World Film Locations: Florence

Description

Florence, with its rich history, privileged place in the canon of Western art, and long-standing relationship with the moving image, is a cinematic city equal to Venice or Rome. World Film Locations: Florence explores the city as it is manifested in the minds of filmmakers and filmgoers. Contributors to the collection consider a wide range of topics, including the tourist’s perception of Florence, representations of art and artists on screen, the camera-friendly Tuscan countryside and mouthwatering local cuisine and filmic adaptations of canonical Italian literature. Through scene reviews of films, including Bobby Deerfield, A Room with a View, Tea with Mussolini and Under the Tuscan Sun, World Film Locations: Florence delves deeper into the makeup of the city, looking at both familiar and unfamiliar locations through the lens of such filmmakers as Roberto Rossellini, Mario Monicelli, Brian DePalma and Ridley Scott.

Maps/Scenes

Scenes 1-8 – 1924–1954

Scenes 9-15 – 1955–1962

Scenes 16–22 – 1964–1977

Scenes 23-29 – 1978–1985

Scenes 30-36 – 1990–2001

Scenes 37-43 – 2002–2012

Essays

Florence: City of the Imagination – Alberto Zambenedetti

Views from the Grand Tour(ist): Florence and Foreign Consumption – Eleanor Andrews

Florentine Artists on Film: Michelangelo and Leonardo da Vinci – Nathaniel J. Donahue

Florence after Dark: Cope, Crime and Serial Killers – Dom Holdaway

Rolling Hills, Scorching Sun: Filming the Tuscan Countryside – Pasquale Iannone

Bread, Wine and Celluloid: Tuscan Cuisine at the Movies – Brendan Hennessey

From Dante to Machiavelli: Canonical Florentine Literature on Film – Barbara Garbin

Sujets

• Película fotográfica
• General officer
• Television
• General
• Radio
• Film
• Cinéma
• Cinema

Informations

• Publié par: Intellect Books
• Date de parution: 15 septembre 2014
• Nombre de lectures: 0
• EAN13: 9781783203444
• Langue: English
• Poids de l'ouvrage: 5 Mo

Extrait

WORLD FILM LOCATIONS FLORENCE Edited byAlberto Zambenedetti

WORLD FILM LOCATIONS FLORENCE Edited by Alberto Zambenedetti

First Published in the UK in 2014 by Intellect Books, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK

First Published in the USA in 2014 by Intellect Books, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA

Copyright ©2014 Intellect Ltd

Cover photo:A Room With A View (1986) ©Merchant Ivory/Goldcrest / The Kobal Collection

Copy Editor: Emma Rhys

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written consent.

A Catalogue record for this book is available from the British Library

World Film Locations Series ISSN: 20459009 eISSN: 20459017

World Film Locations Florence ISBN: 9781783203604 ePDF ISBN: 9781783203444

Printed and bound by Bell & Bain Limited, Glasgow

WORLD FILM LOCATIONS FLORENCE

edI Tor Aéô Zâééétî

serI es edI Tor & desIgn Gâîé Sôôôŝ

conTrI buTors Eéâô Aéŝ Séâô Cîââôî Mâîé-Fâçé Côûîô Nââîé J. Dôâûé Nââîé Fûôô Bâââ Gâî Béâ HééŝŝéY Dâîéé Hîîŝ Dô HôââY Pâŝqûâé ïâôé Câéŝ L. Léâît ïV Eé Nééé Jôŝé Péâ Mâçô Pûûâ Dââ Réâ Jô Dâî Rôéŝ Môîçâ Séé Lûçâ Sôîî Sââ ôYâî Rôéô Véâî

locaTI on phoTography Aéô Zâééétî, Eîâé Wîîâŝ â Vâéîâ Câŝéî

locaTI on maps Gé Oô Sâ

p ub l I s h e d by ïééç é Mî, Pââ Rôâ, Fîŝôŝ, Bîŝô, BS16 3JG, UK : +44 0 117 9589910 F: +44 0 117 9589911 E:îno@îneecbooks.com

