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Feature: Movie Posters from Italy

I have noticed through my searching for movie posters to accompany the 150+ movies I’ve blogged about so far that the Italians produced much more appealing posters than the American-created ones. I cannot be sure why this is. Are the Italians more artistic? More risqué?  Or is it just that the look of an Italian movie poster for a picture made in the U.S. is just different than to what we are accustomed? Below are a few examples I’ve stumbled across with the Italian images on the left. If you have spotted any other examples let me know, as I’m likely to come across others requiring a follow-up post down the road.

ITALY vs. AMERICA

Perhaps a semi-nude Rita Hayworth would have been too scandalous for American movie-goers, but this Italian poster for Salome is simply striking not only because of the actress’ gorgeous form, but the color scheme is simply beautiful.If you didn’t know what Dark Victory is about, you might just be confused by the foreign poster, but knowing that the woman faces blindness, that wispy shadow across her eyes is telling versus the expressionless Bette Davis in the American poster.I purchased this Italian version of Funny Face after I was frustrated to find no U.S. version featured the famous “funny face” photograph of Audrey Hepburn that inspires the title song. I was also always disappointed to find that no original poster for Citizen Kane featured the memorable image of Orson Welles standing in front of the picture of himself. Granted the Italian poster does not offer this either, and perhaps it is not your cup of tea, but it’s pretty cool.

Now, there is little difference between these two Chinatown posters but what strikes me the most –and what inspired me to recently purchase the Italian version– is that Faye Dunaway‘s eyes in the clouds are much more vibrant and obvious in the foreign poster.

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Bonnie and Clyde

Ring a Ding Ding

Bonnie and Clyde (1967)

A movie such as Bonnie and Clyde is one that makes me pause and realize that only through film could a true-life story of murderous bank robbers leave the viewer rooting for a criminal. This flick is more than a yarn of lovable villains, however,  thanks in large part to one of my favorite aspects of filmmaking: the editing.

My Faye Dunaway vocabulary is fairly limited, but (excluding Mommy Dearest) it seems the actress has a tendency to be ogled by the camera lens. A great bit of editing presents itself in Bonnie and Clyde that reminded me of a particularly memorable scene from The Thomas Crown Affair. In this case our main characters are newly acquainted and Bonnie questions Clyde’s (Warren Beatty) legitimacy as an armed robber. The latter draws a gun from his jacket and holds it at waist height. What follows is a clever bit of film assembly and expression by Dunaway as close-up shots and short takes are cut together depicting the woman’s excited gaze as she glances at what we know to be the gun but by the direction of her eyes could just as easily be Clyde’s genitals. One can draw the natural analogy between guns and male members in addition to Dunaway’s caressing of the gun barrel to conclude this short exchange has little to do with the weapon. The use of close ups never allows the viewer to see Dunaway and the gun in one shot, so one can never be sure on what her glance is fixated.

It is Dunaway’s petting of the gun that had me thinking of the famous chess scene from The Thomas Crown Affair. This much longer interaction between Dunaway, Steve McQueen and some chess pieces has the same seductive effect both on the audience and McQueen.

     Lastly, one could not discuss Bonnie and Clyde without covering the final death scene. I do not feel I’m issuing any spoilers here as most are aware the tale of the two murderous thieves ends poorly for the pair. Excellent editing and emotion again come into play for this sequence. Once the characters pull their car off the road and Clyde exits the vehicle, a number of things occur:

  1. A flock of birds flutter out of the shrubbery across the road, seemingly disturbed by something therein.
  2. A vehicle approaches from the opposite direction causing nervous glances between the car and the bushes from Ivan, the man who knows what is about to occur.
  3. Ivan dives under his tractor.

Quickly inserted between these shots is a close view of the foliage across the street from the position of our anti-heroes. The viewer knows what lies therein but Bonne and Clyde do not until we visually see them putting the previously mentioned pieces together. What next occurs are close ups of the characters faces as they realize their fate, prepare for it and convey their feelings for each other. Make note how the close up on Bonnie’s face endures slightly longer than the others as her expression softens. This clip is a bit long, so skip to about 3:30 in.

Source: The Cutting Edge: The Magic of Movie Editing

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