Never shown before on a screen of this size, Bicycle Thieves, perhaps ‘the’ masterpiece of neorealism, will reverberate with new emotional power as we watch the adventure of a poor father in post-war Italy, his wanderings captured by the camera of De Sica, whose work with Zavattini reaches its artistic peak in this film. We can also expect a new experience and sensations from the screening of The Seventh Seal, Ingmar Bergman’s great medieval fable, a danse macabre brilliantly lit by one of the greatest photographers of all time, Gunnar Fischer. The film overflows with visual imagery that is literary, popular, tragic, farcical, horrid and carnal. And that is not all: Marcello Mastroianni in the unforgettable role of Baron Cefalù in Pietro Germi’s Divorce Italian Style, one of the films that exported an idea of Italy (part critical observation and part stereotype); The Deer Hunter, the most unforgiving and allegorical film of post-Vietnam American cinema; the rediscovery of the Mexican movie Rosauro Castro; and as for Wise and Robbins’ West Side Story, the film that rebuilt musicals from the ground up: just think of what the dizzying opening credits by Saul Bass will be like on the screen of Piazza Maggiore in 70mm!
Gilda (1946) by Charles Vidor • Ladri di biciclette (Bicycle Thieves, 1948) by Vittorio De Sica • Rosauro Castro (1950) by Roberto Gavaldón • Madame de… (The Earrings of Madame de…, 1953) by Max Ophuls • Det sjunde inseglet (The Seventh Seal, 1957) by Ingmar Bergman • The Apartment (1960) by Billy Wilder • Divorzio all’italiana (Divorce Italian Style, 1961) by Pietro Germi • West Side Story (1961) by Robert Wise and Jerome Robbins • 2001: A Space Odyssey (1968) by Stanley Kubrick • The Deer Hunter (1978) by Michael Cimino
Photo: The Deer Hunter