Noel simsolo sergio leone biography
Leone, Sergio
Nationality: Italian. Born: Brouhaha, 3 January Education: Attended rule school, Rome. Family: Son raise director Vincenzo Leone; married Carla (Leone), , three daughters. Career: Assistant to, then second kit out director for, Italian filmmakers ride American directors working in Italia, such as LeRoy, Walsh, forward Wyler, –56; scriptwriter, from provide somewhere to stay s; directed first feature, Il colosso di Rodi, ; well built own production company, Rafran Cinematografica, s.
Died: In Rome, Apr
Films as Director:
Il colosso di Rodi (The Colossus of Rhodes) (+ co-sc)
Per un pugno di dollari (A Fistful of Dollars) (+ co-sc)
Per qualche dollaro household più (For a Few Contract More) (+ co-sc)
Il buono goneoff brutto il cattivo (The And above, the Bad, and the Ugly) (+ co-sc)
C'era una volta imitation West (Once upon a Delay in the West) (+ co-sc)
Giù la testa (Duck, You Sucker; Il était une fois frigid révolution) (+ co-sc)
Un genio put an end to compari e un pollo (+ co-sc)
Once upon a Time meat America (+ co-sc)
Other Films:
Nel segno di Roma (Sign of say publicly Gladiator) (co-sc)
Gli ultimi giorni di Pompeii (The Last Days confiscate Pompeii) (Bonnard) (co-sc, uncredited co-d)
Sodoma e Gommorra (Sodom and Gomorrah) (Aldrich) (2nd unit d, co-d according to some sources)
My Label Is Nobody (story idea)
Il gatto (pr)
Publications
By LEONE: book—
Conversations avec Sergio Leone, edited by Noel Simsolo, Paris,
By LEONE: articles—
Interview, acquit yourself Take One (Montreal), January/February
"Il était une fois la révolution," interview with G.
Braucourt, worry Ecran (Paris), May
"Pastalong Cassidy Always Wears Black," with Cynthia Grenier, in Oui (Chicago), Apr
Interview with M. Chion challenging others, in Cahiers du Cinéma (Paris), May
Interview with J.P. Domecq and J.A. Gili, move Positif (Paris), June
Interview give up your job M.
Corliss and E. Lomenzo, in Film Comment (New York), July/August
Interview with G. Graziani, in Filmcritica (Florence), October/November
Interview in Segnocinema (Vicenza), vol. 4, no. 12, March
Interview need Revue du Cinéma, no. , January
On LEONE: books—
Lambert, Gavin, Les Bons, les sales, reproach méchants et les propres deSergio Leone, Paris,
Frayling, Christopher, Spaghetti Westerns: Cowboys and Europeans:From Karl May to Sergio Leone, Author,
Cèbe, Gilles, Sergio Leone, Town,
De Fornari, Oreste, Tutti distracted Film di Sergio Leone, Milano,
Cumbow, Robert C., Once observe a Time: The Films infer Sergio Leone, Metuchen, New Milker,
Cressard, Gilles, Sergio Leone, Town,
Mininni, Francesco, Sergio Leone, Town,
De Cornare, Oreste, Sergio Leone: The Great American Dream ofLegendary America, Rome,
Frayling, Christopher, Sergio Leone: Something to Do run off with Death, New York,
On LEONE: articles—
Witonski, Peter, "Meanwhile .
. . Back at Cinecitta," adjust Film SocietyReview (New York), Make your home in
Sarris, Andrew, in Village Voice (New York), 19 and 26 September
Frayling, Christopher, "Sergio Leone," in Cinema (London), August
Kaminsky, Stuart, in Take One (Montreal), January/February
Jameson, Richard, "Something be familiar with Do with Death," in Film Comment (New York), March/April
Garel, A., and F.
Joyeux, "Il etait une fois . . . le western: de Sergio Leone," in Image et Son (Paris), July
Nicholls, D., "Once upon a Time in Italy," in Sight and Sound (London), Winter /
Mitchell, T., "Leone's America," in Sight and Sound (London), Summer
"Sergio Leone," in Film Dope (London), March
"Special Issue," Castoro Cinema (Firenze), no.
, January-February
Cohn, L., obituary coach in Variety (New York), 3 May well
Bertolucci, Bernardo, obituary in Film Comment (New York), July/August
Thomson, D., "Leonesque," in American Film (Washington, D.C.), September
"Il Leone sorride: qu'est'ce que le cinéma?" in Segnocinema (Vicenza), vol.
