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Allonsanfan (1973) film and music's research |
The movie was provided by Lajiao |
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It is shown in the movie "Allonsanfan" composed by Ennio Morricone (00'01'06") |
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Directors: Paolo Taviani
Vittorio Taviani
Writers: Paolo Taviani
Produced by
Giuliani G. De Negri ....
Original Music by
Ennio Morricone
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Also Known As (AKA)
Allonsanfan Italy (alternative spelling) / USA / West Germany (TV title)
Allonzanfan Greece
Fulvio, revolutionaren som svek Sweden (TV title)
Petturi Finland
Que Viva a Revolucao Portugal
Runtime:Germany:110 min | USA:115 min | France:100 min Country:Italy Language:Italian Color:Color (Eastmancolor) Aspect Ratio:1.85 : 1 more Sound Mix:Mono Certification: Finland:K-16 Filming Locations:Matera, Basilicata, Italy Company:Ministero del Turismo e dello Spettacolo
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Cast (Cast overview, first billed only)
Marcello Mastroianni ... Fulvio Imbriani
Lea Massari ... Charlotte
Mimsy Farmer ... Francesca
Laura Betti ... Esther
Claudio Cassinelli ... Lionello
Benjamin Lev ... Vanni 'Peste'
Renato De Carmine ... Costantino
Stanko Molnar ... Allonsanfan
Luisa De Santis ... Fiorella
Biagio Pelligra ... priest
Michael Berger ... Remigiano
Raul Cabrera
Alderice Casali ... Concetta
Roberto Frau
Cirylle Spiga
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Overview |
A anarchist leader (Fulvio) wishes to retire, as he is old and tired. He tries to hide himself, but his friends find him and insist he carries on helping them. Written by Michel Rudoy {mdrc@hp9000a1.uam.mx}
The political prisoner Fulvio Imbriani is released ill from prison and the authorities expect to find his rebel friends though him. However, he returns to his family's real state and recovers his health with his siblings. When his lover Charlotte unexpectedly arrives in the property, she stays with Fulvio but his sister overhears Charlotte telling that their friends would be arriving on the next morning and calls the authorities. The soldiers kill a great number of revolutionaries but Fulvio escapes with Charlotte that was shot on the back. She dies and Fulvio travels with his comrades but without enthusiasm. Sooner he betrays the group, trying to flee to United States with the money of the revolutionaries and his new lover Francesca. Written by Claudio Carvalho, Rio de Janeiro, Brazil (here)
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Comment-1 |
Lately, my films have been coming from the pages of an Independent film guide, assisting me in helping to build a foundation for these reviews while also challenging me to see films that I otherwise would have missed, or due to technical inequalities (i.e. "Seven Waves Away" or "Allonsanfan" not being on DVD) not seen. This is a fresh chapter in my growing repertoire of film. Some adventures have been amazing, such as "After Hours" and "Acting on Impulse", while others were obviously forgotten for several reasons, see review for "American Boyfriends", so here I am - still in the "A" category jumping headfirst into the world of 1970s Italian cinema. For three straight days I attempted to watch, with both the sound on and off, the Taviani's view of Italy, post-Napoleon, circa 1816. While the color and sound may be bold and breathtaking, the story itself seems to be missing bigger elements. The characters are not defined giving us a forced sense of gratitude and patriotism. "Allonsanfan" is one of those films which prides itself on taking the viewer to different lands, Italian villas, beautiful hotels and parties, coupled with some bizarre special effects, but since the focus seems to be devoted to that alone, the story falters. It flounders beneath the glory of the scene, that when the final "surprise" occurs, it marks a finish for the film more than just the story. For me, the ending couldn't have come quicker - while it did surprise me at times (the cinematography took my breathe away), "Allonsanfan" failed to work as a film. Perhaps with a DVD release, it could strengthen the subtitles, clear up the image, and insert a couple of missing scenes to transform this tough diamond into something more, but for now it just feels unpolished and unfinished.
Marcello Mastroianni's story is never simple. He is released from prison in hopes that he would lead authorities to the underground resistance, but instead he finds himself torn between wealthy and a family he once had, and the opportunity to help his brethren save others from the dreaded cholera. It is a tough choice, and in the end Mastroianni (as in previous films) has done a great job of building tension within his character. The moral dilemma he is faced with is a tough one, kill those he was once involved with - in essence betray them, or forever be chased by his past sins. He chooses the latter, and uses trickery and trust to break this small group of bandits. The first issue one has to challenge themselves with is how Mastroianni is so engulfed into this group. It is obvious he is not the leader, but he is not the low man on the totem poll. It seems, as the film progresses, that he cannot be left behind or left out of the details of the plot. He is important, but how important could have been better defined. Earlier I mentioned that the Taviani brothers seem to be eager to show us amazing images of Italy, but in the end they forgot their plot. "Allonsanfan" can be spliced into three different distinct films, each with amazing imagery, but lacking the development needed to really bring the audience further into the film. The first is with Mastroianni heading home, overcoming sickness, finding his girlfriend, and all the while plotting an ambush. Great scenes, could have been a great moment, but we know nothing about his family or girlfriend - outside of what they mutter or what the subtitles give us. We needed to see more of his interaction with these random characters. The second part involves his son, good, but was again cut short and strange because we knew nothing about it outside of the fact that he had a son. I can't even go further into the entire frog scene, I am still trying to wrap my brain around that. The incident on the lake was another example of having a strong cinematographer, but a apathetic storyteller. Finally, there was the scene in the South where we see why this film is entitled "Allonsanfan", but by this point the excitement has died, and we are just waiting for a finale.
This film did involve hard work and dedication by the entire crew to make, with that said; I cannot just fully say that this film was a failure. There were those that worked hard on this project like the cinematographer and the amazing score by Ennio Morricone. These elements alone brought this film out of one that would make any viewer fall asleep into one worth viewing at least once. The story is where most of the trouble laid, and again, I cannot state that it was one of those cases where there were too many ideas and not enough time or conjoining scenes. We would begin a thought, but end elsewhere in the story (again, see the segment with the frog). Perhaps some of it was done to try to bring sympathy to Mastroianni, but it could have been done without the random acts of history - or perhaps more history. There was a moment in this film where I thought we could have used more history devoted to the story. That is what was missing from scene to scene. At times our characters were moving without a motive, and history could have interjected to help the audience better see the motives and reasoning. Perhaps it was my lack of knowledge of what Italy was like at the end of Napoleon's era, but more explanation could have been used do develop our bandits, or the motives behind Mastroianni's deeds.
On a small note, if you decide to watch this film on VHS, beware of the subtitles. I am very good at reading subtitles on a foreign film, I hate the sound of dubbed voices, but with "Allonsanfan", the subtitles were all over the place. There were several occasions where they were missing from conversations, where one character would have a three-minute speech and the only word to come up in the subtitle would be "yes", or when half the words were missing from the side of the television. It was troublesome to read and watch at the same time, so to get the full effect of the film, I found myself turning off the sound and reading to the best of my ability. Probably lessoned the film, but kept me in check with the meager characters.
Overall, I cannot say this was a horrible film, but it won't be viewed again by yours truly. I may challenge myself to see it again on DVD if it ever is released, but for now, it needs to tighten up its story and used a bold marker on its characters. Mastroianni was superb in his role, but nobody could keep up with him. They were all overacting, overbearing, boring, or just plain unknown. There were other characters in this film, but if you asked me to name one - well, maybe Charlotte, but that is it - I don't think I could. The Taviani's had some great ideas, but the execution is where they lacked. There could have been more A to B to C structure with the story, instead it was as if they built three separate stories and hastily glued them together. If you were forced to watch this film, I think you could pull away by just seeing the end and knowing everything you missed. It is a sharp ending, one wishes only that the rest of the film were that way. One viewing, if you dare - if not - you are not missing anything. There are better Italian films out there. (here)
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Comment-2 |
Allonsanfan (Italy, 1973):
The Taviani brothers' companion piece to their previous political tragicomedy St. Michael Had a Rooster, or perhaps its sardonic reversal -- whereas the earlier film followed the hero's rebellious idealism shriveling up in the indifferent countryside, here it is the hero who has given up on revolution. The French Revolution, natch, as the Napoleonic Wars wind down throughout Europe and the aristocracy starts shifting back into place; nobleman-turned-extremist Marcello Mastroianni is sprung from his cell to lead the authorities to his insurrective group, though he's far more interested in trading the Jacobin rifle for the bourgeois wine glass. He shacks up at his lush family mansion, where the Tavianis' heightened-realistic visuals disconcertingly suggest Brecht minus the detachment; recalling a childhood game at the dinner table, the film takes over Mastroianni's eyes to envision sister Laura Betti adorned in purple from top to bottom. Their impromptu "Din-Din-Din" singalong turns orchestralized through Ennio Morricone's score, and the camera breaks away to spot Lea Massari, Mastroianni's old flame, strolling into the gardens, bringing reminders of his former radicalism with her. A melee later and he's displaced once more, happy on a sexual holiday with lass Mismy Farmer yet constantly bumping into his comrades, whose anarchist flame burns still. The title is phonetic-Italian for the opening words of "La Marseillaise" and the moniker of one of the most fervent rebels of the dispersed batch, but such ardor is not for weary Mastroianni, who, shanghaied to the south to aid budding peasant revolt, is more than ready to sabotage the mission to save his skin. The Tavianis will continue their search for the Marxist utopia, though the picture is their kiss-off to individual idealism, embodied by Mastroianni's self-involvement -- a "great actor," who sees political engagement as ultimately a matter of uniforms, a concept literalized in the finale for withering irony. With Claudio Cassinelli, Benjamin Lev, Renato De Carmine, and Stanko Molnar.
