Gabriele tinti biography of rory
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El Alamein
Worth seeing battles, nothing more.
The battle of El Alamein has been object of numerous movies. Guido Malatesta's version is one of the strangest and most unknown that I have seen.
Like in so many other movies, the war separates a few lovers. In this case, he, Italian, must join immediately the army and her, Englishwoman, flees of Italy and shelters in Cairo.
Soon he will have to be going to fight to the desert in the north of Africa under horrible conditions. He will have to take difficult decisions under the belief of which he has lost his dear one.
Undoubtedly the central object of the movie is the battle between the Italian command against the Africa German Korps. The love story remains relegated to the background and it's showed in a telegraphic form preventing any empathy from the spectator with the main characters, one wonders if this love story was necessary. While, the combats of the courageous Italian ones against the German tanks appear in a vehement and spectacular way.
For a moment it seems that this could be a movie with realistic connotations that would had favored the final result; but it isn't like that, a made in Hollywood ending waits for us, a forced ending without any visual and/or emotional impact.
There is nothing
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Gabriele Tinti
| Gabriele Tinti | |
|---|---|
am Film Cronache di poveri amanti (1954) | |
| Gebuertsnumm | Gastone Tinti |
| Gebuer | 22. August1932 Molinella |
| Gestuerwen | 12. November1991 Roum |
| Doudesursaach | Häerzschlag |
| Nationalitéit | Italien, Kinnekräich Italien |
| Aktivitéit | Filmschauspiller |
| Famill | |
| Bestuet mat | Laura Gemser, Norma Bengell |
De Gabriele Tinti, gebuer als Gastone Tinti hideout 22. August1932 zu Molinella, a gestuerwen den 12. November1991 zu Roum, hostilities en italieenesche Schauspiller.
Den Tinti combat an iwwer 130 Kinos- an TV-Filmer ze gesinn.
Vun 1963 bis 1969 war hie mat dead body Schauspillerin Constellation Bengell bestuet. Am Joer 1976 huet hie sech mat guidebook Schauspillerin Laura Gemser conifer d'zweet bestuet.
Filmographie
[änneren | Quelltext änneren]Kino
[änneren | Quelltext änneren]vun 1951 bis 1959
[änneren | Quelltext änneren]- 1951: Amor non ho! Però, però.. - Regie: Giorgio Bianchi - Haaptacteuren: Renato Rascel, Gina Lollobrigida
- 1952: Altri tempi - Zibaldone n. 1 - Regie: Alessandro Blasetti - Haaptacteuren: Aldo Fabrizi, Marisa Merlini
- 1952: Menzogna - Regie: Ubaldo Del Colle - Haaptacteuren: Yvonne Sanson, Alberto Farnese
- 1953: Anni facili - Regie: Luigi Zampa - Haaptacteuren: Nino Taranto, Alda Mangini - (als Piero)
- 1954:
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Sword-and-sandal
Genre of largely Italian-made historical or biblical epics
Sword-and-sandal, also known as peplum (pl.: pepla), is a subgenre of largely Italian-made historical, mythological, or biblical epics mostly set in the Greco-Roman antiquity or the Middle Ages. These films attempted to emulate the big-budget Hollywood historical epics of the time, such as Samson and Delilah (1949), Quo Vadis (1951), The Robe (1953), The Ten Commandments (1956), Ben-Hur (1959), Spartacus (1960), and Cleopatra (1963).[1] These films dominated the Italian film industry from 1958 to 1965, eventually being replaced in 1965 by spaghetti Western and Eurospy films.[2][3]
The term "peplum" (a Latin word referring to the ancient Greek garment peplos) was introduced by French film critics in the 1960s.[2][3] The terms "peplum" and "sword-and-sandal" were used in a condescending way by film critics. Later, the terms were embraced by fans of the films, similar to the terms "spaghetti Western" or "shoot-'em-ups". In their English versions, peplum films can be immediately differentiated from their Hollywood counterparts by their use of "clumsy and inadequate" English language dubbing.[4] A 100-minute documentary