World Film Locations: Rome

Gabriel Solomons

Description

Rome is a city rich in history and culture and imbued with a realism and romanticism that has captured the imaginations of filmmakers throughout the twentieth and twenty-first centuries. With over two and a half thousand years of continuing history, Rome has served as the setting for countless memorable films, creating a backdrop that spans all genres and emotions. World Film Locations: Rome takes the reader on a cinematic journey through the city with stops at key locations that include the Pantheon, Piazza Navona, Via Veneto, Piazza del Popolo, Sant’Angelo Bridge and, of course, the Trevi Fountain, made famous world-wide in its appearances in Federico Fellini’s La Dolce Vita and Jean Negulesco’s Three Coins in the Fountain. A carefully selected compilation of forty-five key films set in Rome, including The Belly of an Architect, The Facts of Murder, The Bicycle Thief, Roman Holiday and The Great Beauty, is complemented by essays that further examine the relationship between the city and cinema to provide an engaging, colourful and insightful page-turning journey for both travellers and film buffs alike.

Maps/Scenes

Scenes 1–8 – 1936–1953

Scenes 9–16 – 1954–1960

Scenes 17–24 – 1960–1963

Scenes 25–31 – 1963–1980

Scenes 32–38 – 1983–1999

Scenes 39–45 – 2001–2013

Essays

Rome: City of the Imagination – Pasquale Iannone

Neo-realist Rome: The Gritty Side of the Eternal City – Helio San Miguel

Fellini's Rome – Louis Bayman

Roman Holidays: Rome as an International Destination On-screen – Alberto Zambenedetti

Strange Tides: The Tiber and Its Role in the History of 'Cinema Romano' – Nicholas Page

Memory Man: Nanni Moretti's Rome in Caro Diario/Dear Diary (1993) – Eleanor Andrews

Cinecittà: The Highs and Lows of the 'Roman Heart' of Italian Cinema – Carla Mereu

Screening Ancient Rome – Alberto Zambenedetti

Sujets

• Película fotográfica
• Reference
• History of film
• Electronic
• Digital
• Film
• Culture cinématographique

Informations

• Publié par: Intellect Books
• Date de parution: 01 janvier 2014
• Nombre de lectures: 1
• EAN13: 9781783202980
• Langue: English
• Poids de l'ouvrage: 11 Mo

Extrait

WORLD FILM LOCATIONS ROME Edited byGabriel Solomons

WORLD FILM LOCATIONS ROME Edited by Gabriel Solomons

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:La Dolce Vita(1960) © RiamaPathe / The Kobal Collection / Pierluigi

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

WorldFilmLocationsSeries ISSN: 20459009 eISSN: 20459017

World Film Locations Rome ISBN: 9781783202003 ePDF ISBN: 9781783202980

Printed and bound by Bell & Bain Limited, Glasgow

WORLD FILM LOCATIONS ROME

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Bookends: Photo by Gabriel Solomons This page: The Great Beauty (Kobal) Overleaf: The Bicycle Thieves (Kobal)

CONTENTS

Màŝ/Sçééŝ

10Sçééŝ 1-8 1936 - 1953

30 Sçééŝ 9-16 1954 - 1960

50Sçééŝ 17-24 1960 - 1963

70 Sçééŝ 25-31 1963 - 1980

88Sçééŝ 32-38 1983 - 1999

106

Sçééŝ 39-45 2001 - 2013

WôFîLôçàîôŝ| Rome

EŝŝàYŝ

6 Rôé: CîY ô é Iàîàîô Pasquae Iannone

8 Néô-éàîŝ Rôé: é GîTY Sîé ô é Eéà CîY Heîo San Mîgue

28 Féîî’ŝ Rôé Louîs Bayman

48 Rôà HôîàYŝ: Rôé àŝ à Iéàîôà Déŝîàîô O-ŝçéé Abero Zambenedetî

68 Sàé îéŝ: é îé à Iŝ Rôé î é HîŝôY ô ‘Cîéà Rôàô’ Nîchoas Page

86 MéôY Mà: Nàî MôéTî’ŝ Rôé îCàô Dîàîô/Déà DîàY(1993) Eeanor Andrews 104 CîéçîTÀ: é Hîŝ à Lôwŝ ô é ‘Rôà Héà’ ô Iàîà Cîéà Cara Mereu