Bookends: View from Piazzale Michelangelo (Alberto Zambenedetti) This page: Under the Tuscan Sun (Kobal) Overleaf: Romola (Kobal)

CONTENTS

Màŝ/Sçééŝ

10 Sçééŝ 1-8 1924 - 1954

30 Sçééŝ 9-15 1955 - 1962

48Sçééŝ 16-22 1964 - 1977

66 Sçééŝ 23-29 1978 - 1985

84Sçééŝ 30-36 1990 - 2001

102 Sçééŝ 37-43 2002 - 2012

WO Fî LOçàîOŝ| Florence

Eŝŝàyŝ

6 FOéçé: Cîy O é IàîàîO Albero Zambenedetî

8 Vîéwŝ O é Gà Ou(îŝ): FOéçé à FOéî COŝuîO Eleanor Andrews 28 FOéîé Aîŝŝ O Fî: MîçéàéO à LéOàO à Vîçî Nahanîel J. Donahue

46 FOéçé àé Dàk: COŝ, Cîé à Séîà Kîéŝ Dom Holdaway

64 ROî Hîŝ, SçOçî Su: Fîî é uŝçà COuyŝîé Pasquale ïannone

82 Béà, Wîé à CéuOî: uŝçà Cuîŝîé à é MOvîéŝ Brendan Hennessey

100 FO Dàé O Màçîàvéî: CàOîçà FOéîé Lîéàué O Fî Barbara Garbîn

119 121 126

Bàçkàéŝ Go Furher Conrîbuor Bîos Fîlmography

3

de dIcat I o n a n d ac k now l e d g e m e n t s

hîs book îs dedîcaed o my wîe Denîse Bîrkoer, îndeaîgabe work parner and carîng îe companîon. ï wîs o ank a e wonderu conrîbuors o îs voume, wo wî eîr brîîan scoarsîp eped sape my proudes edîorîa acîevemen o dae. ï am aso graeu o e ser p îe u s b e l dî I  s or he Ga d br b îe y  Soomons or îs gu ï îd  a é n  c  e éç a  nd assîsance a every urn, é Mî, Pââ Rôâ, and o Emma Rys or er meîcuous Fîŝôŝ, Bîŝô, BS16 3JG, UK prooreadîng. Credî îs aso due o my : +44 0 117 9589910 good rîends and coeagues Eîzabe F: +44 0 117 9589911 Wîîams and Vaerîa Caseî, wo E:îno@îneecbooks.com generousy sprang îno acîon wen ocaîon poos were needed.

a l b e rT o z a m b e n e de T T I

INTRODUCTIO WO Fî LOçàîOŝFlorence

The aternoon goes away. The sunse approaches, a supendous momen, he sun goes away (o bed) i is already evening all is over.

N

thIs poem,îed ‘he Sunse’, was wrîen by 9-year-od Nadîa Nencîonî on 24 May 1993. On 27 May, e exposîon o a car bomb parked by Forence’s Torre deî Pucî caused e dea o nîne peope. Nadîa was among e vîcîms o îs despîcabe aack orcesraed by e maIa. he cîy aîd a paque, engraved wî er poem, o commemorae e massacre o Vîa deî GeorgoIî. Forever memorîaîzed în sone, Nadîa’s unorgeabe verses are quîe possîby e sînceres ceebraîon o Forence ever commîed o e page. heîr exraordînary power sems rom e ove o a cîd or e excepîona îg a baes er cîy every day a magîc our. Her îmeess words perecy encapsuae e warm pînk and orange ues coourîng e sky over Forence as e sun raves wes, oward e beaces o îvorno and Vîareggîo. he buîdîngs on e nor sore o e Arno Rîver – ose îusrîous paaces and curces wî eîr majesîc owers and prodîgîous domes – gow respendeny în e as momens o e day, unî e cîy Inay begîns o coo down, ued by e deep bues o e res Tuscan nîg. Generaîons o arîss, încudîng Im-makers, ave worked wî îs unîque îg, ryîng o capure îs înefabe beauy, e subeîes o îs paee and o arness îs power o eevae eîr ar. hîs voume îs a coecîon o essays and descrîpîons o movîe scenes wrîen by some o e Ines conemporary scoars o cînema. By no means an exausîve caaogue, î nevereess seeks o învesîgae e specîa kînd o afecîon a Im cameras seem o ee or îs unîque cîy. Hundreds o Ims ave been so în Forence: some ave been so enamoured wî îs cam, gîsenîng surace a ey ave no aemped o ge o îs core, îs înner rawness, îs vîoen pas. Oers ave rîed o engage îs mysery, scracîng e gossy paîna and Indîng beauy în îs roubed îsory. hîs book ceebraes bo approaces, because ey are, în a sense, rue o wa e cîy as come o represen. A owerîng acîevemen o uman îngenuîy, ome o unparaeed arcîecura reasures, once e arîsîc cenre o e word, Forence îs more an jus a pîgrîmage desînaîon or arîss. ï îs a cîy wî a rîc and compex îsory, wose ayers mus be peeed wî e umos care and aenîon jus o dîscover a epîdemîcs o Back Dea, murderous coups, Nazî bombîngs and dîsasrous Loods a ead o e words o a creaîve 9-year-od and er desîre o ceebrae beauy – o make beauîu ar, în Forence, and abou Forence. {