--- Fernando F. Croce (here) |
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03-Brother Taviani |
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Vittorio Taviani |
Brother Taviani |
Paolo Taviani |
Paolo and Vittorio Taviani (b. November 8, 1931, and September 20, 1929, respectively, both in San Miniato, Tuscany, Italy) are noted Italian film directors and screenwriters. They are brothers, who have always worked together, each directing alternate scenes.
Paolo Taviani's wife Lina Nerli Taviani has been costume designer of many of their films.
At the Cannes Film Festival the Taviani brothers won Palme d'Or and the FIPRESCI prize for Padre padrone in 1977 and Grand Prix du Jury for La notte di San Lorenzo in 1982.
Contents [hide]
1 Filmography
1.1 as film directors
1.1.1 1950s-1960s
1.1.2 1970s-1980s
1.1.3 since 1990s
1.2 as screenwriters
1.2.1 1950s-1960s
1.2.2 1970s-1980s
1.2.3 since 1990s
2 External links
[edit] Filmography
[edit] as film directors
[edit] 1950s-1960s
San Miniato, luglio '44 (1954)
L'Italia non è un paese povero (1960, together with Joris Ivens)
Un uomo da bruciare (1962, together with Valentino Orsini)
I fuorilegge del matrimonio (1963, together with Valentino Orsini)
I sovversivi (1967)
Sotto il segno dello scorpione (1969)
[edit] 1970s-1980s
San Michele aveva un gallo (1972)
Allonsanfàn (1973)
Padre padrone (1977)
Il prato (1979)
La notte di San Lorenzo (1982)
Kaos (1984)
Good Morning, Babylon (1987)
[edit] since 1990s
Il sole anche di notte (1990)
Fiorile (1993)
Le affinità elettive (1996)
Tu ridi (1998)
Un altro mondo è possibile (2001)
Resurrezione (2001, TV film)
Luisa Sanfelice (2004, TV miniseries)
La masseria delle allodole (2007)
[edit] as screenwriters
[edit] 1950s-1960s
San Miniato, luglio '44 (1954, with Valentino Orsini and Cesare Zavattini)
Un uomo da bruciare (1962, with Valentino Orsini)
I fuorilegge del matrimonio (1963, with Lucio Battistrada, Giuliani G. De Negri, Renato Niccolai and Valentino Orsini)
I sovversivi (1967)
Sotto il segno dello scorpione (1969)
[edit] 1970s-1980s
San Michele aveva un gallo (1972, based on a story by Leo Tolstoy)
Allonsanfàn (1973)
Padre padrone (1977, based on a book by Gavino Ledda)
Il prato (1979, with Gianni Sbarra)
La notte di San Lorenzo (1982, with Giuliani G. De Negri and Tonino Guerra)
Kaos (1984, based on short stories by Luigi Pirandello)
Good Morning, Babylon (1987, with Tonino Guerra)
[edit] since 1990s
Il sole anche di notte (1990, with Tonino Guerra)
Fiorile (1993, with Sandro Petraglia)
Le affinità elettive (1996, based on a novella by Johann Wolfgang Goethe)
Tu ridi (1998, based on short stories by Luigi Pirandello)
Resurrezione (2001, based on a novel by Leo Tolstoy)
Luisa Sanfelice (2004, based on a novel by Alexandre Dumas, père) (here)
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Since the early 1960s, when they realized that fiction feature films were going to be their main interest, Paolo and Vittorio Taviani have written scenarios and scripts, designed settings, developed a filmmaking style and philosophy, directed a dozen features, and patiently explained their methods and concepts to many interviewers and audiences in Italy and abroad.
Although influenced to some extent by neorealism—such as the films of Rossellini and De Santis, characterized by on-location settings, natural lighting, authentic environmental sounds, non-professional actors, and an emphasis on "the people" as protagonists—the Tavianis want reviewers to see their films as invented and staged, as interpretations of history rather than as documentaries. They draw upon their early interests and background—as youngsters they saw musicals and concerts but not movies—and use artistic and technical means and methods similar to those utilized in theater and opera. Their films in which music is part of plot and theme reveal an inventory of flutes, accordions, record players, radios, human singing voices, folk tunes, opera, and oratorio (mostly Italian but also German), and even "The Battle Hymn of the Republic."
The photography in their films takes the eye back to the horizon or across a huge field, far along a road or deep into the front of a church or schoolroom. Even casual viewers must realize the frequent alternation of intense close-ups and long shots that never cease to remind one of locale. In addition, thoughts and dreams are often given visual expression: A picture of a girl and her brother studying on a couch follows her interior monologue about missing the long yellow couch in her living room ( La notte di San Lorenzo ); a prisoner in solitary confinement for ten years creates a world of sound and sight expressed on the screen ( San Michele aveva un gallo ).
With theatrical form and technique serving as the framework for their political cinema, and complex, individualistic characters as protagonists, the Tavianis are as concerned with corruption, abuse of power, poverty, and suffering as were the neorealists and their successors. Struck by the autobiography of Gavino Ledda, which became their well-received Padre Padrone , they investigate the abuse of power by a father, compelled by tradition and his own need to survive to keep his son a slave. Amazingly, the illiterate, virtually mute shepherd boy whom a quirk of fate (army service) rescues from lifetime isolation becomes a professor of linguistics through curiosity, will, and energy. In Un uomo da Bruciare Salvatore, who wants to help Sicilian peasants break the Mafia's hold, is complex, intellectual, and egotistical.
Other themes and topics in Taviani films include divorce, revolution as an ongoing effort interrupted by interludes of other activity, the changing ways of dealing with power and corruption, resistance in war, fascism, and the necessity of communal action for accomplishment. The Tavianis use the past to illuminate the present, show the suffering of opposing sides, and stress the major role of heritage and environment. Their characters ask questions about their lives that lead to positive solutions (and sometimes to failure). The two directors believe in the possibility of an eventual utopia.
In 1987 the Tavianis made their first English-language film, Good Morning Babylon , a poetic, sweetly nostalgic ode to the origins of cinema and the invulnerability of great art. Their scenario chronicles the plight of two Italian-born siblings whose ancestors are craftsmen who for centuries have restored cathedrals. They arrive in America during the 1920s and end up designing sets for D. W. Griffith's Intolerance. This was followed by two works as outstanding as any of their earlier films. Il Sole anche di notte (Night Sun) , adapted from Tolstoi's "Father Sergius," is the story of a young man who is deeply troubled by the knowledge that he exists in a world of temptation and hypocrisy. He sees that too many of his fellow humans seek sex and status, and then turn to religion only to ease their guilt. All he wishes is to find inner tranquility, so he becomes a monk—and even cuts off his finger rather than give in to his desires and allow himself to be seduced by a temptress. A sensitive man who only wishes to make the world a better place, Father Sergius only can end up disappointed; he becomes an eternal wanderer, forever seeking the true meaning of his life and existence. Ultimately, the Tavianis are able to elicit a special sensitivity toward the human condition in the film.
