Tag Archives: Marcello Mastroianni


PAIN AND GLORY—joining Law of Desire (1987) and Bad Education (2004) to complete Pedro Almodóvar’s autobiographical trilogy—is here.

Cinema is probably the most important experience of my life. The characters in my films always go to the movies, talk about cinema, and explain themselves through films they’ve seen. In the case of PAIN AND GLORY, they also make films for a living.

My life has indirectly found its way into every picture I’ve made, but PAIN AND GLORY is the most representative of me. I have deposited in it everything that I own: my furniture, my paintings, my clothes, my intimacy, a few ghosts, my childhood memories, and my need to carry on making films as my only way of life.

It isn’t an autobiographical film as such, everything is mixed up with fiction. The character nailed by Antonio Banderas is an extension of myself. From the time I started writing the script (and remembering Federico Fellini had already made a monumental film—8 1/2—about a director going through a crisis), I considered Antonio to be my rightful Marcello Mastroianni. This movie would not have been possible without his delicate, emotional, and intense performance. He never tried to imitate me, but many people have told me that there’s a moment in which they no longer see Antonio, but myself. I believe that this is the most flattering thing that one can say about the extraordinary performance of my friend Antonio.

This film is about many things, including my love for cinema. I discovered cinema at open-air screenings during the summer in my hometown. Films were projected onto a whitewashed wall in the main square, and we boys would take a pee by both sides of the wall when we felt like urinating. That’s why the films from my early years smell of wee, of jasmine, and of a summer breeze. My wish is that the white screen never disappears from our lives.Pedro Almodóvar


Now Playing.

Arclight Hollywood

6360 Sunset Boulevard, Los Angeles.

The Landmark

10850 West Pico, West Los Angeles.

Opens October 11.

Playhouse 7

673 East Colorado Boulevard, Pasadena.

Pedro Almodóvar, Dolor y gloria / Pain and Glory, photographs by Manolo Pavón, from top: Antonio Banderas; Penélope Cruz; Asier Etxeandia (left) and Banderas; Leonardo Sbaraglia (right) and Banderas; Nora Navas (right) and Banderas; César Vicente (2); Etxeandia and Banderas; Dolor y gloria poster courtesy and © El Deseo; Julieta Serrano (right) and Banderas; Almodóvar and Banderas on set; Banderas. Images courtesy and © the filmmaker, the actors, the photographer, El Deseo, and Sony Pictures Classics.


In THE 10TH VICTIM, the great Italian director Elio Petri sets his characteristic socio-political critique amid sci-fi thrills and an explosion of mid-sixties glamour—courtesy of production designer Piero Poletto and iconic stars Ursula Andress and Marcello Mastroianni.

The populace of Rome, ensconced in an Op-art wonderland, compete for televised fame and fortune in a legal game of hunter and hunted—themes borrowed by The Hunger Games nearly half a century later.

Gianni Di Venanzo—who, like Poletto, worked with Antonioni—was the film’s cinematographer. Tonino Guerra, Giorgio Salvioni, and Ennio Flaiano wrote the screenplay with Petri, and Piero Piccioni composed the propulsive score.

This weekend, the American Cinematheque, the Art Directors Guild Film Society, and The Hollywood Reporter present a rare local screening of THE 10TH VICTIM, followed by a panel discussion with Frances Anderton—host of KCRW‘s DnA: Design and ArchitectureUSC professor Nicholas J. Cull, and production designers Guy Hendrix Dyas and John Muto.


Sunday, May 19, at 5:30 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

Ursula Andress and Marcello Mastroianni in The 10th Victim (1965), directed by Elio Petri, production design by Piero Poletto. Elsa Martinelli on phone (fourth from top).


Through the end of the 1950s, the bourgeois protagonists of Michelangelo Antonioni’s films actively engaged their surroundings and maintained some sense of control.

Everything changed in 1960. The surroundings became monolithic and oppressive, and the world took notice as the great modernist director—in a series of films featuring Monica Vitti—cast an excoriating eye on the moral rot and entropy in contemporary Italian society.

After L’Avventura (1960) and before L’Eclisse (1962), Antonioni conjoined a triangle of great European stars—Vitti, Marcello Mastroianni, and Jeanne Moreau—for LA NOTTE (1961), dismissed by Pauline Kael as another “sick-soul-of-Europe” display, but praised by more thoughtful viewers as a feminist critique of capitalism.

Bring a sweater and a blanket for a night of LA NOTTE in The Underground Museum’s Purple Garden. This Film Foundation screening is part of a series—Purple Garden Cinema—curated by Kahlil Joseph.

LA NOTTE, Friday, September 15. Doors open at 8 pm. Free popcorn!!

THE UNDERGROUND MUSEUM, 3508 West Washington Boulevard, Los Angeles.


See:  benefitofthedoubt.miksimum.com/2010/10/searching-out-sick-soul-la-dolce-vita.html

From top: Jeanne Moreau (left) and Monica Vitti in La Notte; Vitti and Marcello Mastroianni; Vitti; La Notte opening title card; Mastroianni and Moreau, nightclub scene in La Notte. Image credits: Criterion.








Between 1949 and 1956, Luchino Visconti directed Marcello Mastroianni onstage seven times, mostly in Rome. Reflecting the early years of what David Thomson called “Visconti’s taste for high–minded literary thunder,” Mastroianni played the younger son in Death of a Salesman, Michail Astrov in Uncle Vanya, and Mitch in A Streetcar Named Desire, among others.

For their first film together, Visconti and Mastroianni chose Dostoevsky’s “White Nights”—also the source for Robert Bresson ’s Quatre nuits d’un rêveur—the story of a lonely, nameless narrator and his brief, unfulfilled encounter with an unattainable young woman. Visconti’s 1957 version, LE NOTTI BIANCHE/WHITE NIGHTS, co-stars Maria Schell and Jean Marais.

Ten years later, after Alain Delon dropped out of the role, Mastroianni—by then an international star—reunited with the director to play Meursault in LO STRANIERO/THE STRANGER, an unjustly forgotten film unavailable on DVD. Anna Karina and Bernard Blier co-star.

As part of their Il bello Marcello series, the Film Society of Lincoln Center will screen both Visconti/Mastroianni collaborations in beautiful 35 mm prints from the Istituto Luce Cinecittà.



Thursday, May 25, at 2 pm.


Saturday, May 27, at 7 pm, and Tuesday, May 30, at 4:15 pm.

Walter Reade Theater

165 West 65th Street, New York City.

Top: Marcello Mastroianni and Maria Schell in Le Notti bianche.

Above: Jean Marais (left), Schell, and Mastroianni on set, Le Notti bianche. Image credit: AFP/Getty Images.

Below: Mastroianni in Lo Straniero.