AéO ZàéééTî, EîO

WO Fî LOçàîOŝ| Florence

5

FLORENCE Cîy of he ïmagînaîon

the city that gave birth o e ïaîan Renaîssance as quîe Iîngy ad a ong-sandîng reaîonsîp wî e vîsua ars, încudîng cînema and poograpy. Forence’s pîcure-perec cîyscape and brea-akîng counrysîde ave been uîîzed by numerous Im- makers o varyîng resus: wîe some înegraed e andscape îno eîr Imîc dîscourse wî ruy remarkabe skî, oers were unabe o maser îs compexîy and Laened î o make î I eîr orgeabe, bî-dîmensîona movîe poscards. Ye cameras rom around e word reurn rouîney, undeerred, o ry o capure e amousy îdea urban envîronmen, îs surroundîng îs, and e pîcuresque owns a do e Tuscan counrysîde. Far rom e resu o some uopîan urban pan, Forence’s beauy was orged by cenurîes o conLîc, back-room deaîngs, Lîmsy aegîances and murderous berayas. ïs amous arcîecura and arîsîc andmarks are, more oten an no, e ruî o an aggressîve paronage o e ars a was born ou o a desîre o upsage rîvas raer an o enrîc e cuura andscape. To quoe Orson

6WO Fî LOçàîOŝ| Florence

Text by ALBERTO w ZAMBENEDETTI

Wees as Harry îme înhe hîrd Man(Caro Reed, 1949)

You know wa e eow saîd – în ïay, or îry years under e Borgîas, ey ad warare, error, murder, and boodsed, bu ey produced Mîceangeo, eonardo da Vîncî, and e Renaîssance. ïn Swîzerand, ey ad broery ove – ey ad 500 years o democracy and peace, and wa dîd a produce? he cuckoo cock. he Renaîssance, wîdey acknowedged as e mos împoran and înLuenîa cuura and arîsîc momen o e second mîennîum, as been a e cenre o many cînemaîc învesîgaîons, rom arîs bîopîcs o perîod dramas, rom adapaîons o îerary maserpîeces o spoos and comedîes. Peraps înspîred by Harry îme’s quîp, Sîr Caro Reed îmse dîreced he Agony and e Ecsasy(1965), a bîograpy o Mîceangeo payed by a ormened Caron Heson opposîe Rex Harrîson as an oten-îrae Pope Juîus ïï. Sî e goden sandard or bîopîcs o mercurîa Tuscan arîss, Reed’s Im ad many successors, încudîngUna vîa scelleraa/A Vîolen Lîe(Gîacomo Baîao, 1990), wîc draws rom Benvenuo Ceînî’s own accounVîa, wrîen by e arîs beween 1558 and 1562. Wîe eonardo da Vîncî appears as a caracer în undreds o îes, e becomes e proagonîs ony în e 1971 mînîserîesLa vîa dî Leonardo da Vîncî/he Lîe o Leonardo da Vîncî(RAï Radîo Teevîsîone ïaîana), dîreced by Renao Caseanî and sarrîng e suave Frenc acor Pîîppe eroy as e eccenrîc Tuscan genîus. he Grand Tour broug many educaed raveers o Forence; eager o experîence Irs- and îs arîsîc reasures, ese îusrîous ourîss recorded eîr journeys în raveogues a woud become essenîa reads, suc as Wîîam homas Beckord’sDreams, Walkîng hougs and Incîdens(1783) or Joann Wogang von

