passione ( 2010 film )
ytl concert of celebration 2010 archived 1 april 2010 at the wayback machine. , official ytl concerts 2010 site .
size matters at shanghai expo 2010, the times, 30 april 2010 article .
comunicazioni sociali - 2005 - 3. il metodo e la passione. cinema amatoriale e film di famiglia in italia
inserisci un commento per comunicazioni sociali - 2005 - 3. il metodo e la passione. cinema amatoriale e film di famiglia in italia
passione premiered in venice this week. john turturro was talking to geoffrey macnab .
andrea bocelli makes history at o2, classic fm, 16 november 2010 article .
passione is a brazilian telenovela that originally aired on rede globo from may 5, 2010 to january 14, 2011. is created and written by sílvio de abreu .
_ _ forcetoc _ _ passione is the second album by british singer paul potts. it was released in 2009. potts spent nearly a year recording passione in prague and stockholm .
' til the morning sun shines... (belgrade, february 5th, 2010 )
' til the morning sun shines... (prague, february 1st, 2010 )
world music awards for
world' s best - selling classical artist
in 2010 .
a film review on wednesday about “passione, ” a documentary about the songs and singers of naples, italy, misidentified a singer praised in the review. she uses one name, misia; she is not lina sastri, another performer in the film .
the anniversary of the sveti stefan hotel marked by a concert by andrea bocelli, 20 july 2010 article .
my family is sicilian and naples has long held a fascination for me – for its beauty, its danger and above all its music. passione is my attempt to put those feelings into film
passione is a play by the american playwright albert innaurato. the action is set in south philadelphia in the present .
bocelli canterà a bruxelles archived 28 september 2012 at the wayback machine. , il tempo, 12 july 2010 article .
william uricchio, “television, film, and the struggle for media identity, ” film history, an international journal 10: 2 (1998): 118 - 127 .
m' barka ben taleb performing the song “nun te scurda” (“don' t you forget”) in the documentary “passione. ”
enchated night with andrea bocelli, urltoken, 11 may 2010, article. archived 24 july 2012 at the wayback machine .
... the music, with songs of infidelity, romance, sorrow and joy, is my draw to
passione .
as in gillian robespierre’s prior collaboration with jenny slate, the film’s studied amiability becomes obnoxious .
andrea bocelli concert review archived 23 march 2012 at the wayback machine. , citylife. co. uk, 26 november 2010 article .
william uricchio, “the city re - viewed: berlin’s film image on the occasion of its 750th anniversary, ” film and history, 18: 1 (1989): 16 - 25 .
replacing viver a vida, it premiered in may 5, 2010 and ended its run in january 14, 2011 consisting of 209 episodes .
star on the hollywood walk of fame, for his contribution to live theater, at 7000 hollywood boulevard, in 2010. [ 82 ]
according to his official fb: la passione update: we are sorry to announce that distribution of la passione pre - orders are unfortunately delayed. this is due to a manufacturing issue, currently out of our control. the new date for delivery is now friday 20th november. again, we are sorry for any inconvenience caused .
rome in the heart of the future: invitation by vice - president of the european parliament, roberta angelilli mep, epp group, 13 july 2010 article .
william uricchio, “vr is not film. so what is it? ” immerse (november 8, 2016) urltoken
william uricchio, “contextualizing the apparatus: film in the turn - of - the - century sears, roebuck & co. consumers guide’s department of special public entertainment outfits and supplies” in giovanna fossati and annie van den oever, eds. , exposing the film apparatus: the film archive as a research laboratory (amsterdam: university of amsterdam press, 2016) :
william uricchio, “german university dissertations with motion picture related topics, 1910 - 1945, ” historical journal of film, radio and television, 7: 2 (1987): 175 - 198; reprinted with modifications as “doktorarbeiten and film in germany: an overview and catalogue, ” film theory (munster) numbers 14 - 17 (1987): 131 - 161 .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
william uricchio, “l’italia americana, l’america di valentino, ” in paola cristalli, ed. , valentino. lo schermo della passione (ancona: transeuropa cinegrafie, 1996): 93 - 98
in september 2010, bocelli held a concert at the odeon of herodes atticus, in athens, greece. all proceeds were donated to help cure cancer. bocelli also gave concerts in cairo, egypt, in front of the pyramids and the great sphinx of giza, as well as a fundraising concert inside the duomo di milano to benefit victims of the 2010 haiti earthquake .
