Date watched, not the date in the movie. The quote was too good to leave it off this blog.

– He's got a calendar in there. – What day is it? – It's a broad in a cowboy hat. – Scooby doo bi doo ba ba.

“You know how much coffee I've had today? 17 cups. The Brazilians ought to give me a medal.”

– ER doctor

“I'm looking for the Hitchcock residence.”

– Duke

Maria “Cabiria“ Ceccarelli (Giulietta Masina), a prostitute looking for happiness, meets famous movie star Alberto Lazzari (handsomely moustachioed Amedeo Nazzari). In his plush mansion, he treats her to an opulent – if not bewildering to Cabiria – meal of lobster and caviar.

“And what's this? I saw it in a movie once.”

– Cabiria

Co-written by #Pasolini, #Fellini's Le notti di Cabiria is a love letter to hope, life, #Rome, and of course his Giulietta.

“Stop to eat every 8 hours. Just sandwiches.”

“Above all… don’t cut a single image.”

– Jean Renoir in a letter to Margot Benacerraf

“Europe, a Stutz Bearcat, the best restaurants. You fellas really have a hard life, don't you?”

– Harold Horn, DA

A car crash on National Insurance Awareness Day (USA)

 

A couple rushing home at night hit a cyclist. Despite knowing that the man's still alive, they opt to leave the site of the #crash and never mention it again. News reports about the death of the cyclist cause a rupture; because of the couple's #class differences – she a wealthy socialite, he a former falange soldier turned university professor – because they're lovers, and because no one can know about their whereabouts on the night of the accident.

“He's still alive.”

Striking about Bardem's Muerte de un ciclista is its outsiderness in the Spanish film landscape. By adopting the visual language of both Italian #Neorealismo and Hollywood #melodrama, Bardem elegantly circumvents #Franco​ist censorship.

Posted while deciding on my film dinner. Eventually I went with Tourneur's La Main du Diable (1943).

“I don't care about your barley. Or, your vines! Or, your new terra!”

– Karen

Karen – “Karin” in the opening credits – is a displaced Lithuanian woman in an Italy-based refugee camp. She meets an Italian military man bivouacking on the other side of the barbed wire and decides to say yes when he proposes. When the newly-weds leave for home, she finds to her dismay that he's a poor Sicilian fisherman from #Stromboli; a magnificent active volcanic island home to a small Catholic parish. Again displaced, Karen is confronted with herself more than with the others that share her faith.

“Here we are, poor wretches, in this hell, Condemned to tyranny.”

– Antonio

Roberto #Rossellini's Stromboli (Terra di Dio) is a peculiar melodramatic Italian/American hybrid that seems to strongly dismiss the Italian aspect. The significance of Struògnuli – the Sicilian name for the volcano – and the people's faith connected to the volatile mountain and the surrounding sea is presented as primitive superstition. That the Sicilian dialogue – song, prayer, life – remains untranslated and the locals' broken English is used as comic relief adds insult to injury.

 

Otello Martelli's photography excels when he manages to tear himself away from Bergman's face. Only when we're confronted with the magnificence of Struògnuli, the gifts from the ocean, and the greatness of nature we'll be able to understand why the island is man's home.