#tino orsini

[susiehunsecker-remade]

burt lancaster and tony curtis in trapeze (1956)

[delectablywaywardbeard-blog]

Confindustria, Emanuele Orsini si candida alla presidenza

In via dell’Astronomia è stata formalizzata – a quanto si apprende – la candidatura di Emanuele Orsini per la prossima presidenza di Confindustria.     Vicepresidente uscente, negli ultimi quattro anni ha avuto la delega per credito, finanza e fisco: emiliano, classe 1973, è imprenditore nell’edilizia in legno con Sistem Costruzioni e nell’alimentare con Tino Prosciutti.     Riproduzione…

[justlikeeddie]

HERE IT IS, as promised, my extremely accurate summary of stunningly homoerotic circus melodrama TRAPEZE, to ‘call me maybe’. truly the visual content that carly rae has been waiting for. if you haven’t seen this film then a) my god you should and b) i think you will find this vid provides a useful overview of what to expect

@confusinglyamusingly and @sixohsixoheightfourtwo and i decided it would be fun to use relatively limited source material (this 105-minute film) and see how similar or different our three vids would turn out. whether we should have done this with a film that more than about 10 people on the internet care about i do not know. anyway you can of course judge for yourself by rewatching @confusinglyamusingly‘s masterpiece KISS WITH A FIST and by looking out for something great by @sixohsixoheightfourtwo in the near future

EDITED TO ADD: it is the near future and you can now enjoy the full triptych by watching the beautiful OH NO by @sixohsixoheightfourtwo

[lesbiancolumbo]

the burt and tony homoerotic subtext is the only common denominator in all my thoughts right now. i just really wish i could ask tony curtis why he played both sidney and tino the exact same way I acted in front of my gay high school crush though you know?? he woke up and said today I will play a barely repressed twink. and then he just did it

tony curtis will read a script of a hecht hill lancaster production and say ugh, i can’t believe i’m gonna play this character like the stupid little homo that he is. and james hill and harold hecht will be like well, you don’t have to, to which tony curtis is like no i’m gonna.

but for real it’s like insane because you watch him in trapeze and you’re like tony my dude what are you DOING and then you watch him a year later in ssos and it’s like tony. my dude. this is just tino orsini except dumber and maybe gayer and definitely more evil.

[speok]

Trapecio

Mike Ribble es uno de los pocos trapecistas que ha conseguido hacer el triple salto mortal. Sin embargo, tras sufrir un accidente con el trapecio, se vio obligado a trabajar como tramoyista en el circo. Tino, el hijo del gran trapecista Orsini, lo busca para que le enseñe a ejecutar el triple salto. Desgraciadamente, entre los dos se interpone Lola, cuyo único afán es triunfar en el circo…

[italianartsociety]

By Costanza Beltrami

The last documents referring to fourteenth-century painter Pietro Lorenzetti are dated between 18 September 1344 and 19 February 1345. They relate to the sale of some land he had bought a few years earlier on behalf of the sons of another artist, the sculptor Tino da Camaino. The documents regarding this sale are among the very few which refer to the artist and his work.

As documents are scant, Pietro Lorenzetti’s birth date is unknown. However, he must have been a relatively well-established master by the early 1310s, when he was commissioned several frescoes in the Lower Church of St Francis in Assisi: first a fictive triptych for the Chapel of Cardinal Napoleone Orsini, then an elaborate cycle of the Passion of Christ in the main body of the left transept. Underway in 1315, this work is striking for the inclusion of illusionistic devices such as the fictive chairs underneath the Crucifixion scene. Lorenzetti’s starry skies were was a great source of inspiration for painters of the following generation such as Taddeo Gaddi.

In the following years Lorenzetti worked in Arezzo, realizing several commissions which reveal his creative approach to the influence of the two great painters of the previous generation, Duccio and Giotto.

Lorenzetti then returned to Siena. On 27 June 1326 he was paid 26 lire for frescoes in the Opera del Duomo, within the Cathedral precinct. He also realized a now-dismembered panel for the Carmelites, a religious order which claimed to have its roots in the Ancient Testament and therefore to be the most venerable of all. Lorenzetti succeeded in giving a visual form to the Order’s propagandistic conceit.