to avoid being sued, a film director reluctantly agrees to set up and direct the good friday celebrations in a small tuscan town .
william uricchio, “ways of seeing: the new vision of early non - fiction film, ” in daan hertogs and nico de klerk, eds. , uncharted territory: essays on nonfiction film (amsterdam: stichting nederlands filmuseum, 1997): 119 - 131 .
i tend to agree with john on his logical assumption about the format of the reworked la passione video. this explains very well why in the annoncements and interviews there is not a word about the old film' s plot because there is no that plot any more! and this is why shirley is not on the cds and the boy jo maldini and his father are not on the cover with von trips - because they do not appear in the new film. this way the old film remains authentic and worth seeing along with the reworked film. i do not know whether it was one of chris' s aims, but for me it is not that bad (as i love the old la pasione very much). we will just get the new video accompanying the old (and some new) music while the old film and sountrack remain authentic .
on 31 january 2010, during the 52nd grammy awards, bocelli, mary j. blige and david foster joined forces again, singing
bridge over troubled water
as a tribute to the victims of that year' s earthquake in haiti. the three had previously made an appearance on larry king live, 28 january 2010, to announce the performance. [ 80 ] [ 81 ]
william uricchio, “rethinking the american century” in kingsley bolton and jan olsson (eds .): media, popular culture and the american century (eastleigh: john libby, 2010) 363 - 375
william uricchio and pearson, r. e. , “the bard in brooklyn: vitagraph’s shakespearean productions, ” in olwen terris and luke mckernan, eds. , walking shadows: shakespeare and the national film archive (london: british film institute, 1993): 201 - 206 .
william uricchio, “film studies: anglo - amerikanische methoden der filmforschung, ” in h - m. bock, w. jacobsen, (hg .), recherche: film. quellen und methoden der filmforschung (munchen: edition text + kritik, 1997): 109 - 119 .
william uricchio, ‘film’s fate: a storage medium in a culture of simultaneity, ” impact 1997 catalogue (1997): 6 - 8 .
that' s the charm of
passione .
turturro is so head over heels in love with this city and this music he' s willing to risk looking a little stupid. ah, l' amore .
william uricchio, “tv as time machine: television’s changing heterochronic regimes and the production of history” in jostein gripsrud, ed. , relocating television: television in the digital context (london: routledge, 2010 )
an earlier version of this review misidentified a singer who is praised. she is misia, not lina sastri, another performer shown in the film .
but what else could you call the tradition that mr. turturro samples? the music in “passione” combines sensual suavity with raw emotion, mixes heartbreak with ecstasy, acknowledges the hard realities of poverty and injustice and soars above them. i suspect that if artists like marvin gaye, otis redding or aretha franklin were to see this film, they would recognize their own art within it .
roberta pearson, william uricchio and will brooker, eds. , many more lives of the batman (london: british film institute / palgrave, 2015 )
“this film’s just opened every door imaginable. i wanted to do the whole hollywood thing since the day i left film school, ” says hughes, “but i felt like i didn’t want to do it until i was invited. and selling the film to sony, and getting an amazing agent, manager, lawyer and all the doors opening up – it felt like a that’s a great way to roll into town. ‘cause you’re not trying to prove yourself. ”
bocelli was made a grand officer of the order of merit of the italian republic in 2006 and, on 2 march 2010, was honoured with a star on the hollywood walk of fame for his contribution to live theater .