Fiorile is linked to Night Sun as an intricate, sardonic tale of tainted innocence. While on his way from Paris to Tuscany to visit his sick, hermit-like father, whom he hasn't seen in a decade, a man discloses to his two young children the story of their ancestry. He commences by telling them of the nefarious means by which their forefathers became rich during the Napoleonic era—and how this wealth became a family curse for future generations. In Fiorile , the Tavianis examine the manner in which ill-gotten affluence will tarnish the soul and only result in misery. While their films are not lacking in political content—they keenly illustrate how greed, cruelty, lust for power, and temptation will wither one's soul—the cinema of Paolo and Vittorio Taviani is one of a simple, but never simplistic, humanism. (here)
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(Marcello Mastroianni) |
Date of Birth:28 September 1924, Fontana Liri, Latium, Italy more Date of Death:19 December 1996, Paris, Ile-de-France, France more Awards:Nominated for 3 Oscars. Another 33 wins & 4 nominations |
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Marcello Mastroianni |
Marcello Mastroianni's gravestone |
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Mini Biography
Marcello Mastroianni was born in 1924, in Fontana Liri, Italy, but soon his family moved to Turin and then Rome. During WW2 he was sent to a German prison camp, but he managed to escape and hide in Venice. In 1945 he started working for the Italian department of "Eagle Lion Films" in Rome and joined a drama club, where he was discovered by director Luchino Visconti. He made his "official" movie debut in the film I miserabili (1948) and La bella mugnaia (1955). In 1957 Visconti gave him the starring part in his Fyodor Dostoyevsky adaptation Le notti bianche (1957) and in 1958 he was fine as a little thief in Mario Monicelli's comedy I soliti ignoti (1958). But his real breakthrough came in 1960, when Federico Fellini cast him as an attractive, weary-eyed journalist of the Rome jet-set in La dolce vita (1960); that film was the genesis of his "Latin lover" persona, which Mastroianni himself often denied by accepting parts of passive and sensitive men. He would again work with Fellini in several major films, like the exquisite 8? (1963) (as a movie director who finds himself at a point of crisis) and the touching Ginger e Fred (1986) (as an old entertainer who appears in a TV show). He also appeared as a tired novelist with marital problems in Michelangelo Antonioni's La notte (1961), as an impotent young man in Mauro Bolognini's Il bell'Antonio (1960) , as an exiled prince in John Boorman's Leo the Last (1970), as a traitor in Paolo and Vittorio Taviani's Allonsanfàn (1974) and as a sensitive homosexual in love with a housewife in Ettore Scola's Una giornata particolare (1977). During the last decade of his life he worked with directors, like Theodoros Angelopoulos, Bertrand Blier and Raoul Ruiz, who gave him three excellent parts in Trois vies & une seule mort (1996). He died of pancreatic cancer in 1996.(here)
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Filmography
- Viagem ao Princ韕io do Mundo (1997) .... Manoel
... aka Journey to the Beginning of the World
... aka Voyage au d閎ut du monde (France)
... aka Voyage to the Beginning of the World (USA)
- Trois vies & une seule mort (1996) .... Mateo Strano/Georges Vickers/Butler/Luc Allamand
... aka Three Lives and Only One Death (USA)
... aka Tr阺 Vidas E Uma S?Morte (Portugal)
- Sostiene Pereira (1996) .... Pereira
... aka According to Pereira (USA)
... aka Afirma Pereira (Portugal)
... aka Pereira Declares
... aka Pereira pr閠end (France)
- Al di l?delle nuvole (1995) .... The Man of All Vices
... aka Al di l?delle nuvole (Italy)
... aka Beyond the Clouds (USA)
... aka Jenseits der Wolken (Germany)
... aka Par-del?les nuages (France)
- Les cent et une nuits de Simon Cin閙a (1995) .... L'ami italien/The Italian Friend
... aka A Hundred and One Nights
... aka A Hundred and One Nights of Simon Cinema
... aka Les cent et une nuits (France: short title)
- A che punto ?la notte (1995) (TV) .... Salvatore Santamaria
- Pr阾-?Porter (1994) .... Sergei / Sergio
... aka Pr阾-?Porter: Ready to Wear (Canada: English title)
... aka Ready to Wear
- Un, deux, trois, soleil (1993) .... Constantin Laspada, le p鑢e
... aka 1, 2, 3, Sun (International: English title)
- De eso no se habla (1993) .... Ludovico D'Andrea
... aka Di questo non si parla (Italy)
... aka I Don't Want to Talk About It (USA)
... aka We Don't Want to Talk About It (UK)
- Used People (1992) .... Joe Meledandri
- Le voleur d'enfants (1991) .... Bigua
... aka El ladr髇 de ni鄌s (Spain)
... aka Il ladro di ragazzi (Italy)
... aka The Children Thief
- To meteoro vima tou pelargou (1991) .... Missing Politician
... aka Le pas suspendu de la cigogne (France) (Switzerland: French title)
... aka Μετ?ωρο β?μα του πελαργο?, Το (Greece)
... aka Il passo sospeso della cigogna (Italy)
... aka The Suspended Step of the Stork
- Verso sera (1991) .... Prof. Bruschi
... aka Dans la soir閑 (France)
... aka Towards Evening
- Cin cin (1991) .... Mr. Cesareo Grimaldi
... aka A Fine Romance (USA)
... aka A Touch of Adultery (UK: video title)
- Stanno tutti bene (1990) .... Matteo Scuro
... aka Everybody's Fine (USA)
... aka Ils vont tous bien! (France)
- Che ora ? (1989) .... Marcello, The Father
... aka Quelle heure est-il? (France)
... aka What Time Is It? (International: English title)
- Splendor (1989) .... Jordan
... aka Splendor (France) (UK)
- "Piazza Navona" (2 episodes, 1988)
- Cuore di ladro (1988) TV episode
- Il mitico Gianluca (1988) TV episode
- Oci ciornie (1987) .... Romano
... aka Dark Eyes (International: English title)
- Miss Arizona (1987) .... Sandor Rozsnyai
- Ginger e Fred (1986) .... Pippo Botticella/Fred
... aka Federico Fellini's Ginger & Fred (USA: DVD box title)
... aka Ginger and Fred (USA)
... aka Ginger et Fred (France)
... aka Ginger und Fred (West Germany)
- O melissokomos (1986) .... Spyros
... aka Μελισσοκ?μος, Ο (Greece)
... aka Il volo (Italy)
... aka L'apiculteur (France)
... aka The Beekeeper
- I soliti ignoti vent'anni dopo (1985) .... Tiberio
... aka Big Deal After 20 Years (USA)
- Maccheroni (1985) .... Antonio Jasiello
... aka Macaroni (International: English title) (USA: video title)
- Le due vite di Mattia Pascal (1985) .... Mattia Pascal
... aka Die zwei Leben des Mattia Pascal (West Germany)
... aka La doppia vita di Mattia Pascal (Italy)
... aka The Two Lives of Mattia Pascal (International: English title: literal title)
- Enrico IV (1984) .... Enrico IV
... aka Henry IV (USA)
- Il generale dell'armata morte (1983) .... General Ariosto
... aka L'armata ritorna (Italy: alternative title)
... aka Le g閚閞al de l'arm閑 morte (France)
... aka The General of the Dead Army (USA)
- Storia di Piera (1983) .... Lorenzo
... aka Die Geschichte der Piera (West Germany)
... aka L'histoire de Piera (France)
... aka The Story of Piera
- Gabriela, Cravo e Canela (1983) .... Nacib
... aka Gabriela (USA)
- Oltre la porta (1982) .... Enrico Sommi
... aka Behind the Door
... aka Beyond Obsession (USA: video title)
... aka Beyond the Door (USA)
... aka Jail Bird
... aka The Secret Beyond the Door
- La nuit de Varennes (1982) .... Casanova, Chevalier de Seingalt
... aka Il mondo nuovo (Italy)
... aka That Night in Varennes (UK)
... aka The Night of Varennes (Europe: English title)
- La pelle (1981) .... Curzio Malaparte
... aka La peau (France)
... aka The Skin
- Fantasma d'amore (1981) .... Nino Monti
... aka Fant鬽e d'amour (France)
... aka Zwei Gesichter einer Frau (West Germany)
- La citt?delle donne (1980) .... Sn鄍oraz
... aka City of Women (USA)
... aka La cit?des femmes (France)
- La terrazza (1980) .... Luigi
... aka La terrasse (France)
... aka The Terrace
- Appunti su la citt?delle donne (1980) (TV)
- L'ingorgo - Una storia impossibile (1979) .... Marco Montefoschi
... aka Black Out in Autostrada (Italy: DVD title)
... aka El gran atasco (Spain)
... aka L'ingorgo (Italy: short title)
... aka Le grand embouteillage (France)
... aka Stau (West Germany)
... aka Traffic Jam (USA)
- Fatto di sangue fra due uomini per causa di una vedova - si sospettano moventi politici (1978) .... Rosario Maria Spallone
... aka Blood Feud (Australia) (USA)
... aka Revenge (USA: recut version)
- Cos?come sei (1978) .... Giulio Marengo
... aka As?como eres (Spain)
... aka Stay as You Are (USA)
... aka Stay the Way You Are
- Ciao maschio (1978) .... Luigi Nocello
... aka Bye Bye Monkey (USA)
... aka R陃e de singe (France)
- Le mani sporche (1978) (TV) .... Hoederer
- Giallo napoletano (1978) .... Raffaele Capece
... aka Atrocious Tales of Love and Revenge
... aka Neapolitan Mystery (International: English title)
... aka Neapolitan Thriller
- Doppio delitto (1977) .... Bruno Baldassarre
... aka Double Murder (International: English title)
... aka Double Murders
... aka Enqu阾e ?l'italienne (France)
- Mogliamante (1977) .... Luigi De Angelis
... aka Lover, Wife
... aka Wifemistress
- Una giornata particolare (1977) .... Gabriele