In the following years Pietro, his brother Ambrogio and Simone Martini were engaged to paint the façade frescoes for the Hospital of Santa Maria della Scala in front of the cathedral, a rare case in which different painters were asked to work independently on single scenes within a larger fresco cycle. By this point Pietro must have been a recognized public figure in Siena, as in 1337 he was able to obtain the right to bear arms from the Civic authorities.

His later works in the city reveal his willingness to experiment with space. For example, a signed Virgin and Child Enthroned with Angels now at the Uffizi uses the structure of the Virgin’s throne and the monumentality of the figures to create three-dimensionality, while the amount of space given to the traditional golden background is cut down to a minimum.

Lorenzetti relied on this experience while painting his last surviving panel, the San Salvino Altarpiece for Siena Cathedral. Documents reveal a very interesting detail of the making of this painting: in December 1335 a grammar teacher known as ‘maestro Ciecho’ was paid to translate a text telling the story of Saint Sabinus’ life from Latin to the vernacular, so that it could be used to decide what to represent in the predella of this altarpiece. The work’s central panel is fascinating for its detailed reproduction of a contemporary room whose windows cleverly open onto the golden background traditionally employed in medieval altarpieces.

Reference: H. B. J. Maginnis. "Lorenzetti." Grove Art Online. Oxford Art Online. Oxford University Press, http://www.oxfordartonline.com/subscriber/article/grove/art/T051928pg1.

Panoramic view of the frescoes in the Lower Church of Assisi. 1320-40, fresco. Source: Web Gallery of Art.

Detail of the illusionistic seats below the crucifixion in the Lower Church of Assisi. 1320-40, fresco. Source: Wikimedia Commons.

Adoration of the Magi, c. 1340, tempera on wood. Musée du Louvre, Paris. Source: Web Gallery of Art.

Madonna Enthroned with Angels, 1340, tempera on wood. Galleria degli Uffizi, Florence. Source: Web Gallery of Art.

Crucifixion, fresco. San Francesco, Siena. Source: Web Gallery of Art.

Predella panel: Hermits at the Fountain of Elijah,1328-29, tempera on wood. Pinacoteca Nazionale, Siena. Source: Web Gallery of Art. St Sabinus before the Roman Governor of Tuscany, 1335-42, egg tempera on wood. National Gallery, London. Source: Web Gallery of Art.

The Birth of Mary, 1342, tempera on wood. Museo dell'Opera del Duomo, Siena. Source: Web Gallery of Art.

[giallofever2]

Storia di una monaca di clausura

Data di uscita: 9 novembre 1973

Regista: Domenico Paolella

Musica composta da: Piero Piccioni

Sceneggiatura: Tonino Cervi

Curiosità

Nello stesso anno stesso regista e stesso sceneggiatore girano Le monache di Sant'Arcangelo, con protagonista una giovanissima Ornella Muti. Entrambi i film si inseriscono nel cosiddetto filone conventuale del genere erotico italiano, molto in voga in quel periodo.

Il film si dichiara ispirato a fatti realmente accaduti, tratti da documenti d'archivio dell'Abbazia di San Giacomo. La didascalia finale del film recita:

«Suor Agnese del Bambino Gesù dedicò tutta la sua esistenza ad alleviare le sofferenze dei feriti nelle guerre, degli infermi, dei malati di peste e morì nello svolgimento della sua missione durante la pestilenza del 1671. Non è stata fatta santa e neppure beata.»

Cast

Eleonora Giorgi: Carmela Simoni, poi suor Agnese del Gesù

CATHERINE SPAAK: suor Elisabetta

Suzy Kendall: madre superiora

Giuliana Calandra: suor Rita

Martine Brochard: suor Lucia

Paola Senatore: Michela

Ann Odessa: suora spia

Clara Colosimo: suora anziana

Rina Franchetti: Tommasina, la suora portinaia

Caterina Boratto: marchesa moglie di Simoni

Tino Carraro: marchese Antonio Simoni

Umberto Orsini: Diego

Antonio Falsi: Giuliano

Konrad Georg: padre confessore

Isabelle Marchall: suora ladra

Barbara Herrera: Beatrice

Gil Cagnè: amico di Diego

Eleonora Morana: la contadina

[habitantes-oazj]

"Trapeze". 1956. Tony Curtis as Tino Orsini. Gina Lollobrigida as Lola. Directed by Carol Reed. Cinematography: Robert Krasker. United Artists

[londontheatre]

To Be Or Not To Be Scarlett O ‘Hara

The plot, or at least its conclusion, is clearly of little consequence in To Be Or Not To Be Scarlett O’Hara, in which Vivien Leigh (Sophia Eleni) goes on to play the iconic role in Gone With The Wind. At a rudimentary level, one could quite easily deduce that the sort of question posed by the show’s title is silly, even vacuous: why audition for a role, why go through the application process for a job, if the applicant ultimately has reservations about it? But an added element to the question is thrown in by film director George Cukor (Tino Orsini) – if Leigh were to turn down this role, because of the way Hollywood operated at the time, this would close doors to the movie industry permanently for her.