what turturro, who appears in the film as a combination tour guide and impresario, has come up with is closer to a fantasia than a traditional documentary .
william uricchio, “nella camera oscura c’e piu di quanto lo sguardo riesca a cogliere” in elio girlanda, il precinema oltre il cinema: per una nuova storia dei media audiovisivi (rome: dino audino, 2010): 10 - 21 .
just my take on what the
reworked
version of the film might be. i attach a youtube clip from the original release where chris says the original intention was for him to have a narration link between each piece of music and i suspect that is what we will get ie none of the original film but the music as it was intended with audio links to them. of course i might be well wide of the mark with my thinking. the youtube link below with chris giving his thoughts on his original idea for la passione about 3. 04 into the clip. urltoken poolie
passione is a 1934 neapolitan song with text by libero bovio (d. 1942) and melody by ernesto tagliaferri and nicola valente. the song was a standard piece in the repertoire of tenors such as mario lanza, giuseppe di stefano and luciano pavarotti .
on 18 may, during the 2010 world music awards, bocelli performed
un amore cosi grande
from his 2008 album, incanto, and received his seventh world music award, for
best classical artist
. [ 103 ] [ 104 ]
directed by john turturro, featuring john turturro and bobby cannavale. the film takes place in williamsburg, brooklyn and features an improvised conversation about a man' s particularity for his hair .
william uricchio, “introduction” in nico de klerk, showing and telling: film heritage institutes and their performance of public accountability (wilmington: vernon press, 2017): 1 - 8 .
william uricchio, “an image empire remembered: ufa between memory and history, ” the historical journal of film, radio and television, 13: 2 (1993): 229 - 235 .
william uricchio, “introduction to the history of german television, 1935 - 1944, ” historical journal of film, radio and television, 10: 2 (1990): 115 - 122 .
melbourne director patrick hughes gambled all he had on his first feature film red hill. lucky for him the blood - stained, modern - day western was well received from here to hollywood .
naples itself is a sprawling, chaotic, difficult place, memorably portrayed in matteo garrone’s “ gomorrah ” as an inferno of corruption and violence. this aspect of the city hovers around the edges of “passione, ” which depicts a teeming, battered, sometimes filthy metropolis that is nonetheless picturesque and endlessly vibrant .
our aim was to make something along the lines of buena vista social club; as i say in the film, music is emotional transportation – it' s food for the soul. it' s one way to compete against the films that have so much money and special effects and action. i' ve had to do them myself: i' m just finishing off the third transformers movie. the truth is, it' s almost impossible to make a medium - sized film in the current climate. it' s a tough time and a lot of companies have closed. even spike lee has trouble raising money. you' ve got to find other ways of doing things – and doing passione was fantastic for all of us .
the experience of the associazione home movies in the national panorama takes the shape of a concept for an archival model dedicated to amateur cinema and in particular to family films (in reduced 8mm, super8, 16mm and 9. 5mm formats). the archive is so conceived that it can be reconfigured to suit the project the association has in mind. it is not intended only to preserve materials, nor is it a film library in the strict sense, a closed space accessible only to scholars and film - lovers, but a facility devoted to historical research at all levels and open to participation by those who so far have preserved the private memory on film: individual citizens, film buffs or their relatives, who wish to make public and share this cultural heritage. it is a place where this memory can be recorded, re - elaborated and disseminated .
while the film has deservedly received an excellent critical and public reception (this month the new york times even featured it as critic’s pick), this acclaim belies the guts behind its birth. “i reached this point of total frustration, ” says hughes. “that’s when i made a list of all my favourite film makers and realised 90 per cent of them – to get their first films made – went and sold body parts and mortgaged their house. i [ didn’t ] want to be the guy who’s 20 years from now still talking about making their first film. i thought, you know, i’m just going to go and produce it myself. ”
william uricchio, “le film de non - fiction francais et le marche neerlandais: etude de cas preliminaire des films importes en 1912 par jean desmet, ” with ester rutten 1895 18 (1995): 223 - 234 .
