

1956 : Climax!

1957 : Errol Flynn Theater, de Lawrence Huntington

1957 : Kraft Television Theatre

1958 : Playhouse 90

1960 : Letter to Loretta

1960 : So Help Me, Aphrodite

1960 : The United States Steel Hour

1963 : The Patty Duke Show

1963 : L'Affaire du cheval sans tête

1965 : The Nurses

1967 : Le comte Yoster a bien l'honneur, episodio "La troisième prophétie de l'ange de la mort"

1968 : Les Chevaliers du ciel, de François Villiers

1968 : The Name of the Game, episodio "The White Birch"

1969 : Au théâtre ce soir: Carlos et Marguerite de Jean Bernard-Luc, escenografía de Christian-Gérard, dirección de Pierre Sabbagh, Teatro Marigny

1970 : La Pomme de son œil, de François Villers

1972 : Comme il vous plaira, de Agnès Delarive

1972 : Joyeux Chagrins, de François Gir

1975 : Au théâtre ce soir: On croit rêver, de Jacques François, escenografía del auteur, dirección de Pierre Sabbagh, Teatro Edouard VII

1975 : N'oubliez pas que nous nous aimons, de Luc Godevais

1976 : Starsky y Hutch, de William Blinn, episodio "Murder at Sea"

1977 : Rendez-vous en noir, de Claude Grinberg

1978 : La Corde au cou, de Marcel Moussy

1979 : Paris-Vichy, de Anne Revel

1979 : Le Petit Théâtre d'Antenne 2: "La Belette", de Charles Vildrac

1979 : The Love Boat", 1 episodio

1979 : The French Atlantic Affair, de Douglas Heyes

1979 : Beggarman, voleur, de Lawrence Doheny

1980 : La Mémoire d'Eva Ryker, de Walter Grauman

1980 : Un temps pour les miracles, de Michael O'Herlihy

1981 : Carte Vermeil, de Alain Levent

1981 : Arcole ou la terre promise, de Marcel Moussy

1981 : Emmenez-moi au théâtre, "Le fleuve étincellant", de Charles Morgan

1982 : Hart to Hart, de Earl Bellamy

1983 : Quelques hommes de bonne volonté.

Teatro

Adaptación

1958 : Lucy Crown, de Irwin Shaw, escenografía de Pierre Dux, Théâtre de Paris

Autor

1959 : Ange le Bienheureux, escenografía de Jacques Charon, Théâtre des Célestins

Actor

1926 : Au grand large, de Sutton Vane, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1926 : Le Carrosse du Saint Sacrement, de Prosper Mérimée, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1930 : Le Prof d'anglais ou le système Puck, de Régis Gignoux, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1932 : La Pâtissière du village ou Madeleine, de Alfred Savoir, escenografía de Louis Jouvet, Théâtre Pigalle

1934 : Au grand large, de Sutton Vane, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1934 : La Machine infernale, de Jean Cocteau, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1936 : Le Cœur, de Henry Bernstein, Théâtre du Gymnase Marie-Bell

1937 : Famille, de Denys Amiel y Monique Amiel-Pétry, escenografía de Marcel André, Théâtre Saint-Georges

1939 : L'Amant de paille, de Marc-Gilbert Sauvajon y André Bost, escenografía de Jean Wall, Théâtre Michel

1944 : Une grande fille toute simple, de André Roussin, escenografía de Louis Ducreux, Théâtre des Ambassadeurs

1947 : L'Empereur de Chine, de Jean-Pierre Aumont, escenografía de Marcel Herrand, Théâtre des Mathurins

1949 : My Name Is Aquilon, a partir de L'Empereur de Chine, de Jean-Pierre Aumont, adaptación de Philip Barry, escenografía de Robert B. Sinclair, Lyceum Theatre (Nueva York)

1950 : Le Voyage, de Henry Bataille, escenografía de Henri Bernstein, Théâtre des Ambassadeurs

1953 : Les Pavés du ciel, de Albert Husson, escenografía de Christian-Gérard, Théâtre des Célestins

1954 : Carlos et Marguerite, de Jean Bernard-Luc, escenografía de Christian-Gérard, Théâtre de la Madeleine

1954 : Les Pavés du ciel, de Albert Husson, escenografía de Christian-Gérard, Comédie Caumartin

1955 : Il y a longtemps que je t'aime, de Jacques Deval, escenografía de Jean Le Poulain, Teatro Edouard VII

1955 : The Heavenly Twins, a partir de Les Pavés du ciel, de Albert Husson, escenografía de Cyril Ritchard, Booth Theatre

1956 : Amphitryon 38, de Jean.

1958 : L'Impromptu de Barentin, de André Maurois, Festival de Barentin

1959 : Ange le Bienheureux, de Jean-Pierre Aumont, escenografía de Jacques Charon, Théâtre des Célestins

1959 : Mon père avait raison, de Sacha Guitry, escenografía de André Roussin, Théâtre de la Madeleine

1960 : A Second Sting, de Lucienne Hill a partir de Colette, escenografía de Raymond Gérôme, Eugene O'Neill Theatre (Nueva York)

1962 : Flora, de Fabio Mauri y Franco Brusati, escenografía de Jules Dassin, Théâtre des Variétés

1963 : Tovarich, de Anne Croswell y Lee Pockriss, escenografía de Peter Glenville, Broadway Theatre, Winter Garden Theatre

1970 : Camino Real, de Tennessee Williams, escenografía de Milton Katselas, Vivian Beaumont Theatre (Nueva York)

1971 : Les Anges meurtriers, de Conor Cruise O'Brien, escenografía de Joan Littlewood, Théâtre de Chaillot

1971 : Murderous Angels, de Conor Cruise O'Brien, escenografía de Gordon Davidson, Playhouse Theatre (Nueva York)

1972 : Nous irons à Valparaiso, de Marcel Achard, escenografía de Jacques-Henri Duval, Théâtre des Célestins, Giras Herbert-Karsenty

1975 : Des journées entières dans les arbres, de Marguerite Duras, escenografía de Jean-Louis Barrault, Théâtre d'Orsay

1976 : Des journées entières dans les arbres, de Marguerite Duras, escenografía de Jean-Louis Barrault, Ambassadors Theatre (Nueva York)

1981 : A Talent for Murder, de Jerome Chodorov y Norman Panama, escenografía de Paul Aaron, Teatro Biltmore (Nueva York)

1982 : Coup de soleil, de Marcel Mithois, escenografía de Jacques Rosny, Théâtre Antoine

1984 : Pense à l’Afrique, a partir de Think of Africa, de Gordon Dryland, escenografía de Jean-Pierre Granval, Théâtre Renaud-Barrault.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Jean-Pierre_Aumont

#HONDURASQUEDATEENCASA

#ELCINELATELEYMICKYANDONIE

[corallorosso]

Nino Manfredi, “Pane e cioccolata” (Franco Brusati, 1973) giffeteria