Tributes To all those who walked the hard miles but did not make it. Remembering those who have died — or been injured — because of overdose is an important part of International Overdose Awareness Day. If you would like to commemorate somebody, please add Tributes here. Tributes will be posted below as soon as they are approved.
Helmut Berger plays the title role as a loner tormented by unrequited love for his cousin, Empress Elisabeth of Austria Romy Schneideran obsession with the music of Richard Wagner, and excessive state-funded expenditures. Saturday, June 16, 1: As in similar Hollywood-plays-itself melodramas such as Sunset Boulevard and The Bad and the Beautiful, Bellissima both romanticizes the power of celluloid dreams and delivers a cuttingly cynical takedown of the industry.
Sunday, June 10, 3: Once again the actor is cast as an emblem of Old World honor passing into obsolescence, here a retired professor living out a quiet retirement in his art-stuffed Roman palazzo; his dignified solitude is drastically upended by a turbulent marchesa a serpentine Silvana Mangano and her bisexual boy toy Helmut Berger who insinuate themselves into his life.
Visconti masterfully interweaves a provocative shuffling of ideas—on class, sex, art, fascism—in what is ultimately his own disquieting confrontation with mortality. Friday, June 15, 9: Saturday, June 16, 8: Friday, June 8, 6: When his tormented wife Laura Antonelli pursues a dalliance with a writer, the full monstrousness of his chauvinism is unleashed.
Working with a late-career rigorousness, Visconti returns one last time to the luxuriant, red velvet world of the 19th century, stripping away operatic excess in favor of a supremely controlled emotional intensity.
Saturday, June 16, 6: A bewhiskered Burt Lancaster is the leonine patriarch of a ruling class Bourbon family in the last gasps of its dominance as Garibaldi and his redshirts upend social order and a new spirit ascends—embodied by beautiful people Alain Delon and Claudia Cardinale.
With fastidious attention to period detail, Visconti evokes a gilded world fading into oblivion, his camera gliding over baroque palazzos, magnificent banquets, and ornate ceremonies. It all culminates in a majestic, dusk-to-dawn ball sequence that is as poignant as it is breathtaking.
Restoration funding by Gucci and The Film Foundation.
Friday, June 15, 6: In blending the sordid source material with an earthy evocation of underclass life, Visconti incurred the wrath of the Fascist censors, who promptly suppressed the film. Saturday, June 9, 5: The director turned to Giovanni Testori, Thomas Mann, Dostoevsky, and Arthur Miller for inspiration, achieving a truly epic sweep for this story of a mother and her grown sons who head north from Lucania in search of work and new lives.
In one beautifully realized scene after another, we observe a tightly knit family coming apart, one frayed thread at a time. Friday, June 8, 2: Italy,m; Italian with English subtitles Shady family secrets, incestuous siblings, descents into madness, decades-old conspiracies. Shooting in a decaying mansion set amidst a landscape of ruins, Visconti came upon the great theme he would return to in his late career: Sunday, June 10, 5: As much an aesthete as a political radical, Visconti luxuriates in the aristocratic period trappings—a Technicolor feast of sumptuous gold, lavender, scarlet, and emerald jewel tones—while casting a jaundiced eye on Italian history, class, and nationalism.The End of All Things - Panic!
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You're never forgotten. Remembering those who have died – or been injured – because of overdose . KROQ's Most Requested Songs Of All-Time - Memorial Day Gold & Platinum Turns 60!
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