Leading figure in political cinema of the 1960s who began his film career as an assistant (along with Franco Zeffirelli) on Visconti's "La Terra Trema" (1948). Rosi then worked in a similar capacity f...
Guerra will be awarded the David di Donatello - the Italian equivalent to the Academy Award - at a ceremony in Rome on 7 May (10).
The writer, who will turn 90 on Tuesday (16Mar10), is known for his collaborations with acclaimed directors Michelangelo Antonioni, Federico Fellini and Francesco Rosi, while his film credits include L'avventura, The Red Desert, The Mattei Affair, Lucky Luciano and Exquisite Corpses.
Moved to Rome as assistant director of Theater Quirino
Technical director and co-adaptor of Vittorio Gassman's "Kean"
Actor, writer and director for Radio Naples
Helmed the award-winning "The Mattei Affair"
Helmed "Carmen", an adaptation of Bizet's opera
Directed the Oscar-nominated foreign language film "Three Brothers"
First film as solo director, "The Challenge"
Hired by Visconti as assistant director on "The Earth Trembles"
Was director of the action film "The Palermo Connection"
Co-screenwriter of Luciano Emmer's "Parigi e sempre parigi"
Completed direction of "Red Shirts" after original director, Goffredo Alessandrini, quit
Released "The Truce" after spending ten years making the film
Leading figure in political cinema of the 1960s who began his film career as an assistant (along with Franco Zeffirelli) on Visconti's "La Terra Trema" (1948). Rosi then worked in a similar capacity for figures such as Antonioni and Monicelli, and contributed to the scripts of several films, before taking over the direction of "Red Shirts" (1952) after Goffredo Alessandrini had quit the project.
Rosi made a solid, if unexceptional, solo directing debut with the Neapolitan gangster film, "The Challenge" (1958), but landed squarely in the international spotlight with 1961's "Salvatore Guiliano". The film is an oblique, quasi-documentary account of a real-life Sicilian bandit, told largely in flashbacks and featuring, in true neorealist style, a non-professional cast shot almost entirely on location. It earned critical plaudits, including the Silver Bear at Berlin, and stirred considerable controversy for pointing out--as have several of Rosi's films--the explicit links between Mafia and state. The director continued in a similar vein with "Hands Over the City" (1963), a powerful expose of corrupt real-estate developers, and "The Moment of Truth" (1965), an indictment of exploitation in the world of bull-fighting.
Rosi began to shed the journalistic elements of his style in films such as "Lucky Luciano" (1973) and "Illustrious Corpses" (1976), two visually polished dramas which use the conventions of the gangster and thriller genres to paint searing portraits of institutional and political corruption. (In this respect, his work bears fruitful comparison with that of his countryman, Elio Petri.)
The director's subsequent work has been generally mellower in tone and more leisurely paced. "Christ Stopped at Eboli" (1979) and "Chronicle of a Death Foretold" (1987) were both adapted from literary sources and star Gian Maria Volonte. The first is a lyrical account of writer Carlo Levi's Fascist-imposed exile in a primitive southern village in the 1930s; the second is a beautifully shot but somewhat static adaptation of the best-selling novel by Gabriel Garcia Marquez. "Carmen" (1984) is a relatively faithful, visually sumptuous translation of Bizet's opera to the screen.