william uricchio and pearson, r. e. , “‘who is francesca da rimini? ’ issues of historical reception, ” cinemas: journal of film studies 2: 2 - 3 (1992): 33 - 56 .
william uricchio, “the kulturfilm: a brief history of an early discursive practice” german film before caligari in paolo cherchi usai and lorenzo codelli, eds. , (pordenone: edizioni biblioteca dell’immagine, 1990): 356 - 379 .
in january, bocelli gave three concerts in germany. the concerts in munich, berlin, and hamburg were all part of the notte illuminata tour, launched in pisa, at the teatro verdi, december 2010. in february, bocelli performed a recital on the stage of the metropolitan opera house as part of the tour. [ 120 ]
this paper is a first step towards a systematic study of amateur movies from the technological point of view. while they follow a marginal path – though, on the temporal level, one that parallels mainstream cinema – amateur movies have existed and developed ever since movies were first invented. there were many attempts by the industry to ‘shrink’ film into a smaller format that would be cheaper and more accessible and extend the market for sales of film together with projectors and movie cameras, but most of them were failures. the historic breakthrough for amateur films came in 1922: the almost simultaneous introduction of safety film in 16mm format by kodak and 9. 5mm by pathé spread amateur movie - making across the united states and europe. then in 1932 came 8mm film, which partly ousted them and remained the standard amateur format until 1965, when super8 appeared and ushered in home movie - making as a mass phenomenon in some countries until it was pushed aside by video technology .
turturro creates the sense that music spews spontaneously from the average neapolitan and limits the film' s educational quotient. but as anyone who has been to naples knows, you don' t go there to learn but to live, out loud .
william uricchio and pearson, r. e. , the many lives of the batman: critical approaches to a superhero and his media. (new york: routledge, chapman & hall; london: the british film institute, 1991) .
william uricchio, “ the recurrent, the recombinatory and the ephemeral, ” in paul grainge, ed. , ephemeral media: transitory screen culture from television to youtube (london: british film institute / palgrave macmillan, 2011): 23 - 36
william uricchio, “intermedial challenges to television’s definition, ” in ib bondebjerg and helle haastrup, eds. , intertextuality & visual media [ sekvens 99: arborg for film - & medievidenskab 1999 ] (copenhagen: ifm, 1999): 171 - 183
his dedication paid dividends, however, when red hill was accepted for the berlin film festival. “i just literally finished the sound mix and then jumped on a plane and took it to berlin and we had the world premiere, ” laughs hughes .
william uricchio, “high - definition television, big screen television and television - guided missiles: british intelligence objectives sub - committee report # 867, ” historical journal of film, radio and television, 10: 3 (1990): 339 - 343 .
romantic though he is — and the material demands it — mr. turturro is also a professional, and he respects the professionalism of his fellow performers. music is expressive, emotional and lively, yes, but because it is art it is also work. and while “passione” praises the spirit of its subjects, it also attends to the discipline and tenacity that makes them worth noticing .
william uricchio and pearson, r. e. , “‘films of quality’ ‘high art films’ and ‘films de luxe’: intertextuality and reading positions in the vitagraph films, ” the journal of film and video, 41: 4 (1989): 15 - 31 .
set in the rolling valleys and mountains of east gippsland’s alpine country, hughes jokes that red hill is “like a blood - stained post - card to the east gippsland community”. shot over an incredible four weeks in and around the former boomtown of omeo, victoria, red hill is a modern - day western with a tongue - in - cheek twist. brutal and sparse, it uses western clichés to great effect, creating a film that not only references but stands up against the film’s obvious influences while crafting a unique australian take on a classic genre. good and evil, the unknown stranger, brutal codes of honour – red hill is a film that knows what it is and what it wants to say, and drives it home as hard as a stake in the ground .