Opposite West of Paperino (1982) /Below Light in the Piazza (1962)

OppAobsoitve Goee’sIalîan Journey(1816–17). he modern © 19 e 6 q 2 uî M v e a t  r e o- n G s ol o d  w  y  n e - s M e a v ye o r u (M m G es M) are e many Ims © 1982 Hera International Film a use ïay’s andscape as a backdrop or journeys o se-dîscovery, suc asUnder e Tuscan Sun (Audrey Wes, 2003), based on e 1996 besseer by Frances Mayes, or e Ryan Murpy-emed bockbuserEa, Pray, Love(2010), a gobay încîned descendan o e Forence-cenred cassîc Lîg în e Pîazza(Guy Green, 1962), în urn based on e eponymous, bîgoed 1960 novea by Eîzabe Spencer. Bu no a e (prîmarîy emae) descendans o Grand Tourîss consume e Tuscan andscape, ood and men, wî noncaan evîy: Jane Campîon’s ambîîous 1996 adapaîon o Henry James’she Porraî o a Lady îs a broodîng afaîr a approaces emes o ove, us and obsessîon wî e approprîae gravîas. Wîe Forence’s ar and arcîecure ave been a e cenre o many oreîgn producîons, domesîc Im-makers ave ocused more Whîle Florence’s on wa î means o art and archîtecture be rom Tuscany and, have been at the specîIcay, o ave centre o many Forenîne orîgîns. oreîgn productîons, Sruggîng under e domestîc ilm- enormous weîg o îs presîgîous îsory, makers have umbe caracers ocused more on move roug e what ît means to be esser raveed corners rom Tuscany and, o e cîy, someîmes specîically, to have pagued by a sense Florentîne orîgîns. o meancoy and

nosagîa, suc as în e mîd-cenury adapaîons o Vasco Praoînî’s eponymous novesCronace dî poverî amanî/Cronîcle o Poor Lovers(Caro îzzanî, 1954) andLe ragazze dî San Fredîano/ he Gîrls o San Fredîano(Vaerîo Zurînî, 1955). ïn an ïay sruggîng o Ind îs mora compass, dîsorîened by 21 years o Fascîsm and Word War ïï, ese Ims provîded a comorîng pîcure o a umbe, ard-workîng, we-meanîng, ye somewa provîncîa counry on e brînk o e epoca socîo-economîca sît a woud aer be known as e economîc boom. A e same îme, Ims îkePora un bacîone a Fîrenze/Gîve Florence a Kîss or Me(Camîo Masrocînque, 1956) consîued a domesîc aernaîve o e Tecnîcoor specaces manuacured by e rîsîng ‘Hoywood on e Tîber’. he ong radîîon o umour and saîrîca pampeeerîng în Forence, and Tuscany a arge, Ind eîr cînemaîc equîvaen în e work o e Gîancaîvî rîo (Francesco Nuî, Aessandro Benvenuî and Aîna Cencî), e gobay recognîzabe Robero Benîgnî and eonardo Pîeraccîonî, among oers. Pîeraccîonî’s 1995 debuI laureaî/he Graduaes, or exampe, wîîy acked e îssue o ïaîan ‘mammonî’ (mencîdren) by învesîgaîng e îves o our îry-someîng men sarîng an aparmen în Forence; unorunaey, e dîrecor subsequeny os îs bîe and rereaed îno e acîe ormuas o romanîc comedîes, casîng îmse as a ead agaîns e aboîd bombse o e our. Conversey, e resîîence o Benîgnî’s quînessenîay Tuscan umour – an ececîc mîx o owbrow jokes and îgbrow reerences, someîmes deîvered în song – as caracerîzed îs ong and successu career up o îs Oscar- wînnîng perormance înLa Vîa è bella/Lîe îs Beauîul(1997). Co-wrîen and dîreced by Benîgnî, e Im îs se în an îdeaîzed Tuscan own – a composîe o Arezzo, Monevarcî, Casîgîon Fîorenîno, Corona, Roncîgîone, Rome and Papîgno. asy, în eîr debu ImAd oves dî Paperîno/Wes o Paperîno(Aessandro Benvenuî, 1982), e Gîancaîvî comedîans paîned e Forenîne andscape în a îg muc dîferen rom a o e Grand Tour Ims: ar rom e prîsîne urban exravaganza a peraps exîsed ony în e Ango-Saxon îmagînaîon, Forence becomes a cîy îke any oer, în wîc e rîc and e poor mus uneasîy co-exîs, and în wîc beauy and drearîness oten cross eac oer’s pas. {

