Alberto Moravia
Birthday: 1907-11-28
Place of Birth: Roma, Lazio, Italia
Synopsis
From Wikipedia, the free encyclopedia
Alberto Moravia (Italian pronunciation: [alˈbɛrto moˈraːvja]; November 28, 1907 – September 26, 1990), born Alberto Pincherle, was an Italian novelist and journalist. His novels explored matters of modern sexuality, social alienation and existentialism. Moravia is best known for his debut novel Gli indifferenti (1929) and for the anti-fascist novel Il Conformista (The Conformist), the basis for the film The Conformist (1970) directed by Bernardo Bertolucci. Other novels of his adapted for the cinema are Agostino, filmed with the same title by Mauro Bolognini in 1962; Il disprezzo (A Ghost at Noon or Contempt), filmed by Jean-Luc Godard as Le Mépris (Contempt 1963); La Noia (Boredom), filmed with that title by Damiano Damiani in 1963 and released in the US as The Empty Canvas in 1964 and La ciociara, filmed by Vittorio de Sica as Two Women (1960). Cedric Kahn's L'Ennui (1998) is another version of La Noia.
Acting
Whoever Says the Truth Shall Die
as Self - writer
Philo Bregstein tells us this film looks at Pasolini's life and art to explain why he died. The film traces Pasolini's life chronologically - family roots, hiding during World War II, teaching, moving to Rome, being arrested and acquitted many times, publishing poems, getting into film, being provocative, and being murdered. Interviews with Alberto Moravia, Laura Betti, Maria Antonietta Macciocch, and Bernard Bertolucci are inter-cut with readings of Pasolini's poems and with clips from four films - primarily the Gospel According to St. Matthew - to illustrate his changing ideas and points of view. Bregstein makes a case for Pasolini's being lynched.
Love Meetings
as Self - Writer
Pier Paolo Pasolini sets out to interview Italians about sex, apparently their least favorite thing to talk about in public: he asks children if they know where do babies come from; asks old and young women if they support gender equality; asks both sexes if a woman's virginity still matters, what do they think of homosexuality, if divorce should be legal, or if they support the recent abolition of brothels. He interviews blue-collar workers, intellectuals, college students, rural farmers, the bourgeoisie, and every other kind of people, painting a vivid portrait of a rapidly-industrializing Italy, hanging between modernity and tradition — toward both of which Pasolini shows equal distrust.