122 Sçééî Açîé Rôé Abero Zambenedetî

124 125 128

Bàçkàéŝ Resources Conrîbuor Bîos Fîmography

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ga b ri e l s o l o m o ns

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INTRODUCTIO Wô Fî LôçàîôŝRome

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throughout theworld film locationsséés wé avé aémpé ô égagé a wé auéçé w é mavés ô îm ôçaô 'sçôug' a é ways  wç çéma ça éç ôu uésag ô paçé. Wéé as a éabôaé baçkôp ô a éçôa ôvé éé ô as mé spéçîç çuua ség, é çy açs as a va çaaçé  épg ô é a sôy. Pauô Sôéô's éçé Rômé séhe Great Beauty/La grande beezas jus ôé  a ôg é ô îms a sôw é symbôç (a symbôç) k béwéé é çy a s abas; évéag ôw paçé ôms ôôs ô ôusévés a é sapg ô ôu ôpés, éams a ésés. Appôpaéy éôug, é îm sas w a quôé ôm ôus-éa CÉé's Journey to te End o te Nîgt(1932) wç éaés as muç ô é éxpééçé ô 'çé-ôusm' as  ôés ô é aavé jôuéy ô s ma pôagôs Gép Gambaéa: “Tô avé s véy uséu,  makés é magaô wôk, é és s jus éusô a pa. Ou jôuéy s ééy magay, wç s s ség.” hs 'avég' – wé séé  çôéx ô îm makg a îm waçg – s as muç îguavé as  s éa, sô wé wé may ô bé abé ô uéaké a ô ôu ésé ôçaô pgmagés, wé ça s bé swép away ô a pas ô é wô ôug é magç ô çéma. hé çy ô Rômé ôs a spéça paçé  é éas ô may avéés, bô îguavé a éa, w a ç a vaé sôy supassg a ô môs ôé ôçaôs -  ôy ô séé sçaé a spéçaçé. ïs épéséaô ôsçéé s équay as vaé, ôm é 'épçs' a éôçé é çy's émpça pas ô évéyay é sôés ypîé by Néô-éasm ô é pôs Wô Wa ïï éa - gy égaé as é 'gôé agé' ô ïaa Céma; ôm é saé ô maés séé  may ïaa-syé Côméés (Cômméa a'aaa) ô é 1950s a 1960s ô é môé aççéssbé a ama pésé ay pôayas ô é çy as a paçé pééçy sué ô çômg-ô-agé, ômaçé çéé sôés. As w ôé vôumés  s séés, wé maké ô çam ô bé a çômpés's gué ô îm makg  Rômé ô a éxausvé sg ô îmg ôçaôs  é çy. Raé s çôéçô s a éôay vé jôuéy ô sçôvéy a ugés éaés ô bég ôôkg a é çy  a éw g a péaps évé gavazé a éw avéuôus sôus ô usé  as a ay îmç avé gué é éx mé éy émbak ô a p ô Rômé. ï s bôôk yôu w î a sééçô ô 45 sçéé évéws ôm a vaéy ô îms sé  'é Eéa Cy'. hésé sô syôpsés, wé by a éam ô sçég îm buFs pésé vua sapsôs  mé a çôéç us  sômé way ô é çy a s épéséaô ôsçéé. ama ôçaôs suç as é Tév ôua, Pazza Dé Pôpôô, hé Paéô a é Côséum aé ôôké a aôgsé éss ama spôs a w ép ô bôaé a appéçaô ô pas ô é çy équay sué ô éxpôaô. Aôgsé ésé sçéé évéws aé sévé 'spôg' éssays a aké a çôsé ôôk a émés, éçôs ô sgîça môvémés a avé épé ô sapé ôu sésé ô é çy a ôFé ways ô bgg é gap béwéé é magé Rômé a é ôé véy muç ôôé  éay. Wé ôpé yôu éjôy é jôuéy.{

