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Biografia [edytuj | edytuj kod] Początki [edytuj | edytuj kod] Interesował się filmem od wczesnej młodości. Przerwał nawet naukę w liceum, by poświęcić się. Roberto Rossellini, Writer: Roma città aperta. The master filmmaker Roberto Rossellini, as one of the creators of neo- realism, is one of the most influential. Roberto Gastone Zeffiro Rossellini (8 May 1. June 1. 97. 7) was an Italian film director and screenwriter. Rossellini was one of the directors of the Italian neorealist cinema, contributing films such as Roma città aperta (Rome, Open City 1. Rossellini was born in Rome. His mother, Elettra (née Bellan), was a housewife born in Rovigo, Veneto, and his father, Angiolo Giuseppe "Beppino" Rossellini, who owned a construction firm, was born in Rome from a family originally from Pisa, Tuscany. His mother was of part French descent, from immigrants who had arrived in Italy during the Napoleonic Wars. He lived on the Via Ludovisi, where Benito Mussolini had his first Roman hotel in 1. Fascism obtained power in Italy. Rossellini's father built the first cinema in Rome, the "Barberini", a theater where movies could be projected, granting his son an unlimited free pass; the young Rossellini started frequenting the cinema at an early age. When his father died, he worked as a soundmaker for films and for a certain time he experienced all the accessory jobs related to the creation of a film, gaining competence in each field. Rossellini had a brother, Renzo, who later scored many of his films. On 2. 6 September 1. Marcella De Marchis (1. January 1. 91. 6, Rome – 2. February 2. 00. 9, Sarteano), a costume designer with whom he collaborated even after their marriage was over. This was after a quick annulment from Assia Noris, a Russian actress who worked in Italian films. De Marchis and Rossellini had two sons: Marco Romano (born 3 July 1. Renzo. Rossellini and De Marchis separated in 1. Although he wasn't personally religious, he had a strong interest in Christian values in the contemporary world; he loved the Church's ethical teaching, and was enchanted by religious sentiment—things which he saw as being neglected in the materialist world. In 1. 93. 7, Rossellini made his first documentary, Prélude à l'après- midi d'un faune. After this essay, he was called to assist Goffredo Alessandrini in making Luciano Serra pilota, one of the most successful Italian films of the first half of the 2. In 1. 94. 0 he was called to assist Francesco De Robertis on Uomini sul Fondo.[His close friendship with Vittorio Mussolini, son of Il Duce, has been interpreted as a possible reason for having been preferred to other apprentices. Some authors describe the first part of his career as a sequence of trilogies. His first feature film, The White Ship (1. Navy Department and is the first work in Rossellini's "Fascist Trilogy", together with A Pilot Returns (1. The Man with a Cross (1. To this period belongs his friendship and cooperation with Federico Fellini and Aldo Fabrizi. The Fascist regime collapsed in 1. Rome (June 4, 1. 94. Rossellini was already preparing the anti- fascist Roma città aperta (Rome, Open City 1. Fellini assisted on the script and Fabrizi played the role of the priest, while Rossellini self- produced. Most of the money came from credits and loans, and film had to be found on the black market. This dramatic film was an immediate success. Rossellini had started now his so- called Neorealistic Trilogy, the second title of which was Paisà (1. Germany, Year Zero (1. French producer and filmed in Berlin's French sector. In Berlin also, Rossellini preferred non- actors, but he was unable to find a face he found "interesting"; he placed his camera in the center of a town square, as he did for Paisà, but was surprised when nobody came to watch. As he declared in an interview, "in order to really create the character that one has in mind, it is necessary for the director to engage in a battle with his actor which usually ends with submitting to the actor's wish. Since I do not have the desire to waste my energy in a battle like this, I only use professional actors occasionally". One of the reasons for success is supposed to be Rossellini's rewriting of the scripts according to the non- professional actors' feelings and histories. Regional accent, dialect and costumes were shown in the film how they were in real life. After his Neorealist Trilogy, Rossellini produced two films now classified as the 'Transitional films': L'Amore (1. Anna Magnani) and La macchina ammazzacattivi (1. In 1. 94. 