|
|
|||
|
Director, he was born on November 13 th 1914 in Milan. Of lower middle-class family, child of the musician Felice Lattuada, well soon he was interested in artistic and cultural problems and, student of high school, he entered to be part of the editorial staff of "Camminare...", a fortnightly of vanguard of antifascist tendency. Enroled to the faculty of architecture, he was dealt also with painting, literature and cinema as art director and artistic collaborator, and he began together with Mario Ferrari and Luigi Comencini that finding of file’s film that will give origin to the Cinetica Italiana. In 1938 he enters in the editorial staff of " Corrente " and there he writes varied articles , of literature, cinema etc.; in 1940 he is assistant director and scriptwriter of Piccolo mondo antico(M. Soldati) and the following year of Sissignora (F. M. Poggioli). With Giacomo l’idealista (1942), drawn from the homonym novel of Emilio De Marchi, begins in directing, inserting in that current of the "handwriting and literary cinema" that in that years some of the most interesting Italian directors follow with success, like Mario Soldati, Ferdinando Maria Poggioli and Renato Castellani, and that will be one of the constants of his art. Iin fact he will often return to literature during his artistic career, to already depart from his second film, The arrow (1944), drawn from the homonym novel of Luciano Zuccoli. His principal works, for the care in the realization, the fine decorative taste, the wise conduct of the actors and the intelligent reading of the text of origin, are all inspired to novels and literary texts as Flesh will surrender (1947), by Gabriele D’Annunzio; The mill on the Po (1949), by Riccardo Bacchelli; Il cappotto (1952), by Nikolaí Go-gol; La lupa(1953), by Giovanni Verga; Tempest (1958), by Aleksandr Pugkin; Lettere di una novizia (1960), by Guido Piovene; The steppe (1962), by Anton Cechov; The mandrake (1965), by Niccolò Machiavelli. Nevertheless, also when he has faced themes and contemporary subjects, not drawn from literary work, at times he has known how to gather with vigor and acuteness the essence of a situation or the complex sides of a character as in La spiaggia (1954), in Guendalina (1957) or in Mafioso (1962). Tidy and eclectic director, but always vigilant and formally correct, Lattuada has known, more and better of other lettered directors, to move in the cinema image the cultural ferments of his artistic and literary formation, giving his work a solid cultural base and inserting them in a spectacular fine and of taste frame. From Dizionario del Cinema Italiano1945/1969 Author Gianni Rondolino Publisher Einaudi 1969 FILMOGRAPHY 1946 - The Bandit PRIZES 1947-48: Silver ribbon ex aequo for the best direction (Giovanni's Episcopo crime) From the site http://www.abound.com/fellini/lattuada.html |
|||