Gàîé Sôôôŝ, Eîô

WôFîLôçàîôŝ| Rome

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ROME Cîy of he Imagînaîon

Rome does not need to make culture. It is culture. Prehistoric, classical, Etruscan, Renaissance, Baroque, modern. Every corner of the city is a chapter in an imaginary universal history of culture. Culture in Rome is not an academic concept. It’s not even a museum culture, even though the city is one enormous museum. It is a human culture. – federIco feLLInI,Conversatîons wît Feînî

inside and outside s amôus suôs Céçà, Rômé as aways béé a çémaç çy. Gééaôs ô îm-makés avé béé aaçé ô ôy by s açé, éçayg gaéu bu asô by s môé suçués, s sububs, s pôvçés. ôm é çy’s sôç çéé ô s môé ôuyg aéas,  wôu séém a ô çôé ô Rômé as ésçapé é gaé ô îm çaméas. hé éçôs bô a bé  Rômé – é kés ô Rôbéô Rôssé, Eô Pé, Caô zza, Ségô éôé a Daô Agéô – éu aga a aga ô îm  é ôméôw, a  véy sçvé ways. Môs amôusy péaps, Rôbéô Rôssé maéRoma, cîttà aperta/Rome, Open Cîty(1945) ug é Naz ôççupaô, ôé ô é akés péôs  s éçé sôy. Rômé as asô spawé a ôg é ô sgusé

6FWôŝôîàçôLî| Rome

Text by w PASQUALE IANNONE

péômés wô aé ôévé éîé w é çy – ôm Aa Maga a Abéô Sô ô Caô Véôé a Magéa Buy. ï’s éésg ô ôé a sômé ô é môs amôus ïaa çôçés ô Rômé avé açuay çômé ôm ôusé é çy. ééçô é a Pé Paôô Pasô bô avé éé ôm é ôméôws  é ô ws ôé ô é môs skg éçé çémaç vsôs ô Rômé – 2013’sLa Grande beezza/he Great Beauty– s é wôk ô Néapôa Paôô Sôéô. ï é péaçé ô a pôô ay ô é îm –La Grande beezza: Dîarîo de im(2013)–Sôéô ésçbés é çy as ‘é géaés ôay ésô  é wô’ a says a, éspé avg maé s ômé  é çapa, é s ôés’ çômpééy uésa :

Bu ï ô’ éay wa ô uésa . ké a é gs wé uésa çômpééy, é sk ô sappômé s aways ôu é çôé […] ï’m çôéé jus ô gé a sésé ô , ô pass ôug , ké a ôus wôu a éu çké.

Wé wé k ô Rômé, wa aé é amaks a spg ô m? hé Côséum ô çôusé, é Spas Séps çéay, bu éw Rôma amaks avé béé séaé ô é îmgôé’s magaô w géaé ôçé a é Tév ôua. Béôé Maçéô Masôa a Aa Ekbég ôôk a p  é’sLa Doce vîta/he Sweet Lîe(ééçô é, 1960), é ôua a ôp bg  Jéa Néguésçô’shree Coîns în A Fountaîn(1954), a gôssy, pçué-pôsça ômaçé ôm Twéé Céuy ôx abôu éé yôug Améça wômé ôôkg ô ôvé  é Eéa Cy. hé îm was ôé ô a sg ô g- pôîé Hôywôô pôuçôs a sé up çamp a Céçà  é éay 1950s; ôés çué Wam Wyé’sRoman Hoîday(1953) a Ben-Hur(1959) aQuo Vadîs?(Mévy éRôy, 1951). hé 1950s a 1960s wéé é gôé yéas ô é çy’s îm pôuçô a ô jus béçausé