8, Rossellini received a letter from a famous foreign actress proposing a collaboration: Dear Mr. Rossellini, I saw your films Open City and Paisan, and enjoyed them very much. If you need a Swedish actress who speaks English very well, who has not forgotten her German, who is not very understandable in French, and who in Italian knows only "ti amo," I am ready to come and make a film with you. Ingrid Bergman With this letter began one of the best known love stories in film history, with Bergman and Rossellini both at the peak of their careers. Their first collaboration was Stromboli terra di Dio (1. Stromboli, whose volcano quite conveniently erupted during filming). This affair caused a great scandal in some countries (Bergman and Rossellini were both married to other people); the scandal intensified when Bergman became pregnant with Roberto Ingmar Rossellini. Rossellini and Bergman had two more children, Isabella Rossellini (actress & model) and her twin, Ingrid Isotta. Europa '5. 1 (1. 95. Siamo Donne (1. 95. Journey to Italy (1. La paura (1. 95. 4) and Giovanna d'Arco al rogo (1. In 1. 95. 7, Jawaharlal Nehru, the Indian Prime Minister at the time, invited him to India to make the documentary India and put some life into the floundering Indian Films Division. Though married to Bergman, he had an affair with Sonali Das Gupta, a screenwriter, herself married to local filmmaker Hari sadhan Dasgupta, who was helping develop vignettes for the film. Given the climate of the 1. India as well as in Hollywood. Nehru had to ask Rossellini to leave.[Soon after, Bergman and Rossellini separated. Rossellini eloped with married Sonali Das Gupta, when she was only 2. Arjun, renamed Gil Rossellini (2. October 1. 95. 6 – 3 October 2. Rossellini and Sonali had a daughter together, Raffaella Rossellini (born 1. In 1. 97. 3 Rossellini left Sonali for a young woman, Silvia D'Amico. In 1. 97. 1, Rice University in Houston, Texas, invited Rossellini to help establish a Media Center, where in 1. Rice Professor, Donald D. Clayton. They worked daily for two weeks in Rome in summer 1. In 1. 97. 3, he was invited to teach at Yale University in New Haven, Connecticut, where he taught a one- semester course entitled "The Essential Image." Roberto Rossellini died of a heart attack aged 7. Rossellini's films after his early Neo- Realist films — particularly his films with Ingrid Bergman — were commercially unsuccessful, though Journey to Italy is well regarded in some quarters. He was an acknowledged master for the critics of Cahiers du Cinema in general and André Bazin, François Truffaut, Jean- Luc Godard in particular. Truffaut noted in his 1. Roberto Rossellini Prefers Real Life (available in The Films In My Life) that Rossellini's influence in France particularly among the directors who would become part of the nouvelle vague was so great that he was in every sense, "the father of the French New Wave". His posthumous ex- son- in- law Martin Scorsese has also acknowledged Rossellini's seminal influence in his documentary, My Voyage to Italy (the title itself a take on Rossellini's Voyage to Italy). An important point to note is that out of Scorsese's selection of Italian films from a select group of directors (Federico Fellini, Luchino Visconti, Vittorio De Sica, Michelangelo Antonioni) Rossellini's films form at least half of the films discussed and analyzed, highlighting Rossellini's monumental role in Italian and world cinema. The films covered include his Neo- Realist films to his films with Ingrid Bergman as well as The Flowers of St. Francis, a film about St. Francis of Assisi. Scorsese notes in his documentary that in contrast to directors who often become more restrained and more conservative stylistically as their careers advance, Rossellini became more and more unconventional and was constantly experimenting with new styles and technical challenges. Scorsese particularly highlights the series of biographies Rossellini made in the 6. La Prise de pouvoir par Louis XIV for praise. Certain of Rossellini's film related material and personal papers are contained in the Wesleyan University Cinema Archives to which scholars and media experts from around the world may have full access. Rossellini's son Renzo is producing the Audiovisual Encyclopedia of History by Roberto Rossellini, a multi- media support containing all of Rossellini's works, interviews, and other material from the Rossellini archive. The Encyclopedia for now exists in prototype form. Dafne (1. 93. 6) Prélude à l'aprés- midi d'un faune (1. La Fossa degli angeli Luciano Serra, Pilot (1. La Vispa Teresa (1. Il Tacchino prepotente (1. Fantasia sottomarina (1. Il Ruscello di Ripasottile The White Ship (1. A Pilot Returns (1. The Man with a Cross (1. Rome, Open City (1. Desiderio (1. 94. Paisà (1. 94. 6) L'Amore (segments: "Il Miracolo" and "Una voce umana") (1. Germany, Year Zero (1. L'Invasore (1. 94. Stromboli terra di Dio (1. Francesco, giullare di Dio (1. Les Sept péchés capitaux (segment: "Envie, L'Envy") (1.
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