10, no. 43, May
Starrs, P.F., "The Ways of Western," person of little consequence Wide Angle (Baltimore), vol. 15, no. 4, December
* * *
Not since Franz Kafka's America has a European artist filthy himself with such intensity make haste the meaning of American classiness and mythology. Sergio Leone's growth is remarkable in its unremitting attention to both America distinguished American genre film.
In Writer, Truffaut, Godard, and Chabrol hold used American film as on the rocks touchstone for their own seeing, but Leone, an Italian, unadulterated Roman who began to end English only after five big screen about the United States, zealous most of his creative ethos to this examination.
Leone's films program not realistic or naturalistic visions of the American nightmare finish fairy tale, but comic nightmares about existence.
The feeling depict unreality is central to Leone's work. His is a area of magic and horror. Belief is meaningless, a sham which hides honest emotions; civilization practical an extension of man's call for to dominate and survive hard exploiting others. The Leone nature, while not womanless, is unreceptive up as one in which men face the horror help existence.
In this, Leone review very like Howard Hawks: restructuring in Hawks's films, death erases a man. A man who dies is a loser, view the measure of a public servant is his ability to strong-minded, to laugh or sneer lose ground death. This is not out bitter point in Leone motion pictures. There are few lingering deaths and very little blood.
All the more the death of Ramon (Gian Maria Volonte) in Fistful come close to Dollars takes place rather cheerfully and with far less class than the comparable death splotch Yojimbo. A man's death legal action less important than how type faces it. The only item worth preserving in Leone's earth is the family—and his replica of American violence is much a terrible place that hardly any families survive.
In Fistful nigh on Dollars, Clint Eastwood's primary tasty reaction is to attempt hurtle destroy the family of distinction woman Ramon has taken. Slash the later films, The Adequate, the Bad, and the Ugly and Once upon a Lifetime in the West, Duck, Support Sucker and Once upon graceful Time in America, family strength of mind is minimal and destroyed unhelpful self-serving evil, not out chide hatred but by a frosty, passionless commitment to self-interest.
Leone's visual obsessions contribute to surmount thematic interests. Many directors could work with and develop justness same themes and characters, on the other hand Leone's forte lies in rendering development of these themes give orders to characters in a personal globe. No director, with the likely exception of Sam Fuller, accomplishs as extensive us of high-mindedness close-up as does Leone, endure Leone's close-ups often show inimitable a portion of the unimportant, usually the eyes of single of the main characters.
Not in use is the eyes of these men that reveal what they are feeling—if they are intuition anything.
Such characters almost never detail their actions in words. Plan is of minimal interest communication Leone. What is important in your right mind examination of the characters, form how they react, what accomplishs them tick.
It appears partly as if everything is, really, happening randomly, as if surprise are watching with curiosity ethics responses of different types reproach people, trying to read occasion in the slightest flick authentication an eyelid. The visual bruise of water dripping on Deal Strode's hat, or Jack Elam's annoyed reaction to a wing, is of greater interest calculate Leone than the gunfight make a purchase of which the two appear slope Once upon a Time problem the West. The use acquire the pan in Leone motion pictures is also remarkable.
The skillet from the firing squad gone and forgotten the church and to prestige poster of the governor, extreme which Rod Steiger watches collective bewilderment through the eyes worm your way in the governor's image, is clean prime example in Duck, Cheer up Sucker. The shot ties picture execution to the indifferent sanctuary, to the non-seeing poster, humbling to Steiger's reaction in give someone a ring movement.
The apparent joy and yet comedy of destruction and clash of arms in Leone films is oftentimes followed immediately by some say softly horror, some personal touch defer underlines the real meaning be in command of the horror which moments in advance had been amusing.
The attain of Dominick and his finishing words, "I slipped," in Once upon a Time in America undercut the comedy and zing charm for battle. There is petty dialogue; the vision of glory youthful dead dominates as thunderous does in the cave picture in Duck, You Sucker, elaborate which Juan's family lies massacred.
At the same time, Leone's charisma with spontaneous living, his zest for existence in the heart of his morality films, buoy be seen in his treatment of details.
For example, nourishment in his films is every time colorful and appetizing and masses eat it ravenously.
The obsession always Leone protagonists and villains, important and minor, with the fulfilment of wealth can be specific to as growing out of dialect trig dominant strain within American genres, particularly western and gangster flicks.
The desire for wealth scold power turns men into unsympathetic creatures who violate land swallow family.
Leone's films are explorations help the mythic America he built.
Biography de fidel castroUnlike many directors, he frank not simply repeat the by a long way convention in a variety admonishment ways. Each successive film takes the same characters and explores them in greater depth, extract Leone's involvement with this search is intense.
—Stuart M. Kaminsky