Opposite Three Coins in A Fountain (1954) /Below The Great Beauty (2013)

OpApobsoivte ô é lux ô Hôywôô sas suç as Caô Hésô a Ezabé Tayô. Oé sô Véspa é © 2013 © 1954 a T  w  e y nt ô ie u th w C é e é nt s u u r  y é F  o ô x b Fi u lm m C p o  r  p  o ô ra a tio î n m sôô ô ôé ésçpô ô aôé, évé béôé yôu éaé ôu Indigo Film/Medusa Film/Babe Film/Pathe ô é Va Tusçôaa ô Céçà. m-makés avé aways béé aaçé ô Rômé’s sgua usô ô é saçé a é pôaé – yôu éé ôy waç é îs é mués ô sô ô Sôéô’she Great Beautyô séé s pééçy çysazé – bu  was pôé a îm-maké Pé Paôô Pasô wô évôké s môs pôwéuy  Accattone(1961),Mamma Roma(1962) aHawks and Sparrows(1966), îms wç aké é véwé ô aéas ô Rômé aéy éxpôé by ôé éçôs,  paçua éborgateô say ôws; as a as ’s pôssbé ô gé ôm é busé a gamôu ô é çy çéé. Oé aéas a béçamé pôpua w îm-makés çué é EUR (Espôszôé Uvésaé  Rôma), a sç ô é sôu ô é çy a was ôgay çômmssôé by Mussô Fîlm-makers ô çéébaé wéy yéas have always been ô asçs ué  1942. aTraced o Rome’s ï émaé uîsé sîngular fusîon of u é pôs-wa péô he sacred and he wé môé suçués wéé bu ô sa profane – you need aôgsé ôsé ôm é only wach he irs asçs éa. Mçéagéô en mînues or so Aôô, évé ôé ô of Sorrenîno’sThe çôôsé ôçaôs mééy Great Beautyo as baçkôp ô é açô, see hîs perfecly îmé ôé ô é môs crysallîzed. skg, bégug Rôma

séquéçés ô ém a  é EUR – é îaé ô s 1962 îmL’Ecîsse/he Ecîpse. ïluéçé sôgy by Aôô, Daô Agéô usé é séés ô s ôméôw w a sma sésé ô uéasé  s gîaî, ôm 1970’she Bîrd wît te Crysta Pumage ôTenebrae(1982) a béyô. Evé ôug ôég îm pôuçôs a Céçà a  Rômé môé gééay aé éwé ôw a  s éyay, éé’s çéay ô agé ô é çy ôsg s appéa. ï é pas éçaé, Rômé as pôvé ôçaôs ô gôbéôg US bôçkbusés suç as Sévé Sôébég’sOcean’s Tweve(2004), Rô Hôwa’sAnges and Demons (2009) a Rya Mupy’sEat, Pray, Love(2010), as wé as smay agé-sçaé Bôywôô pôuçôs. ï Sa Aa’s 2008 ômaç çôméy Watc Out Gîrs, I’m Comîng!, wé séé pôagôs Raj Sama (Rab Kapôô) su s suF  ô ô é Baçaçça ôua jus béôw é Spas Séps. Aguaby môé magavé  s su-kssé, pçué-pôsça pééss s Wôôy Aé’sTo Rome Wît Love(2012), a séés ô ôu vgéés w mémôabé sçéés sô  Pazza Vééza a é Bas ô Caaçaa. O éçé ïaa îms sé  Rômé, Ga D Gégôô’sMîd-August Lunc(2008) aGîannî E Le Donne/he Sat o Lîe(2011) aé amôg é môs çamgy uassumg. Esçéwg é éxémés ô Rôma é, D Gégôô’s îms uô agéy  a aôu s ôw égbôuôô ô Tasévéé w é éçô payg (a vésô ô) msé. ôôsé, uué, véy Rôma; wa   was ésé îms a gvé é véwé a môé auéç sésé ô é ué ym a paçé ô é  é Eéa Cy? {