... aka A Special Day (International: English title) (USA: dubbed version)
- Signore e signori, buonanotte (1976) .... Paolo T. Fiume
... aka Goodnight, Ladies and Gentlemen (International: English title: literal title)
... aka Mesdames et messieurs bonsoir (France)
- Todo modo (1976) .... Don Gaetano
... aka Todo Modo (France)
- Culastrisce nobile veneziano (1976) .... Marchese Luca Maria
... aka Lunatics and Lovers (USA)
- La donna della domenica (1975) .... Commissioner Salvatore Santamaria
... aka La femme du dimanche (France)
... aka The Sunday Woman (USA)
- Per le antiche scale (1975) .... Professor Bonaccorsi
... aka Down the Ancient Staircase
... aka Down the Ancient Stairs
... aka En descendant les marches d'antan (France: festival title)
... aka Vertiges (France)
- Divina creatura (1975) .... Michele Barra
... aka The Divine Nymph (USA)
- La pupa del gangster (1975) .... Charlie Colletto
... aka Get Rita
... aka Gun Moll (Philippines: English title)
... aka La p閜閑 du gangster (France)
... aka Lady of the Evening
... aka Oopsie Poopsie
... aka Poopsie
... aka Poopsie & Co. (USA: reissue title)
... aka Sex Pot (USA: reissue title)
- Allonsanf鄋 (1974) .... Fulvio Imbriani
... aka Allonsanfan (Italy: alternative spelling) (USA)
- Touche pas ?la femme blanche (1974) .... George A. Custer
... aka Don't Touch the White Woman! (USA: video title)
... aka Non toccare la donna bianca (Italy)
- Salut l'artiste (1973) .... Nicolas Montei
... aka Hail the Artist
... aka L'idolo della citt? (Italy)
... aka The Bit Player
- Rappresaglia (1973) .... Father Pietro Antonelli
... aka Massacre in Rome (UK) (USA)
... aka Repr閟ailles (France)
- L'関閚ement le plus important depuis que l'homme a march?sur la lune (1973) .... Marco Mazetti
... aka A Slightly Pregnant Man (UK)
... aka Niente di grave, suo marito ? incinto (Italy)
- La grande bouffe (1973) .... Marcello
... aka Blow Out (UK: DVD title)
... aka Blow-Out (UK)
... aka La grande abbuffata (Italy: dubbed version)
... aka The Grande Bouffe (USA)
... aka The Great Feed (Europe: English title)
- Mordi e fuggi (1973) .... Giulio Borsi
... aka Dirty Weekend (USA)
... aka Rapt ?l'italienne (France)
- Che? (1972) .... Alex
... aka Diary of Forbidden Dreams (USA: recut version)
... aka Quoi? (France)
... aka Was? (West Germany)
... aka What? (International: English title)
- Liza (1972) .... Giorgio
... aka La cagna (Italy)
... aka Liza (France)
... aka Liza: Love to Eternity (Australia)
... aka Love to Eternity (UK)
... aka Melampo
- 閍 n'arrive qu'aux autres (1971) .... Marcello
... aka It Only Happens to Others (USA)
... aka Tempo d'amore (Italy)
- La moglie del prete (1971) .... Don Mario Carlesi
... aka La femme du pr阾re (France)
... aka The Priest's Wife
- Correva l'anno di grazia 1870 (1971) (TV) .... Augusto Parenti
... aka 1870 (International: English title)
- Scipione detto anche l'africano (1971) .... Scipione l'Africano
... aka Scipio the African (International: English title)
- Permette? Rocco Papaleo (1971) .... Rocco
... aka Chicago Story (UK)
... aka Excuse Me, My Name Is Rocco Papaleo
... aka Le ravi (France: cable TV title)
... aka My Name Is Rocco Papaleo (USA)
- Giochi particolari (1970) .... Sandro
... aka Le voyeur (France)
... aka The Voyeur (International: English title)
- Leo the Last (1970) .... Prince Leo
- I girasoli (1970) .... Antonio
... aka Les fleurs du soleil (France)
... aka Sunflower (USA)
- Dramma della gelosia (tutti i particolari in cronaca) (1970) .... Oreste
... aka Drama of Jealousy
... aka El demonio de los celos (Spain)
... aka Jealousy, Italian Style
... aka The Motive Was Jealousy
... aka The Pizza Triangle
- Diamonds for Breakfast (1968) .... Grand Duke Nicholas Wladimirovitch Goduno
- Amanti (1968) .... Valerion
... aka A Place for Lovers (USA)
... aka Le temps des amants (France)
- Questi fantasmi (1967) (uncredited) .... Il fantasma
... aka Fant鬽es ?l'italienne (France)
... aka Ghosts - Italian Style (USA)
- Lo straniero (1967) .... Arthur Meursault
... aka Amare per vivere (Italy)
... aka L'閠ranger
... aka The Stranger
- Spara forte, pi?forte, non capisco (1966) .... Alberto Saporito
... aka Shoot Loud, Louder... I Don't Understand
- Poppies Are Also Flowers (1966) .... Inspector Mosca
... aka Danger Grows Wild (UK)
... aka Mohn ist auch eine Blume (Austria)
... aka Op閞ation opium (France)
... aka The Opium Connection (USA: video title)
... aka The Poppy Is Also a Flower (USA: promotional title)
- Io, io, io... e gli altri (1966) .... Peppino Marassi
... aka Me, Me, Me... and the Others (USA)
- La decima vittima (1965) .... Marcello Polletti
... aka La dixi鑝e victime (France)
... aka The 10th Victim
... aka The Tenth Victim (UK)
- Casanova '70 (1965) .... Major Andrea Rossi-Colombotti
- Oggi, domani, dopodomani (1965) .... Mario (segment "L'uomo dei 5 palloni")/Michele (segment "L'ora di punta", "La moglie bionda")
... aka Aujourd'hui, demain et apr鑣-demain (France: DVD title)
... aka Kiss the Other Sheik (USA)
... aka The Man, the Woman and the Money (USA)
- L'uomo dei cinque palloni (1965) .... Mario
... aka Break up (Italy: longer version)
... aka Break up, erotisme et ballons rouges (France: longer version)
... aka The Man with the Balloons
- Matrimonio all'italiana (1964) .... Domenico Soriano
... aka Mariage ?l'italienne (France)
... aka Marriage Italian-Style (USA)
- Ieri, oggi, domani (1963) .... Carmine Sbaratti/Renzo/Augusto Rusconi
... aka Hier, aujourd'hui et demain (France)
... aka Yesterday, Today and Tomorrow (USA)
... aka Yesterday, Today, Tomorrow (UK)
- I compagni (1963) .... Professor Sinigaglia
... aka Les camarades (France)
... aka The Organizer (USA)
... aka The Strikers (International: English title)
- 8?/a> (1963) .... Guido Anselmi
... aka Federico Fellini's 8 1/2 (USA)
... aka Federico Fellini's 8?(USA: complete title)
... aka Huit et demi (France)
- Cronaca familiare (1962) .... Enrico
... aka Family Diary (USA: original subtitled version)
... aka Family Portrait (USA)
- Vie priv閑 (1962) .... Fabio Rinaldi
... aka A Very Private Affair (UK) (USA)
... aka Vita privata (Italy)
- Divorzio all'italiana (1961) .... Ferdinando Cefal?
... aka Divorce - Italian Style (USA)
- Fantasmi a Roma (1961) .... Reginaldo di Roviano/Federico di Roviano/Gino
... aka Ghosts of Rome (USA: TV title)
... aka Phantom Lovers (UK)
- L'assassino (1961) .... Nello Poletti
... aka L'assassin (France)
... aka The Assassin (USA)
... aka The Ladykiller of Rome (USA: dubbed version)
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- La notte (1961) .... Giovanni Pontano
... aka La nuit (France)
... aka The Night (UK)
- Adua e le compagne (1960) .... Piero Salvagni
... aka Adua and Company
... aka Adua and Her Friends (USA: festival title)
... aka Hungry for Love (UK)
... aka Love a la Carte (USA)
- Il bell'Antonio (1960) .... Antonio Magnano
... aka Bell' Antonio (USA)
... aka Le bel Antonio (France)
- La dolce vita (1960) .... Marcello Rubini
... aka La Dolce Vita (UK) (USA)
... aka La dolce vita (France)
... aka La douceur de vivre (France: alternative title)
- Ferdinando I. re di Napoli (1959) .... Gennarino
- Tutti innamorati (1959) .... Giovanni
... aka Everyone's in Love (International: English title)
- La legge (1959) .... Enrico Tosso, the Engineer
... aka La loi (France)
... aka The Law
... aka Where the Hot Wind Blows! (USA)
- Un ettaro di cielo (1959) .... Severino Balestra
... aka Piece of the Sky (International: English title)
- Il nemico di mia moglie (1959) .... Marco Tornabuoni
... aka My Wife's Enemy
- I soliti ignoti (1958) .... Tiberio
... aka Big Deal on Madonna Street (USA)
... aka Persons Unknown (UK)
- Amore e guai (1958) .... Franco
... aka Love and Troubles (International: English title)
- Racconti d'estate (1958) .... Marcello Mazzoni
... aka Femmes d'un 閠?(France)
... aka Girls for the Summer (International: English title)
... aka Love on the Riviera (USA)
- Le notti bianche (1957) .... Mario
... aka Nuits blanches (France)
... aka White Nights
- Il momento pi?bello (1957) .... Pietro Valeri
... aka Le moment le plus beau (France)
... aka The Most Wonderful Moment
... aka Wasted Lives (USA: reissue title)
- La ragazza della salina (1957) .... Piero
... aka La ragazza (Italy)
... aka La ragazza della salina (Italy)
... aka M鋎chen und M鋘ner (West Germany)
... aka Sand, Love and Salt (USA)
- Padri e figli (1957) .... Cesare
... aka A Tailor's Maid (USA)
... aka Fathers and Sons (International: English title)
... aka Like Father, Like Son (UK)
... aka P鑢es et fils (France)
- Il medico e lo stregone (1957) .... Dr. Francesco Marchetti
... aka Doctor and the Healer (International: English title)
... aka Le m閐ecin et le sorcier (France)
- Il bigamo (1956) .... Mario De Santis
... aka Le bigame (France)
... aka The Bigamist (USA)
- La fortuna di essere donna (1956) .... Corrado Betti
... aka La chance d'阾re femme (France)
... aka Lucky to Be a Woman (USA)
... aka What a Woman! (USA)
- La bella mugnaia (1955) .... Luca
... aka The Miller's Beautiful Wife (USA)
... aka The Miller's Wife (UK)
- Tam tam mayumbe (1955) .... Alessandrini
... aka Mondo Keazunt (USA)
... aka Native Drums (USA)