Vivien’s reaction to securing the part, which she seems to know is going to be “the role of the century” is certainly an unusual one. Larry (Federico Moro) – not yet Sir Laurence Olivier let alone Baron Olivier of Brighton – is not exactly jumping for joy at her announcement, but neither is she. The clipped tones of the era are quite a delight to listen to, and with a little more wry humour, this might have passed as a Noel Coward-esque play.

The script is riddled with personal details, which are more than permissible given the setting – after hours, in a hotel room. But this private conversation is very much a construct of the imagination, rather like Peter Morgan’s play The Audience, in which HM Queen Elizabeth II holds a private weekly audience with the Prime Minister. And like that other play, there’s always an element of knowing and consciously remembering that the conversation that takes place on stage may well be radically different to what was actually said that night.

An almost forensic dissection by Larry of a portion of the script for Gone With The Wind may have been quite tedious for some, or else pompous. This play becomes, for a while, a show about acting itself, a drama about drama. A line could be improved with different emphasis or a pause for effect, and so on.

And so on, and so on. It is, I suppose, the sort of creative process of redrafting and re-redrafting that occurs in the industry to this day, but to sit and watch a blow by blow account of it only made me think of the iconic line (not featured in this play): “Frankly, my dear, I don’t give a damn.”

Relations between Vivien and Larry are volatile, lurching from the heights of civility to all out sniping, and back again. Only the relatively late arrival of Cukor to the hotel room (having knocked first, of course) brings some order, even if only in the name of politeness in front of a guest. Their earlier vehement disagreements, however, come across as healthy – they are, after all, each able to understand what the other goes through in the audition process.

At a deeper level, the play’s critical incident poses a dilemma for Vivien, and it is here (without giving it all away) that the play’s title becomes a genuine conundrum. This show had, as I say, moments which I cared little, if anything, for. Nonetheless, it is a good show, with near-universal applicability. Very many people at some point have been asked or invited to do so something they have never done before, and have had to weigh up their options accordingly. A confident and compelling production.

Review by Chris Omaweng

To be or not to be Scarlett O’Hara’ tackles, with imagination, the moment immediately following the Christmas dinner of 1938 at George Cukor’s (the first director-in-charge of “Gone With The Wind”) home. In Donald Spoto’s biography of Laurence Olivier it’s told that, while dining, Cukor took Vivien to one side to tell her that she had been chosen for the role of Scarlett O’Hara and that everyone was happy for her “except, maybe, Larry”.

In this one act play, we meet the two famous actors back at their hotel room after the infamous dinner and see them deal with the shift that a golden opportunity such as interpreting the eternal role of Scarlett would have on their relationship. Just when the couple seems to find a balance, an unforeseen twist reveals itself. Fact or fiction? We will never know…

“To be or not to be” was Hamlet’s torment. Vivien’s. Or anybody’s.

More info on website: http://ift.tt/2oN5JcW

Venue: The Etcetera Theatre http://ift.tt/IyHGSw

http://ift.tt/2oN046A LondonTheatre1.com

[lesbiancolumbo]

nobody asked for this but because i can’t stop thinking about it, i’ve curated a list of the movie moments that make me the most insane. i feel like people’s favorite movies say so much about them, so enjoy getting to know me and feel free to share some of your own.