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S P O T L I G H T

VIEWS FROM THE Text by w ELEANOR ANDREWS GRAND TOUR(IST) Florence and Foreîgn Consumpîon

in the film adaptation o E. M. Forser’s1908A Room wî a Vîew(James ïvory, 1985), a young Engîswoman, ucy Honeycurc (Heena Bonam Carer), îs aken on a carrîage rîde roug e Tuscan counrysîde. Durîng e journey se decares a se îs a ourîs, appy o be sen îke a parce rom Venîce o Forence, Forence o Rome. Tourîsm, ceraîny as ar as ïay îs concerned, îs a vesîge o e European Grand Tour, wîc ad îs orîgîns amongs e Brîîs arîsocraîc casses o e seveneen cenury. Fîerîng down roug socîey rom e nobîîy o e weay and en o e mîdde casses, îs exended vîsî operaed as an însrucîve rîe o passage, wî a aîry sandard îînerary roug France and ïay în a ques or ar and cuure, wî consîderaîon o e naura beauy aforded by e andscape a aer addîîon. he prîncîpa purpose o e

8WO Fî LOçàîOŝ| Florence

Grand Tour was o presen e cuura egacy o cassîca anîquîy and e Renaîssance o ese raveers, as we as înroduce em o asîonabe European socîey, and gîve em e opporunîy o acquîre areacs and anîquîîes. Forence was one o e key sîes on e îînerary, wî a vîsî o e Duomo and e Uizî Gaery beîng consîdered as essenîa. he Porraî o a Lady(Jane Campîon, 1996) andRoom wî a Vîeware bo parîay se în Forence. he Ims sare a number o emes, sînce e proagonîs o eac îs a young woman wose îe wî be canged orever oowîng a rîp o ïay. Bo narraîves address e îssue o persona reedom or e ack o î as we as demonsraîng e conras în e ways o îe a ome and abroad. he aroused sensuaîy e by e emae proagonîss îs conrased wî e resrîcîng mores o eîr îmes în e nîneeen and eary wenîe cenurîes. However, în comparîson wîA Room wî a Vîewand aso Tea wî Mussolînî(Franco Zeireî, 1999),he Porraî o a Ladysows îe o e ourîs aspec o Forence. Wen e monumens o e cîy, suc as e Duomo, are dîspayed în Campîon’s work, ey are seen a unseîng obîque anges suggesîve o urmoî în e sae o mînd o e young emae proagonîs, ïsabe Arcer (Nîcoe Kîdman). he eaborae, opuen and someîmes overwemîng înerîormîse-en-scèneserves as e backdrop o e încreasîngy sufocaîng reaîonsîp beween ïsabe and er usband Gîber Osmond (Jon Makovîc), raer an beîng exampes o ïaîan desîgn and cuura areacs. ïnA Room wî a Vîew, Forence and e ïaîan way o îe îs under e cose scruîny o