... aka Tam-tam (France)
... aka Tom Toms of Mayumba (UK)
- Peccato che sia una canaglia (1954) .... Paolo
... aka Too Bad She's Bad (USA)
- Casa Ricordi (1954) .... Gaetano Donizetti
... aka House of Ricordi (USA: new title)
... aka La maison du souvenir (France)
- Giorni d'amore (1954) .... Pasquale Droppio
... aka Days of Love (International: English title)
... aka Jours d'amour (France)
- Tempi nostri (1954) .... Maria's husband (segment "Pupo, Il")
... aka A Slice of Life (UK)
... aka Quelques pas dans la vie (France)
... aka The Anatomy of Love (USA)
... aka Zibaldone N. 2 (Italy: alternative title)
- Cronache di poveri amanti (1954) .... Ugo
... aka Chronicle of Poor Lovers (USA)
- La principessa delle Canarie (1954) .... Don Diego
... aka The Island Princess (USA)
... aka Tirma (Spain)
- Schiava del peccato (1954) .... Giulio
- La valigia dei sogni (1953)
- Non ?mai troppo tardi (1953) .... Riccardo
... aka It's Never Too Late (International: English title)
... aka Una meravigliosa notte (Italy: subtitle)
- Il viale della speranza (1953) .... Mario
- Gli eroi della domenica (1953) .... Carlo Vagnetti
... aka Sunday Heroes (International: English title)
- Febbre di vivere (1953) .... Daniele
... aka Eager to Live (International: English title)
- Lul?/a> (1953) .... Soletti
- Penne nere (1952) .... Pietro 'Pieri' Cossutti
... aka Black Feathers (International: English title)
- Le ragazze di Piazza di Spagna (1952) .... Marcello Sartori
... aka Girls of the Spanish Steps (UK)
... aka Three Girls from Rome (USA)
- L'eterna catena (1952) .... Walter Ronchi
... aka The Eternal Chain (USA)
- Tragico ritorno (1952) .... Marco
... aka Tragic Return (International: English title)
- Sensualit?/a> (1952) .... Carlo Sartori
... aka Barefoot Savage (USA)
... aka Enticement (UK)
... aka Sensualita (USA)
- La muta di Portici (1952) (uncredited)
... aka The Mute of Portici (International: English title: literal title)
- Parigi ?sempre Parigi (1951) .... Marcello Venturi
... aka Paris Is Always Paris (International: English title)
... aka Paris est toujours Paris (France)
- A Tale of Five Cities (1951) .... Aldo Mazzetti
... aka A Tale of Five Women (USA)
... aka F黱f M鋎chen und ein Mann (West Germany)
... aka F黱f St鋎te - F黱f M鋎chen (Austria)
... aka L'inconnu des cinq cit閟 (France)
... aka Passaporto per l'oriente (Italy)
... aka Racconto di cinque citt?(Italy)
... aka Storia di cinque citt?(Italy)
- Cuori sul mare (1950) .... Massimo Falchetti
... aka Hearts at Sea
... aka Les mousquetaires de la mer (France)
- Atto d'accusa (1950) .... Renato La Torre
... aka The Accusation (International: English title)
... aka The Charge Is Murder (USA: TV title)
... aka The Charge is Murder (UK)
- Vita da cani (1950) (as Marcello Mastrojanni) .... Carlo Danesi, fidanzato di Franca
... aka A Dog's Life
... aka It's a Dog's Life
- Contro la legge (1950) .... Marcello Curti
... aka Against the Law (International: English title)
- Domenica d'agosto (1950) .... Ercole Nardi
... aka Sunday in August
- Vertigine d'amore (1949)
... aka Le pain des pauvres (France)
- Vent'anni (1949)
- I miserabili (1948) .... Un rivoluzionario
... aka Les mis閞ables
- I bambini ci guardano (1944) (uncredited) .... Extra
... aka The Children Are Watching Us (USA)
... aka The Little Martyr (USA)
- Una storia d'amore (1942) .... Extra
... aka Love Story (International: English title)
- Marionette (1939) (uncredited) .... Extra
- Marcello Mastroianni: mi ricordo, s? io mi ricordo (1997) (performer: "Questo si chiama amora", "Piaceva alle donne", "Il mio nome", "Valentino Tango")
... aka Marcello Mastroianni: I Remember (USA)
... aka Marcello Mastroianni: I Remember, Yes I Remember
- Contro la legge (1950) (associate producer)
... aka Against the Law (International: English title)
- Marcello Mastroianni: mi ricordo, s? io mi ricordo (1997) .... Himself
... aka Marcello Mastroianni: I Remember (USA)
... aka Marcello Mastroianni: I Remember, Yes I Remember
- Fare un film per me ?vivere (1996) (TV) .... Himself
... aka Faire un film pour moi c'est vivre (France)
... aka Making a Film for Me Is to Live
- "Gran premio gal?della TV" .... Himself - Winner (1 episode, 1995)
... aka Gran premio internazionale dello spettacolo (Italy: new title)
- Episode dated 9 May 1995 (1995) TV episode .... Himself - Winner
- "縌u?apostamos?" .... Himself (1 episode, 1995)
- Episode dated 10 February 1995 (1995) TV episode .... Himself
- "Esto no es lo que parece" (1994) TV series .... Himself - Guest (unknown episodes, 1994)
- La vera vita di Antonio H. (1994) .... Himself
... aka The True Life of Antonio H.
- The 65th Annual Academy Awards (1993) (TV) .... Himself - Co-Presenter: Honorary Award to Federico Fellini
- "The Tonight Show with Jay Leno" .... Himself (1 episode, 1993)
... aka Jay Leno (Australia)
- Episode dated 20 January 1993 (1993) TV episode .... Himself
- The European Film Awards (1988) (TV) .... Himself
- "Piazza Navona" .... Himself - Narrator (1 episode, 1988)
- La vacanza (1988) TV episode .... Himself - Narrator
- Intervista (1987) .... Himself
... aka Federico Fellini's Intervista
... aka Fellini's Intervista (USA)
- Enas melissokomos pethainei i o allos mythos (1986) .... Himself
... aka O allos mythos (Greece: festival title)
- Night of 100 Stars (1982) (TV) .... Himself
- "Cin?regards" .... Himself (1 episode, 1979)
- La peau des autres: Portrait de Marcello Mastroianni (1979) TV episode .... Himself
- Io sono Anna Magnani (1979) .... Himself
... aka Ik ben Anna Magnani (Belgium: Flemish title)
... aka My Name Is Anna Magnani (USA)
- The 50th Annual Academy Awards (1978) (TV) .... Himself - Nominee: Best Actor in a Leading Role & Co-presenter: Best Film Editing
- "A fondo" .... Himself (1 episode, 1978)
- Episode dated 19 March 1978 (1978) TV episode .... Himself
- "V.I.P.-Schaukel" .... Himself (1 episode, 1976)
- Episode #6.3 (1976) TV episode .... Himself
- "La hora de..." .... Himself (1 episode, 1976)
- Episode dated 2 July 1976 (1976) TV episode .... Himself
- E il Casanova di Fellini? (1975) (TV) .... Himself
- C'eravamo tanto amati (1974) .... Himself
... aka Those Were the Years (International: English title: informal title)
... aka We All Loved Each Other So Much (USA)
- Le dernier cri des Halles (1973) .... Himself
- Roma (1972) (uncredited) .... Himself
... aka Fellini Roma (France)
... aka Fellini's Roma (USA)
- "Film Night" .... Himself (1 episode, 1971)
- Episode dated 14 March 1971 (1971) TV episode .... Himself
- "Rowan & Martin's Laugh-In" .... Himself (1 episode, 1971)
... aka Laugh-In
- Episode #4.20 (1971) TV episode .... Himself
- "NBC Experiment in Television" .... Himself (1 episode, 1969)
- Fellini: A Director's Notebook (1969) TV episode .... Himself
- Block-notes di un regista (1969) (TV) .... Himself
... aka Fellini: A Director's Notebook (USA)
- With Love, Sophia (1967) (TV) .... Himself
- Sophia Loren in Rome (1964) (TV) .... Himself
- "Cin閜anorama" .... Himself (1 episode, 1960)
- Episode dated 14 May 1960 (1960) TV episode .... Himself
- "Fellini" .... Himself (1 episode)
- La dolce vita et le n閛r閍lisme (????) TV episode .... Himself
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e-engmov-023-2 |
Allonsanfan (1973) film and music's research |
The movie was provided by Lajiao |
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Relative music site |
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IMDB(English) |
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IMDB(Chinese) |
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Note |
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Our prompt: In order to understand the Movie, we have to study a few information |
001-Italy history |
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Italy, united in 1861, has significantly contributed to the cultural and social development of the entire Mediterranean area. Many cultures and civilizations have existed there since prehistoric times.
Culturally and linguistically, the origins of Italian history can be traced back to the 9th century BC, when earliest accounts date the presence of Italic tribes in modern central Italy. Linguistically they are divided into Oscans, Umbrians and Latins. Later the Latin culture became dominant, as Rome emerged as dominant city around 350 BC. Other pre-Roman civilizations include Magna Graecia in Southern Italy and the earlier Etruscan civilization, which flourished between 900 and 100 BC in the Center North.
After the Roman Republic and Empire that dominated this part of the world for many centuries came an Italy whose people would make immeasurable contributions to the development of European philosophy, science, and art during the Middle Ages and the Renaissance. Dominated by city-states for much of the medieval and Renaissance period, the Italian peninsula also experienced several foreign dominations. Parts of Italy were annexed to the Spanish, the Austrian and Napoleon's empire, while the Vatican maintained control over the central part of it, before the Italian Peninsula was eventually liberated and unified amidst much struggle in the 19th and 20th centuries.
