Home / Italy / Zeffirelli died, total director | The genius inhabited by an obsession: "Disabled because it is anti-communist"

Zeffirelli died, total director | The genius inhabited by an obsession: "Disabled because it is anti-communist"

To remember him forever, his beloved Florence has the imposing foundation, with its name and work, that occupies spaces full of wonders, enchantments and scenographies, among which those of the inferno of a project shine Comedy . Franco Zeffirelli died today in Rome on Saturday, June 15, supported by his sons Pippo and Luciano. About a week ago, he received extreme concerns about what he learned from the family. Family members said they died peacefully after a long illness, which has worsened in recent months. Zeffirelli rests after the funeral chamber held on Monday in the Campidoglio and the funerals in the monumental cemetery of Porte Sante in Florence, the city where he was born on 1

2 February 1923 and who, paradoxically, has never managed to become one of his protagonists Movie (but for which he did the possible and the impossible during the flood of & 66; 66). Zeffirelli was one of the few in the entertainment world to fully attend, as his teacher Visconti, with whom he had a relationship, bipolar. He knew what it meant to give a show and charm the public.

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Franco Zeffirelli, five indispensable films
The Taming of the Shrew (1967)

Radio and television, costume and stage designer (the memorable Williams, Chekhov and Shakespeare), director of the cinema, opera ( the Bohme scaligera), prose. And there was also a beginning as a young and handsome actor in Honorable Angelina with Magnani, who then directed La lupa by Verga. And it does not end here: he was a social, moral and sexual polemicist (thunder against pornography, he lived a homosexuality that was privately known but veiled in public), a center-right politician, author of an autobiography the problematic adolescence tells. Although he was liberal and anti-communist, he worked with Antonioni, De Sica, Rossellini and in 1949 with the then most frequently used director Visconti, who arrived with the young Crivelli and Tosi at La Scala. He was assistant in La terra trema (with the other deb Francesco Rosi), Bellissima and Senso ; then stage designer of famous shows ( A tram called Desire Troilo and Cressida in Boboli) until the association broke, also with annoying gossip: Luchino called him my interior designer.

Zeffirelli or Scespirelli, as they had called him happy enemies because he was a lot in London and Sir William (famous performances of the Old Vic with Judy Dench Giulietta), was not a simple man: I always follow my instinct and just said. Spend years thundering against the left in power and the populist talent of our cinema as you appreciate Fo and Benigni. He felt like a victim, but few like him worked tirelessly and achieved international successes such as Jesus of Nazareth tv (1976), a striking example of his figurative mannerism and infectious spiritual drive: If the Russian tells "War and Peace" and the Americans "Gone with the Wind" Why should not we do that with the history of the Gospels? they liked the great stories, the love that was flipped through in every romantic variation, see Romeo and Juliet with the very young and talented Guarnieri and Giannini; but unfortunately also the drifting of the melodrama in some American films such as The Champion with Jon Voight and Love Without End with the young Brooke Shields. A lover of the classics, a spectator since he was a child of historical exhibitions and opera and prose evenings, confidant of VIP couples such as Liz and Burton and friend of the international prima donna of Callas (director of a moving film, reminder of the last two months of life as accomplice Fanny Ardant) in Sutherland, from Plowright to Maggie Smith, the young Zeffirelli experienced an unpleasant youth because he had no family. He was the illegitimate son of a man who was already married and died with another daughter and his mother when he was only six years old. He immediately fell in love with the arts and participated in the anti-fascist struggle with the local partisans on 8 September 43, as he tells in his most-watched film A t with Mussolini a memory of Florence at war. In the cinema he has set up beautiful and brilliant kilossale Skepsirians with spectacular noise and lavish visual impact: Taming the Bishop with Taylor and Burton, Romeo and Juliet with Hussey and Whiting (nomination all) Oscar for directing), noticing at a glance if something was wrong, even if it was dog's collar.

In the theater while he loved Pirandello ([19659010] So, if you like for the old Borboni, six characters with Salerno) and Schiller (historically Stuarda with two Queens in the race as Falk and her friend Cortese), Port Eduardo in England with Laurence Olivier ( Saturday, Sunday and Monday ) and the Ploughright ( Filomena Marturano ). And he had a long view of the Americans: he first discovered Albee with us and founded Who is afraid of Virginia Woolf? with Salerno, Ferrati, Orsini, then A delicate balance with Morelli and Stoppa, while he signed with Vitti and Albertazzi after the fall Miller's drama about Marilyn. With his films as if they were films, he wanted to fascinate and move, see Brother Sun Sorella Luna (& # 71; 71) about San Francesco and also History of a Black Cap (19459006] ( Verga returns), which failed Giovane Toscanini and Jane Eyre . A separate chapter deserves Hamlet who was magnificently set up in the theater in 1964 with an existential Albertazzi in black and then shot in the 1990s with Mel Gibson in a gothic-country edition and with Giannini's voice. The theater, he said, is always the basis of everything for me, I like inspiring young people for masterpieces, and I make cinema "metteur en scne", working in the Renaissance workshop.

15th June 2019 (modified June 15, 2019 | 14: 51)


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