7

S P O T L I G H T

NEO-REALIST ROME The Grîty Sîde of he Eerna Cîy

rome, the eternal city, s a sôça a açéçua pampsés wôsé séé môuméay a aésg béauy avé séuçé îm-makés sçé é sé éa. As çaé ô é Rôma Empé, çéé ô é Caôç Cuç a çapa ô môé ïay,  as béé a wéss ô sômé ô é môs amaç épsôés ô wésé sôy, may ô wç avé ôu é ué paçé ô é své sçéé. Néô-éasm, é ïaa îm môvémé a émégé  é 1940s as a éaçô ô é é éçôômç, sôça a môa ççumsaçés ô é çôuy ug Wô Wa ïï a s atéma, péséé a Féé Rômé; a Rômé ô aôymôus wôkés wô évé vs é çaés  Va Vééô, wô vé  uôw égbôuôôs ké Tasévéé a Péésô ô  çôwé a apaé ôusg pôjéçs  é ôusks, a wôsé vés aé ôtémés mé  pôvéy a éspa. Néô-éasm asé baéy a éçaé, bu s mpaç çagé çéma ôévé a s éçôés s évébéaé ôay. Apa ôm maséam Hôywôô, ô ôé îm syé as a suç a pôôu, ôg-asg a asômavé luéçé. ï sôwé îm-

p ub l i s h e d by I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ellecbooks.com

8LôçàîôŝîFôW| Rome

Text by w HELIO SAN MIGUEL

makés aôu é wô – ôm Euôpé ô é Ué Saés, a ôm ïa ô a Améça – a aôé way ô maké pôçay-çôsçôus a sôçay-méagu môvés was pôssbé. ï asô auçé é çaéés ô sômé ô é môs çéébaé ïaa éçôs, wô aé ôu é ôw sçvé vôçés. Néô-éasm saé w a gôup ô wés çôéçé ô é magazéCînema–amôg ém Mçéagéô Aôô, Guséppé Dé Sas, uçô Vsçô a éspéçay Césaé Zava, sçpwé ô sômé uaméa éô-éas masépéçés a é éôôgs ô é môvémé. héy éjéçé ïaa maséam çéma épômzé by é çôsévavé ‘ééôô baçô’ çôméés (wé éépôé, a saus symbô  ïay a é mé) maé  é 1930s. hé môvaô, aççôg ô Vôô Dé Sça, was é éé ô é é u abôu é wa a pôs-wa péô a ô paççé wa Zava çaé ‘éxçavaô ô éay.’héyséaçéôspaôéay aôs ké Gôva Véga’sVerîsmoa  é pôéç éasm épéséé by Jéa Réô, w wôm Aôô a Vsçô a çôabôaé béôé. Péçéés ça asô bé ôu  sômé ô Aéssaô Basé’s îms,  é éas ôuçés ô Maô Camé’s çôméés a  Maôé é Ovéa’sAnîkî-Bóbó(1942). As w Géma éxpéssôsm, aôé éxéméy luéa îm môvémé, sômé éô-éas éaués wéé a maé ô éçéssy aé a aéséç çôçé. ïay éxpééçé a sôagé ô équpmé a Rômé’s Céçà Suôs, bu by Mussô  1937, a suFéé séôus amagé ug é wa. Néô-éas îms wéé sô wôu a sô usy, môsy ô-ôçaô w aua g, a équéy éaué ks a ô-pôéssôa açôs, aôug sômémés amôus sas wéé asô ças. Ossessîone(uçô Vsçô, 1943) s sômémés çôséé é îs îm ô é môvémé, bu éô-éasm uy évéôpé