![]() The discovery of Maria Fiore – who went on to become a successful actress without, however, repeating the magic and intensity shown in this film – was crucial the camera was won over by her charm, and she does not put any ‘method’ between her and the lens.ĭue soldi di speranza also stands out for its moving critical view of the characters whose innocence is never naive or fabricated, who feel like survivors eager to live in a context that does not allow them to do as they wish but within modest constraints and thanks to a certain shrewdness. As often happens in loose improvised films with amateur actors, a significant part of their appeal comes from the successful choice of the latter. ![]() For me, the best – but all seem fun and exciting, brilliant and moving to me – is Due soldi di speranza (1951), an explosive and almost miraculous synthesis of a possible ‘natural’ evolution of neorealism in the direction of less melodramatic and ‘socially relevant’ stories with young protagonists (possibly the reason why they have remained fresh) and that pre-empts Jacques Rozier’s unusual ‘debut’, Adieu Philippine (1962). From Sotto il sole di Roma (1947) and È primavera…(1949) to I sogni nel cassetto (1957), Castellani was great in this period (but even before that he was good). Within the space of a decade, from 1947 to 1957, Castellani shot at least four excellent films.
0 Comments
Leave a Reply. |