Luigi Comencini

Highest Rated: Not Available
Lowest Rated: Not Available
Birthday: Jun 8, 1916
Birthplace: Not Available
Postwar Italian helmer Luigi Comencini is one of a number of European directors whose career can be described, most intuitively, as bittersweet. Like Alberto Lattuada (one of his close friends through their ninth decades), Comencini achieved considerable acclaim in his native Italy, but never saw that infamy cross the ocean -- thriving, as he did, in the shadow of an earlier generation deemed to have broader transatlantic appeal: one comprised of Vittorio De Sica, Roberto Rossellini, and other international giants. Comencini's stature was further diminished by his critical perception as something of an odd duck -- he could not, and cannot, be classified as a neorealist by any stretch of the imagination. Like Lattuada, the director often turned out comedies, placing him at odds with the gravity of neorealism, and the inconsistent commercial reception of his films (repetitive alternation between flops and hits) did not help. Yet, in retrospect, Comencini's finest work ironically gains a universal resonance on par with that of his better-known predecessors, thanks to one marked gift: his oft-praised ability to capture onscreen the behavioral and emotional nuances of children. Born on June 8, 1916, in the Italian town of Salo, on Lake Garda, Comencini studied architecture in Milan and gained infamy for his staunch opposition to fascism; during his education, he acquired and honed a keen interest in the cinematic arts. After graduation, he accepted a job at a newspaper as a film critic, then helmed a 1946 film very much in the neorealist vein: the documentary Bambini in Città, about Milanese street children. The craftsmanship of this work caught the attention of the Lux studios in Rome (the Cinecittà of the day), who hired Comencini to co-author the script for Mario Soldati's 1947 Daniele Cortis and to direct the feature Proibito Rubare, pitched by the studio as an Italianized Boys' Town. Unfortunately, the picture flopped, forcing Comencini to become a director-for-hire, and he signed on to helm the über-commercial Italian comedy L'Imperatore di Capri, starring the diminutive screen comic Totò, in 1949. For better or worse, Comencini did not break through to the public until his classic romantic comedy Bread, Love and Dreams (aka Pane, Amore e Fantasia, 1953), an erotic, droll roundelay with Vittorio de Sica as a carabinier, and Gina Lollobrigida (in one of her first screen roles) as the feisty young woman who can never quite return his affections. The picture became a massive hit (one of the most formidable of Comencini's career), spawned global celebrity for Lollobrigida, and led to an equally popular sequel, Bread, Love and Jealousy (aka Pane, Amore e Gelosia), the following year. Comencini's ensuing sequence of films waxed inconsistent, with the director (again) turning out occasional hits and occasional disappointments; most, regardless of the reception at hand, were comedies. During the 1960s, however, the director broke from his comic predilection and surprised everyone with two extraordinary dramas: Tutti a Casa (Everybody Go Home!, 1960), with Alberto Sordi as a WWII-era soldier forced to choose between collaboration and resistance, and Infanzia, Vocazione e Prime Esperienze di Giacomo Casanova, Veneziano, (1969), a vivid and finely-nuanced portrait of childhood life. The triumph of the latter project yielded two more on the same subject, both commissioned by RAI: the documentary series Bambini e Noi (aka Children and Us, 1970) and a massive, startlingly ambitious, four-and-a-half-hour miniseries adaptation of Carlo Collodi's Pinnochio, also done for Italian television. Although significant interference at the editing table purportedly damaged that project, Comencini later described its production as one of the most joyous experiences of his life. Comencini achieved two minor (continental) hits in the late '70s and early '80s: the romantic post-noir drama La Donna Della Domenica (aka The Sun



No Score Yet La ragazza di Bube (Bebo's Girl) Director Screenwriter 2014
No Score Yet Il segno di Venere (The Sign of Venus) Screenwriter 2013
No Score Yet La Bohème Director 2011
No Score Yet Miracle of Marcellino Director 1991
No Score Yet A Boy from Calabria (Un Ragazzo Di Calabria) Director Screenwriter 1987
No Score Yet Traffic Jam (L'ingorgo - Una storia impossibile) Director 1979
No Score Yet Il Gatto Director 1978
No Score Yet Delitto d'amore (Somewhere Beyond Love) Screenwriter Director 1974
No Score Yet Mio Dio Come Sono Caduta in Basso! (Till Marriage Do Us Part) (How Long Can You Fall?) Director 1974
No Score Yet Lo Scopone scientifico (The Scientific Cardplayer) (The Scopone Game) Director 1972
No Score Yet Giacomo Casanova: Childhood and Adolescence (Infanzia, vocazione e prime esperienze di Giacomo Casanova, veneziano) Director Screenwriter 1969
No Score Yet Incompreso (Misunderstood) Director 1966
No Score Yet Bambole Actor Director 1965
No Score Yet La Bugiarda Director 1965
No Score Yet Everybody Go Home! Director 1962
No Score Yet Miracle of Marcellino Screenwriter Director 1956
No Score Yet Frisky (Pane, Amore e Gelosia) Screenwriter Director 1954
No Score Yet Bread, Love and Dreams (Pane, Amore e Fantasia) Director 1954
No Score Yet La valigia dei sogni Director 1953
No Score Yet Heidi Director 1952
No Score Yet La tratta delle bianche (Frustrations) Screenwriter Director 1952
No Score Yet Signore e signori, buonanotte (Goodnight, Ladies and Gentlemen) Director
No Score Yet La bella di Roma (The Belle of Rome) Screenwriter Director


No quotes approved yet.