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The Roma empire in 117 |
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The split of Roma empire and perdition of West Roma empire |
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Foreign domination (1559 to 1814)
Main article: Early Modern Italy
The War of the League of Cambrai was a major conflict in the Italian Wars. The principal participants of the war were France, the Papal States, and the Republic of Venice; they were joined, at various times, by nearly every significant power in Western Europe, including Spain, the Holy Roman Empire, the Kingdom of England, the Kingdom of Scotland, the Duchy of Milan, Florence, the Duchy of Ferrara, and the Swiss.
The history of Italy in the Early Modern period was characterized by foreign domination: Following the Italian Wars (1494 to 1559), Italy saw a long period of relative peace, first under Habsburg Spain (1559 to 1713) and then under Habsburg Austria (1713 to 1796). During the Napoleonic era, Italy was a client state of the French Republic (1796 to 1814). The Congress of Vienna (1814) restored the situation of the late 18th century, which was however quickly overturned by the incipient movement of Italian unification.
The Black Death repeatedly returned to haunt Italy throughout the 14th to 17th centuries. The plague of 1575–77 claimed some 50,000 victims in Venice.[3] In the first half of the 17th century a plague claimed some 1,730,000 victims, or about 14% of Italy’s population.[4] The Great Plague of Milan occurred from 1629 through 1631 in northern Italy, with the cities of Lombardy and Venice experiencing particularly high death rates. In 1656 the plague killed about half of Naples' 300,000 inhabitants.[5]
Unification (1814 to 1861)
Main article: Italian unification
Italian unification process.The Risorgimento was the political and social process that unified different states of the Italian peninsula into the single nation of Italy.
It is difficult to pin down exact dates for the beginning and end of Italian reunification, but most scholars agree that it began with the end of Napoleonic rule and the Congress of Vienna in 1815, and approximately ended with the Franco-Prussian War in 1871, though the last "città irredente" did not join the Kingdom of Italy until the Italian victory in World War I.
[edit] Monarchy, Fascism and World Wars (1861-1945)
Main article: History of Italy as a monarchy and in the World Wars
Italy became a nation-state belatedly — on March 17, 1861, when most of the states of the peninsula were united under king Victor Emmanuel II of the Savoy dynasty, which ruled over Piedmont. The architects of Italian unification were Count Camillo Benso di Cavour, the Chief Minister of Victor Emmanuel, and Giuseppe Garibaldi, a general and national hero. Rome itself remained for a decade under the Papacy, and became part of the Kingdom of Italy only on September 20, 1870, the final date of Italian unification. The Vatican is now an independent enclave surrounded by Italy, as is San Marino.
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Wienna meeting in 1814( here) |
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Italy in 1815-1870 ( here) |
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Carbonari |
The Carbonari ("charcoal burners"[1]) were groups of secret revolutionary societies founded in early 19th-century Italy. Their goals were patriotic and liberal and they played an important role in the Risorgimento and the early years of Italian nationalism.
Organization
They were organized in the fashion of Freemasonry, broken into small cells scattered across Italy. They sought the creation of a liberal, unified Italy.
The membership was separated into two classes—apprentice and master. There were two ways to become a master, through serving as an apprentice for at least six months[2] or by being a Freemason on entry.[3] Their initiation rituals were structured around the trade of charcoal-selling, hence their name.
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History
Although it is not clear where they were originally established,[4] they first came to prominence in the Kingdom of Naples during the Napoleonic wars.[5]
They began by resisting the French occupiers, notably Joachim Murat, the Bonapartist King of Naples. However, once the wars ended, they became a nationalist organisation with a marked anti-Austrian tendency and were instrumental in organising revolution in Italy in 1820–1821 and 1831. The 1820 revolution began in Naples against King Ferdinand I of the Two Sicilies, who was forced to make concessions and promise a constitutional monarchy. This success inspired Carbonari in the north of Italy to revolt too. In 1821, the Kingdom of Sardinia obtained a constitutional monarchy as a result of Carbonari actions, as well as other reforms of liberalism. However, the Holy Alliance would not tolerate this state of affairs and in February, 1821, sent an army to crush the revolution in Naples. The King of Sardinia also called for Austrian intervention. Faced with an enemy overwhelmingly superior in number, the Carbonari revolts collapsed and their leaders fled into exile. In 1830, Carbonari took part in the July Revolution in France. This gave them hope that a successful revolution might be staged in Italy. A bid in Modena was an outright failure, but in February 1831, several cities in the Papal States rose up and flew the Carbonari tricolour. A volunteer force marched on Rome but was destroyed by Austrian troops who had intervened at the request of Pope Gregory XVI. After the failed uprisings of 1831, the governments of the various Italian states cracked down on the Carbonari, who now virtually ceased to exist. The more astute members realised they could never take on the Austrian army in open battle and joined a new movement, Giovane Italia ("Young Italy") led by the nationalist and Freemason Giuseppe Mazzini.(here) |
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Legend hero Giuseppe Garibaldi |
Giuseppe Garibaldi (July 4, 1807 – June 2, 1882) was an Italian military and political figure. In his twenties, he joined the Carbonari Italian patriot revolutionaries, and had to flee Italy after a failed insurrection. Garibaldi took part in the War of the Farrapos and the Uruguayan Civil War leading the Italian Legion, and afterwards returned to Italy as a commander in the conflicts of the Risorgimento.
He has been dubbed the "Hero of the Two Worlds" in tribute to his military expeditions in both South America and Europe.[1] He is considered an Italian national hero. |
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Second Italian War of Independence
Garibaldi, in a popular colour lithographGaribaldi returned again to Italy in 1854. Using a legacy from the death of his brother, he bought half of the Italian island of Caprera (north of Sardinia), devoting himself to agriculture. In 1859, the Second Italian War of Independence (also known as the Austro-Sardinian War) broke out in the midst of internal plots at the Sardinian government. Garibaldi was appointed major general, and formed a volunteer unit named the Hunters of the Alps (Cacciatori delle Alpi). Thenceforth, Garibaldi abandoned Mazzini's republican ideal of the liberation of Italy, assuming that only the Piedmontese monarchy could effectively achieve it.
With his volunteers, he won victories over the Austrians at Varese, Como, and other places.
Garibaldi was however very displeased as his home city of Nice (Nizza in Italian) was surrendered to the French, in return for crucial military assistance. In April 1860, as deputy for Nice in the Piedmontese parliament at Turin, he vehemently attacked Cavour for ceding Nice and the County of Nice (Nizzardo) to Louis Napoleon, Emperor of the French. In the following years Garibaldi (with other passionate Nizzardo Italians) promoted the Irredentism of his Nizza, even with riots (in 1872).
Campaign of 1860
See also: Expedition of the Thousand
On January 24, 1860, Garibaldi married an 18-year-old Lombard noblewoman, Giuseppina Raimondi. Immediately after the wedding ceremony, however, she informed him that she was pregnant with another man's child. As a result, Garibaldi left her the same day.[citation needed]
At the beginning of April 1860, uprisings in Messina and Palermo in the independent and peaceful Kingdom of the Two Sicilies provided Garibaldi with an opportunity. He gathered about a thousand volunteers (practically all northern Italians, and called i Mille (the Thousand), or, as popularly known, the Redshirts) in two ships, and landed at Marsala, on the westernmost point of Sicily, on May 11.
Swelling the ranks of his army with scattered bands of local rebels, Garibaldi led 800 of his volunteers to victory over a 1500-strong enemy force on the hill of Calatafimi on May 15. He used the counter-intuitive tactic of an uphill bayonet charge; he had seen that the hill on which the enemy had taken position was terraced, and the terraces gave shelter to his advancing men. Although small by comparison with the coming clashes at Palermo, Milazzo and Volturno, this battle was decisive in terms of establishing Garibaldi's power in the island; an apocryphal but realistic story had him say to his lieutenant Nino Bixio, Qui si fa l'Italia o si muore, that is, Here we either make Italy, or we die. In reality, the Neapolitan forces were ill guided, and most of its higher officers had been bought out. The next day, he declared himself dictator of Sicily in the name of Victor Emmanuel II of Italy. He advanced then to Palermo, the capital of the island, and launched a siege on May 27. He had the support of many of the inhabitants, who rose up against the garrison, but before the city could be taken, reinforcements arrived and bombarded the city nearly to ruins. At this time, a British admiral intervened and facilitated an armistice, by which the Neapolitan royal troops and warships surrendered the city and departed.
Garibaldi had won a signal victory. He gained worldwide renown and the adulation of Italians. Faith in his prowess was so strong that doubt, confusion, and dismay seized, even the Neapolitan court. Six weeks later, he marched against Messina in the east of the island. There was a ferocious and difficult battle at Milazzo, but Garibaldi won through. By the end of July, only the citadel resisted.
Portrait of Giuseppe Garibaldi.Having finished the conquest of Sicily, he crossed the Strait of Messina, with the help of the British Navy, and marched northward. Garibaldi's progress was met with more celebration than resistance, and on September 7 he entered the capital city of Naples, by train. Despite taking Naples, however, he had not to this point defeated the Neapolitan army. Garibaldi's volunteer army of 24,000 was not able to defeat conclusively the reorganized Neapolitan army (about 25,000 men) on September 30 at the Battle of Volturno. This was the largest battle he ever fought, but its outcome was effectively decided by the arrival of the Piedmontese Army. Following this, Garibaldi's plans to march on to Rome were jeopardized by the Piedmontese, technically his ally but unwilling to risk war with France, whose army protected the Pope. (The Piedmontese themselves had conquered most of the Pope's territories in their march south to meet Garibaldi, but they had deliberately avoided Rome, his capital.) Garibaldi chose to hand over all his territorial gains in the south to the Piedmontese and withdrew to Caprera and temporary retirement. Some modern historians consider the handover of his gains to the Piedmontese as a political defeat, but he seemed willing to see Italian unity brought about under the Piedmontese crown. The meeting at Teano between Garibaldi and Victor Emmanuel II is the most important event in modern Italian history, but is so shrouded in controversy that even the exact site where it took place is in doubt.