- the shoulder touch from brief encounter (1945) - all of the dance sequences but especially this one two punch from all that jazz (1979): the scene when all the women in joe’s life chastise him for continuing to slowly kill himself with drugs and alcohol and of course the last ten fucking minutes (spoilers obviously) - mikey reciting the kaddish at nicky’s mom’s grave in what is clearly an attempt to make amends for what he’s about to do in mikey and nicky (1976) - this shot from the apartment (1960):

- “i can’t live without him. i will die.” “stop crying. look at me. people only die of love in the movies.” from the umbrellas of cherbourg (1964) - john cassavetes cradling sidney poitier in the edge of the city (1957) - matthew macfadyen gaslighting julia garner in the assistant (2019) - susan leaving j.j. in sweet smell of success (1957) - “i touch you anyway, right on your ankle, and your skin is so soft that i wake up in sobs, okay?” (but really the entire car ride from before sunset (2004)) - this shot from jeanne dielman (1975):

- johnny licking omar’s cheek in my beautiful laundrette (1985) - mabel longhetti asking nick if he loves her and him being unable to respond in a woman under the influence (1974) - kirsten dunst’s serene calmness at the end of the world in melancholia (2011) - every time jerry lights two cigarettes in his mouth and gives one to charlotte in now, voyager (1942) - “hold her, hold her tight” the ending of criss cross (1949) is a fucking all-timer - harvey keitel cradling tim roth in reservoir dogs (1992) - mike ribble being told by his former lover that mothering is what all great loves come to and spending the rest of the movie mothering tino orsini in trapeze (1956)

- this shot from love streams (1984):

- not a scene but every time i think about john cassavetes being given months to live and using that time and energy to make love streams, a movie that we can try to understand as much as we want but it will never fully be for us - joel edgerton squeezing michael shannon’s shoulder in midnight special (2016) - the missed connection in in the mood for love (2001) - marvin telling tige that it’s been so long since someone told him they loved him that he can’t remember it anymore. marvin telling tige he loves him too. marvin wearing his dead wife’s pink bathrobe all the time. just all of john cassavetes and gibran brown in marvin & tige (1985) - barbara loden recalling her mother’s death with tears in her eyes knowing full well that she would be dead before the end of the year in i am wanda (1991) - and lastly, this gobsmacker of a shot from phoenix (2015):

[lesbiancolumbo]

Vincent Price or Orson Welles? Sydney Falco or Tino Orsini? Mikey and Nicky or Husbands? Hunting or Safe Room?

vincent price or orson welles?

i admittedly have not seen much of vincent price so i will have to orson welles bc wisconsin recognize wisconsin

sidney falco or tino orsini?

okay bless you for remembering tony’s trapeze name but out of these two dumbass homosexuals in a tempestuous relationship with burt lancaster, it’s sidney falco or BUST bc he is young, dumb, and hungry for...... opportunity

mikey and nicky or husbands?

i love both but husbands gets a little too misogynistic for me to rewatch it as much as i rewatch mikey & nicky. i also wrote my college thesis on mikey & nicky so i have to give it the upper hand.

hunting or safe room?

[sighs] OKAY hunting is probably the ~better~ episode but safe room?

safe room has EVERYTHING! kendall being depressed on a roof, the implication that logan put up a wall of glass so kendall won’t commit suicide, the heartbreaking shiv and kendall conversation, HOLLY FUCKING HUNTER, and of course.... are you... are you breaking up with me greg? this is not... a good... feeling. that i’m feeling right now, you know? AND i will not let you do this to me! i will not let go of what is mine! ow! stop it, you’re hurting me! stop it tom, please, we’re friends you’re one of my best friends FUCK YOUUUUU AND i don’t always like who i am, greg.

[habitantes-oazj]

"Trapeze". 1956. Tony Curtis as Tino Orsini. Gina Lollobrigida as Lola. Directed by Carol Reed. Cinematography: Robert Krasker. United Artists

[habitantes-oazj]

"Trapeze". 1956. Tony Curtis as Tino Orsini. Burt Lancaster as Mike Ribble. Directed by Carol Reed. Cinematography: Robert Krasker. United Artists

[habitantes-oazj]

"Trapeze". 1956. Johnny Puleo as Max. Burt Lancaster as Mike Ribble. Tony Curtis as Tino Orsini. Directed by Carol Reed. Cinematography: Robert Krasker. United Artists

[habitantes-oazj]

"Trapeze". 1956. Tony Curtis as Tino Orsini. Burt Lancaster as Mike Ribble. Directed by Carol Reed. Cinematography: Robert Krasker. United Artists

[habitantes-oazj]

"Trapeze". 1956. Burt Lancaster as Mike Ribble. Katy Jurado as Rosa. Johnny Puleo as Max. Tony Curtis as Tino Orsini. Directed by Carol Reed. Cinematography: Robert Krasker. United Artists