Tag Archives: cinepanettone

Addio a Carlo Vanzina (1951-2018)


Gino Moliterno    ANU

Son of veteran director, Steno (Stefano Vanzina) and younger brother of Enrico, who produced and regularly co-wrote most of his more than 60 films, Carlo Vanzina (1951-2018) could probably, more than any other Italian director, lay claim to have lived his whole life in films. At the age of only one he had appeared in a cameo as the cute infant in Totò e le donne, one of the many films that Steno had directed for that inimitable “prince of comedy”, Antonio de Curtis. After graduating from the Lycée Chateaubriand in Rome, the young Carlo nurtured hopes of becoming a film critic but was inevitably drawn into a more active role in the cinema, first as an assistant on a handful of his father’s films and then serving a more challenging apprenticeship as assistant director to that other great practitioner of the commedia all’italiana, Mario Monicelli. In a recent interview Vanzina had remembered how Monicelli regularly gave him a hard time on the set, a practice that he had at first resented but had later understood to be the older director’s way of better teaching him all the finer points of the craft of filmmaking.    Continue reading

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Cinepanettoni e dintorni

800px-Vacanze_di_Natale_-_TitoliAlong with the departure of the Christmas festivities goes the classic season for cinepanettoni. But before it finally vanishes, check out the latest issue of Reading Italy where the topic gets thorough treatment. There’s a discussion with its rehabilitation specialists, Alan O’Leary (author of a recent study of the genre) and Catherine O’Rawe, whose joint anti-neorealist manifesto, paving the way for the reconsideration of cinepanettoni, appeared in the JMIS (2011: 16, 1). A second opinion, sought from consultant Luca Peretti, takes issue with Dr O’Leary’s diagnosis and proposed course of treatment. Danielle Hipkins examines the genre’s ‘Showgirl Effect’, noting some continuities between Fellini and Sorrentino, and Nathalie Fullwood tracks further continuities between cinepanettoni and the commedia all’italiana.

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