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Garibaldi and his volunteer |
Giuseppe Garibaldi |
Garibaldi'sstatuary in Milan |
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002-Character and events with the movie |
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2-1 Robespierre |
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Maximilien Fran?ois Marie Isidore de Robespierre (IPA: [maksimilj?? f?ɑ?swa ma?i izid?? d? ??b?spj??]) (6 May 1758 – 28 July 1794) is one of the best-known and most influential figures of the French Revolution. He largely dominated the Committee of Public Safety and was instrumental in the period of the Revolution commonly known as the Reign of Terror, which ended with his arrest and execution in 1794.
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Robespierre(1758—1794) |
July 27, 1794 (9 Thermidor), Robespierre was executed by the guillotine |
Robespierre was influenced by 18th century Enlightenment philosophes such as Jean-Jacques Rousseau and Montesquieu, and he was a capable articulator of the beliefs of the left-wing bourgeoisie. He was described as physically unimposing and immaculate in attire and personal manners. His supporters called him "The Incorruptible", while his adversaries called him the "Tyrant" and dictateur sanguinaire (bloodthirsty dictator)....(here) |
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2-2 Jacobin |
Member of an extremist republican club of the French Revolution founded in Versailles 1789. Helped by Danton's speeches, they proclaimed the French republic, had the king executed, and overthrew the moderate Girondins 1792–93. Through the Committee of Public Safety, they began the Reign of Terror, led by Robespierre. After his execution in 1794, the club was abandoned and the name ‘Jacobin’ passed into general use for any left-wing extremist.(here)
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2-3 Mayflower and Thanksgiving |
In 1620, some wealthy Englishmen hired the Mayflower and the Speedwell to make a trip to start a colony in Northern Virginia. The Speedwell turned out to be a leaky ship, and so was unable to make the famous voyage with the Mayflower.
Christopher Jones was the captain of the Mayflower when it took the Pilgrims to New England in 1620. They came to the tip of Cape Cod (Massachusetts) on November 11, 1620.
Mayflower was a very common ship name, and other ships called the Mayflower made trips to New England; but none of them were the same ship that brought the Pilgrims to America.
The Mayflower stayed in America that winter, and it suffered the effects of the first winter just as the Pilgrims did, with almost half dying. The Mayflower set sail for home on April 5, 1621, arriving back May sixth. The ship made a few more trading runs, to Spain, Ireland, and lastly to France. However, Captain Christopher Jones died shortly thereafter, and was buried in England.
The exact size of the Mayflower is unknown. No pictures, paintings, or detailed description of the Mayflower exist today. However it is estimated the size of the Mayflower was about 113 feet long from the back rail to the front. A duplicate of the Mayflower, called the Mayflower II, is in Plymouth, Mass. Today it is a tourist attraction, and available for touring.
The voyage from Plymouth, England to Plymouth Harbor is about 2,750 miles, and took the Mayflower 66 days. The Mayflower left England with 102 passengers, including three pregnant women, and a crew of unknown number. One child was born at sea. After the Mayflower had arrived and was anchored in Provincetown Harbor off the tip of Cape Cod, Susanna White gave birth to a son. The Mayflower then sailed across the bay to Plymouth Harbor. There, Mary Allerton gave birth to a stillborn son. One passenger died while the Mayflower was at sea--a young man named William Butten, a servant-apprentice to Dr. Samuel Fuller. The death occurred just three days before land was sighted. One Mayflower crew member also died at sea, but his name is not known. The men of the Mayflower wrote "The Mayflower Compact", a set of laws for the new colony. This was the first time that immigrants to the new country had set down rule of the majority. It is still used today. The place they stayed was called the Plymouth Colony.
The Mayflower's Voyage :
DEPARTURE: The Mayflower left Plymouth, England on September 6, 1620
ARRIVAL: The Mayflower crew sighted land off Cape Cod on November 9, 1620, and first landfall was made November 11, 1620.
DISTANCE AND TIME: The voyage from Plymouth, England to Plymouth Harbor is about 2,750 miles, and took the Mayflower 66 days.
NUMBER OF PASSENGERS: The Mayflower left England with 102 passengers, including three pregnant women, and a crew of unknown number. While the Mayflower was at sea, Elizabeth Hopkins gave birth to a son which she named Oceanus. After the Mayflower had arrived and was anchored in Provincetown Harbor off the tip of Cape Cod, Susanna White gave birth to a son, which she named Peregrine (which means "one who has made a journey"). The Mayflower then sailed across the bay and anchored in Plymouth Harbor. There, Mary Allerton gave birth to a stillborn son. One passenger died while the Mayflower was at sea--a youth named William Butten, a servant-apprentice to Dr. Samuel Fuller. The death occurred just three days before land was sighted. One Mayflower crew member also died at sea, but his name is not known. |
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Plymouth is located in Boston Harbor "Mayflower," a copy of the yacht. |
Pilgrims from the United Kingdom in order to thank the Indians for their support during difficult times and God for their "gift" is the year (1620) the fourth Thursday in November, they made delicious turkey hunting, Indian hospitality .1941, the U.S. Congress officially set at each of its "Thanksgiving Day" |
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The Mayflower at Sea". By Gilbert Margeson (1852-1940).( here) |
The Voyage of the Mayflower", steel-plate engraving based on the painting by John Marshall the Elder, later coloration ( here) |
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MYTH: The first Thanksgiving was in 1621 and the pilgrims celebrated it every year thereafter.
FACT: The first feast wasn't repeated, so it wasn't the beginning of a tradition. In fact, the colonists didn't even call the day Thanksgiving. To them, a thanksgiving was a religious holiday in which they would go to church and thank God for a specific event, such as the winning of a battle. On such a religious day, the types of recreational activities that the pilgrims and Wampanoag Indians participated in during the 1621 harvest feast--dancing, singing secular songs, playing games--wouldn't have been allowed. The feast was a secular celebration, so it never would have been considered a thanksgiving in the pilgrims minds.
MYTH: The original Thanksgiving feast took place on the fourth Thursday of November.
FACT: The original feast in 1621 occurred sometime between September 21 and November 11. Unlike our modern holiday, it was three days long. The event was based on English harvest festivals, which traditionally occurred around the 29th of September. President Franklin D. Roosevelt set the date for Thanksgiving to the fourth Thursday of November in 1939 (approved by Congress in 1941). Abraham Lincoln had previously designated it as the last Thursday in November, which may have correlated it with the November 21, 1621, anchoring of the Mayflower at Cape Cod.
MYTH: The pilgrims wore only black and white clothing. They had buckles on their hats, garments, and shoes.
FACT: Buckles did not come into fashion until later in the seventeenth century and black and white were commonly worn only on Sunday and formal occasions. Women typically dressed in red, earthy green, brown, blue, violet, and gray, while men wore clothing in white, beige, black, earthy green, and brown.
MYTH: The pilgrims brought furniture with them on the Mayflower.
FACT: The only furniture that the pilgrims brought on the Mayflower was chests and boxes. They constructed wooden furniture once they settled in Plymouth.
MYTH: The Mayflower was headed for Virginia, but due to a navigational mistake it ended up in Cape Cod Massachusetts.
