Lina Wertmuller

A rich woman, Raffaella, and some friends rent a yacht to sail the Mediterranean Sea during summer. The sailor, Gennarino, who is a communist, does not like this woman but has to bear with her bad mood.

Master director Federico Fellini moved into the realm of self-reflexive autobiography with Marcello Mastroianni as Fellini's alter ego Guido Anselmi, a film director who, overwhelmed by the large-scale production he has undertaken, plunges into an interior world where fantasy and memory impinge on reality. Fellini jumbles narrative logic by freely cutting from flashbacks to dream sequences to the present until it becomes impossible to pry them apart, creating both a psychological portrait of Guido's interior world and the surrealistic, circus-like exterior world that came to be known as "Felliniesque."

In un antico mulino a picco sul mare, mosso da un torrente, «di quelle alture della costa amalfitana dove la terra precipita e dirupa in un cielo capovolto», nasce nel 1849 Francesca. Non si sa quanto antico sia il mulino, che è anche pastificio, perché appartiene a un'età senza tempo. Il mondo di Francesca bambina trascorre tra lavoro, allegria e tenero affetto, «come un pollaio col gallo burbanzoso alto e forte»: il nonno pastaio, imponente figura di artigiano, e una casa di sole donne, moglie, figlie e nipoti. Il nonno ha «trasmesso a Francesca il sentimento del loro lavoro», l'arte del fare pasta; e così comincia l'epopea di una famiglia del Sud, da piccoli artigiani a grandi industriali, che va dal 1849 al 1940, tre generazioni che si affermano sullo sfondo di un'Italia in divenire.

There are few World film composers that can boast the prolificacy of Piero Piccioni. Since the early 1950s Piccioni has been a truly innovative composer of film music. In the 1950s he composed under the pseudonym of Piero Morgan, and since his first soundtrack Il Mondo Le Condanna of 1952, many directors sought Piero Piccioni to score the soundtracks for their films: Luchino Visconti, Bernardo Bertolucci, Vittorio De Sica, Roberto Rossellini, Elio Petri, Francesco Rosi, Mario Monicelli, Alberto Lattuada, Alberto Sordi, Luigi Comencini, Antonio Pietrangeli, Lina Wertmuller, Tinto Brass, Dino Risi, are just some of the great directors for whom he scored more than 300 wondrous soundtracks. Swept Away, Le Mani sulla città’, Camille 2000, Colpo Rovente, The 10th Victim, Amore mio aiutami, More Than a Miracle,

Hailed since its initial release, Film and the Anarchist Imagination offers the authoritative account of films featuring anarchist characters and motifs.

There are few World film composers that can boast the prolificacy of Piero Piccioni. Since the early 1950s Piccioni has been a truly innovative composer of film music. In the 1950s he composed under the pseudonym of Piero Morgan, and since his first soundtrack Il Mondo Le Condanna of 1952, many directors sought Piero Piccioni to score the soundtracks for their films: Luchino Visconti, Bernardo Bertolucci, Vittorio De Sica, Roberto Rossellini, Elio Petri, Francesco Rosi, Mario Monicelli, Alberto Lattuada, Alberto Sordi, Luigi Comencini, Antonio Pietrangeli, Lina Wertmuller, Tinto Brass, Dino Risi, are just some of the great directors for whom he scored more than 300 wondrous soundtracks. Swept Away, Le Mani sulla città’, Camille 2000, Colpo Rovente, The 10th Victim, Amore mio aiutami, More Than a Miracle, The Light at the Edge of the World, Puppet on a Chain, Lucky Luciano, Cristo si è Fermato a Eboli, Anna Karenina, Finché c’è guerra c’è speranza, Viaggio con papà, Fumo di Londra are just a few gems among many more. With great versatility, Piccioni incorporates jazz, funk, fusion, bossa, classical and contemporary 20th Century symphonic elements into his kaleidoscopic sounds which have been the lush sonic backdrop for everything from psychedelic, political, thriller, horror, romantic, comedy, western, classic novel adaptations, mythological, historic and epic film productions of the golden age of Italian and international cinema spanning four decades.

There are few World film composers that can boast the prolificacy of Piero Piccioni. Since the early 1950s Piccioni has been a truly innovative composer of film music. In the 1950s he composed under the pseudonym of Piero Morgan, and since his first soundtrack Il Mondo Le Condanna of 1952, many directors sought Piero Piccioni to score the soundtracks for their films: Luchino Visconti, Bernardo Bertolucci, Vittorio De Sica, Roberto Rossellini, Elio Petri, Francesco Rosi, Mario Monicelli, Alberto Lattuada, Alberto Sordi, Luigi Comencini, Antonio Pietrangeli, Lina Wertmuller, Tinto Brass, Dino Risi, are just some of the great directors for whom he scored more than 300 wondrous soundtracks. Swept Away, Le Mani sulla città’, Camille 2000, Colpo Rovente, The 10th Victim, Amore mio aiutami, More Than a Miracle,