Nobody's Children
1953
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Italian filmmakerRaffaello Matarazzo (17 August 1909 – 17 May 1966) was an Italian filmmaker. Life. Matarazzo started writing film reviews for the Roman newspaper Il Tevere before re-editing scripts for the Italian film company Cines. His first films were comedies until he shifted to making melodramas.
Raffaello Matarazzo. Writer: Dora la espía. Raffaello Matarazzo started writing film reviews for the Roman newspaper Il Tevere before re-editing scripts for the Italian film company Cines. His first films were comedies until he shifted to making melodramas.
- Writer, Director, Producer
- August 17, 1909
- Raffaello Matarazzo
- May 17, 1966
Raffaello Matarazzo ( Roma, 17 agosto 1909 – Roma, 17 maggio 1966) è stato un regista, sceneggiatore e critico cinematografico italiano . Indice. 1 Biografia. 1.1 Gli inizi. 1.2 I film degli anni Trenta. 1.3 Gli anni Quaranta tra guerra, Spagna e dopoguerra. 1.4 Il successo degli anni Cinquanta. 1.5 Declino e solitudine negli anni Sessanta.
Raffaello Matarazzo. Biography. Largely misunderstood, at best considered a little master of an Italian cinema in full revival after the war thanks to neo-realism, Raffaello Matarazzo is nevertheless the author of some sumptuous melodramas whose success was spectacular in post-fascist Italy.
Jul 1, 2019 · This weekend, we’re bringing Matarazzo’s elemental passions to the Criterion Channel with a retrospective featuring six of the sensational, serpentinely plotted hits he made with overpowering stars Amedeo Nazzari and Yvonne Sanson.
Apr 2, 2013 · Tall, full-figured and tempestuous, she captured an ideal of earthy femininity cloaked in heartfelt piety that surely proved appealing to both women and men in the audience. For my money, she’s the glue that holds Matarrazzo’s turbulent plots together, and there’s no better showcase for her talents than these two movies.
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Matarazzo creates a self-contained world of doomed characters, cruel fate, and untempered passion, all the while crafting rollercoaster plotlines that, after a while, become rather predictable. Matarazzo’s melodramatic world is far from the moral crises and on-location reportage of neorealism.