FACT: The Pilgrims were in fact planning to settle in Virginia, but not the modern-day state of Virginia. They were part of the Virginia Company, which had the rights to most of the eastern seaboard of the U.S. The pilgrims had intended to go to the Hudson River region in New York State, which would have been considered "Northern Virginia," but they landed in Cape Cod instead. Treacherous seas prevented them from venturing further south (here)
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003-Giuseppe Verdi |
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Giuseppe Fortunino Francesco Verdi (Italian pronunciation: [d?u?z?pp?e ?verdi]; October 9 or 10, 1813 – January 27, 1901) was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century. His works are frequently performed in opera houses throughout the world and, transcending the boundaries of the genre, some of his themes have long since taken root in popular culture - such as "La donna è mobile" from Rigoletto, "Va, pensiero" (The Chorus of the Hebrew Slaves) from Nabucco, "Libiamo ne' lieti calici" (The Drinking Song) from La traviata and Triumphal March from Aida. Although his work was sometimes criticized for using a generally diatonic rather than a chromatic musical idiom and having a tendency toward melodrama, Verdi’s masterworks dominate the standard repertoire a century and a half after their composition. |
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Works
Main article: List of compositions by Giuseppe Verdi
Verdi's operas, and their date of première are:
Oberto, November 17, 1839
Un giorno di regno, September 5, 1840
Nabucco, March 9, 1842
I Lombardi alla prima crociata, February 11, 1843
Ernani, March 9, 1844
I due Foscari, November 3, 1844
Giovanna d'Arco, February 15, 1845
Alzira, August 12, 1845
Attila, March 17, 1846
Macbeth, March 14, 1847
I masnadieri, July 22, 1847
Jérusalem (a revision and translation of I Lombardi alla prima crociata) November 26, 1847
Il corsaro, 25 October 1848
La battaglia di Legnano, January 27, 1849
Luisa Miller, December 8, 1849
Stiffelio, November 16, 1850
Rigoletto, March 11, 1851
Il trovatore, January 19, 1853
La traviata, March 6, 1853
Les vêpres siciliennes, June 13, 1855
Simon Boccanegra, March 12, 1857
Aroldo (A major revision of Stiffelio), August 16, 1857
Un ballo in maschera, February 17, 1859
La forza del destino, November 10, 1862
Don Carlos, March 11, 1867
Aida, December 24, 1871
Otello, February 5, 1887
Falstaff, February 9, 1893 |
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e-engmov-023-3 |
Allonsanfan (1973) film and music's research |
The movie was provided by Lajiao |
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Relative music site |
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IMDB(English) |
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IMDB(Chinese) |
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Note |
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A research on the movie and its music |
1. Mayflower and lmbriani Fulvio (A part of in 00:20:15-00:22:40) |
Fulvio recovered wake up in the moment when he was looking around his living since childhood bedroom walls, the photograph of a huge sailing ship Mayflower at sea paintings immediately caught his attention. "Transoceanic the sea, go into distance ", both out of all the historical disputes, but also realize their dream of a better life. After a noble family background, and later joined the revolutionary fanatic, finally to the harsh realities and was knocked to the ground, he do not want to betray the revolution, but also wants to return to that originally belonged to him by nature a happy life, when he felt he finally found the best and most realistic way out " (See below part-1) |
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2. The finale of the story |
The end of the film, there is still a very interesting scenario: (01:40:50-01:45:56 see the film clip-2 below).First Allonaanfan appeared hallucinations and he told Fulvio that he saw the farmers responded to the Brotherhood's call to join their team up and rebel. After the extreme contradictions and repeatedly shake,Fulvio finally embarked on the mutiny road. But he forgot to take off the pieces of red uniforms, were eventually killed by the soldiers.This also is the director of the wish to give in the defector of the most severe flogging, The Mastroiann who plays Fulvio Is Italy's national treasures worthy actor, his outstanding performance in the short minutes, has left a indeed and difficult to erase impression in people's minds. Until this point, we just can truly understand all the profound meaning of the film in the film and the cover of the disc . (See the below picture and the film clips -2) |
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3. About the music in the film |
The movie's soundtrack by the Great Master Morricone in should be said to be very outstanding, the following list to talk about the four major pieces (Soundtrack see this page) |
No. |
Name |
Listen (WMA) |
001 |
Rabbia e tarantella |
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002 |
Dirindindin |
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003 |
Tradimento |
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004 |
Te Deum laudamus |
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3-1 Rabbia e tarantella |
About Taranto and Tarantella |
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Taranto is also the origin of the common name of the Tarantula spider family, Theraphosidae, even though strictly speaking there are no members of Therphosidae in the area. In ancient times, residents of the town of Taranto, upon being bitten by the large local Wolf Spider, Lycosa tarentula, would promptly do a long vigorous dance like a Jig. This was done in order to sweat the venom out of their pores, even though the spider's venom was not fatal to humans. The frenetic dance became known as the Tarantella.(here) |
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Tarentum in Roma empire(Taranto at present) |
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Below are some Tarantella composed by Morricone and Another musician |
No. |
Name |
Movie |
Relative page |
Composer |
Listen |
Note |
001 |
Tarantella Naif |
Quando l'amore ?sensualit a/When Love Is Lust ( 1973-11) |
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Morricone |
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30"Incomplete Music |
002 |
Tarantella Prima |
Che C'entriamo Noi Con La Rivoluzione ( 1973-13) |
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Morricone |
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003 |
Rabbia e tarantella |
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Morricone |
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004 |
tarantella in 3rd class |
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Morricone |
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005 |
The Godfather: Tarantella |
The Godfather: Tarantella |
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Niro Rota |
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006 |
Rabbia E Tarantella |
Inglourious Basterds |
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Morricone |
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2009 Movie directed by Quentin Tarantino |
007 |
siciliana tarantella |
Not undrstand |
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Not undrstand |
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008 |
Napoletana tarantellan |
Not undrstand |
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Not undrstand |
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2-2 Dirindindin |
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Lyric of Dirindindin (In the movie) |
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Oh, how sweet,the grapes on the vine |
And how good |
to harvest the grapes |
And make love to my darling one |
Yes, make love in the fields.. |
That's what it was? |
Teresina, my sweet,I don't want to work.. |
You took off your petticoat |
If you want me, you will have to pay me |
Oh how sweet |
How good,to harvest the grapes |
And make love to my darling one |
Yes, make love in the fields... |
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Stefano Landi (baptized 26 February 1587 – 28 October 1639) was an Italian composer and teacher of the early Baroque Roman School. He was an influential early composer of opera, and wrote the earliest opera on a historical subject: Sant'Alessio (1632).(here) |
Stefano Landi's "Dirindin" |
Morricone's Dirindindin |
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The melody of the "Dirindindin" also was handled in some other works. Example Korean TV series "The beggar King" released by CCTV-1 in 2009 end, the melody was used in its end of all every volume: |
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2-3 Handle of Verdi's work in the movie |
2-3-1 "Tradimento" |
No. |
Name |
Listen |
001 |
"Tradimento" in the movie |
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002 |
Sogno "Tradimento" in the Verdi's opera "I masnadieri" |
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VERDI: I MASNADIERI |
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2CD VERDI: I MASNADIERI |
Verdi |
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Verdi "I MASNADIERI" 2CD-2 catalogue ( Here, 10th music is "Tradimento") |
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2-3-2 Verdi Te Deum Laudamus |
No. |
Name |
Listen |
001 |
"Te Deum laudamus" in the movie |
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002 |
Verdi's "Te Deum" |
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Verdi "Te Deum" (One of "Requiem · Quattro pezzi sacri") |
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专辑中文名: 威尔第:安魂曲,圣乐小品四首
艺术家: John Eliot Gardiner 约翰·艾略特·嘉迪纳
版本: PHILIPS 2CDs
发行时间: 1995年4月11日
地区: 德国
语言: 意大利语,拉丁语
简介:
作曲:Giuseppe Verdi
指挥:John Eliot Gardiner
乐团:Orchestre Révolutionnaire et Romantique
合唱团:The Monteverdi Choir
女高音:Luba Orgonasova / Donna Brown
次女高音:Anne Sofie von Otter
男高音:Luca Canonici
男低音:Alastair Miles
录音制作:1992-12 / All Hallows, London / DDD
唱片编号:PHILIPS 442 142-2 (2 CD) |
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DISC - 1
MESSA DA REQUIEM | 安魂曲
01. I. Requiem · 永恒安息,安魂曲 (mezzo-soprano: Anne Sofie von Otter)
.....II. Dies irae · 震怒之日,末日经
02......Dies irae · 震怒之日,末日经 (coro: The Monteverdi Choir)
03......Tuba mirum · 神奇号角响彻四方 (bass: Alastair Miles)
04......Liber scriptus · 审判之辞 (mezzo-soprano: Anne Sofie von Otter)
05......Quid sum miser · 伏俯祈求 (mezzo-soprano: Anne Sofie von Otter)
06......Rex tremendae · 万王之王 (mezzo-soprano: Anne Sofie von Otter)
07......Recordare · 慈悲的耶稣,求祢垂怜 (mezzo-soprano: Anne Sofie von Otter)
08......Ingemisco · 我罪极深 (tenor: Luca Canonici)
09......Confutatis · 受审判之恶徒 (bass: Alastair Miles)
10......Lacrymosa · 痛哭垂泪之日,哀怜经 (mezzo-soprano: Anne Sofie von Otter)
11. III. Offertorium · 献祭经 (mezzo-soprano: Anne Sofie von Otter)
12. IV. Sanctus · 圣哉经 (coro: The Monteverdi Choir)
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DISC - 2
01. V. Agnus Dei · 圣羔颂 (mezzo-soprano: Anne Sofie von Otter)
02. VI. Lux aeterna · 永恒之光 (mezzo-soprano: Anne Sofie von Otter)
03. VII. Libera me · 拯救我 (soprano: Luba Orgonasova)
QUATTRO PEZZI SACRI | 圣乐小品四首
04. I. Ave Maria · 圣母颂 (coro: The Monteverdi Choir)
05. II. Stabat mater · 圣母悼歌 (coro: The Monteverdi Choir)
06. III. Laudi alla Vergine Maria · 赞美圣童贞女玛利亚 (coro: The Monteverdi Choir)
07. IV. Te Deum · 感恩赞 (soprano: Donna Brown) |
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Because our level is very limited, so we hope more people will join our research and discuss. If you have any new idea or opinion, please tell us by way of an E-mail. Thanks! |
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Download resources |
Download is able for the members within one month |
No. |
Content |
Explanation |
001 |
Movie "Allonsanfan" Italian dub and embed Chinese and English subtitle |
WMV foemat 106'40" 601M |
002 |
Movie "Allonsanfan" Italian dub and without subtitle |
AVI format 106'40" 693M |
003 |
The subtitles file for "Allonsanfan", total is 3 files: English, Chinese and English--Chinese subtitle, SRT format and packed into a RARfile) |
RAR(SRT) format 84K |
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Finished on Doc.31,2009 |
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September 2023 for Mobile edition |
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The site
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