william uricchio and pearson, r. e. , “dante’s inferno and caesar’s ghost: intertextuality and conditions of reception in early american cinema, ” in richard abel, ed. , silent film (new brunswick: rutgers university press, 1996): 217 - 233
i assume they are wrong or just unclear. they say
not the actual movie but re - edited original
, which means, most probably, that the original 1996 cut is not included, only the reworked version, but all in all the film is on !
poolie wrote: ... chris says the original intention was for him to have a narration link between each piece of music and i suspect that is what we will get ie none of the original film but the music as it was intended with audio links to them. poolie
william uricchio, “motives, models and recommendations for film historical research, ” in h. b. m. wijfjes & j. c. h. blom, eds. , mediageschiedenis: kansen en perspectieven (amsterdam: koninklijke nederlandse akademie van wetenschappen, 1995): 115 - 128
on 30 april, bocelli sang
nessun dorma
during the opening ceremony of the expo 2010, in shanghai, china. [ 88 ] [ 89 ] [ 90 ] the following day, on 1 may, he held a concert, titled charming china, at shanghai stadium. [ 91 ] [ 92 ] the concert was later broadcast by shanghai tv, and by cctv channels throughout mainland china .
i hope the november date is right. i' ve just had this e mail from amazon stating december! we’re writing to let you know that the following items have been unexpectedly delayed: chris rea
la passione (bonus dvd )
estimated arrival date: december 19 2015 one of our aims is to provide a convenient and efficient service but in this case, we' ve fallen short. please accept our sincere apologies .
as part of the 2010 leg of the my christmas tour, bocelli gave two concerts in the o2 arena, in london, and the manchester arena, in manchester, and a concert at the o2, in dublin, in late november 2010. [ 113 ] [ 114 ] [ 115 ] his sold out concert at the o2 in london, was the most attended show in the venue' s history, with 16, 500 people attending the event. [ 116 ] in early december, bocelli gave 6 concerts in the united states. he performed in madison square garden, in new york city, prudential center, in newark, new jersey, td garden, in boston, toyota center, in houston, staples center, in los angeles, and the mgm grand' s garden arena, in the las vegas strip. [ 117 ]
william uricchio, “ panoramic visions: stasis, movement, and the redefinition of the panorama, ” in l. quaresima, a. raengo, l. vichi, eds. , la nascita dei generi cinematografici / the birth of film genres (udine: forum, 1999): 125 - 133
william uricchio, “cinema as detour? towards a reconsideration of moving image technology in the late 19th century, ” in k. hickethier, e. muller, r. rother, (hg .), der film in der geschichte (berlin: edition sigma, 1997): 19 - 25 .
david humbert is an assistant professor in the department of religious studies at thorneloe college of laurentian university in sudbury, ontario, canada. [ end page 240 ] he has published journal articles on kierkegaard, freud, and leo strauss, and teaches courses on science, film, and violence in the ...
he performed with mary j. blige and david foster at the 52nd grammy awards to raise awareness for the victims of the 2010 haiti earthquake. he later gave an open - air concert at masada, israel, with the proceeds going to the residents of galilee and negev, and another in sicily to support the flames of solidarity charity, raising awareness concerning poverty. in greece, he held a concert at the odeon of herodes atticus to help cancer research. bocelli performed at the children in need rocks manchester concert in november 2011 .
william uricchio and pearson, r. e. , “introduction, ” “i’m not fooled by that cheap disguise, ” and “interview with denny o’neil, ” in w. uricchio and r. pearson, the many lives of the batman: critical approaches to a superhero and his media (new york: routledge, chapman & hall; london: the british film institute, 1991) .
the earliest movies made by missionaries, originally for educational reasons as well as to provide publicity, are examples of amateur film - making, but they also have some absolutely original features. in defining the characteristics of these films, we have to consider the audiences they were made for, shaping the forms they took to suit the conditions of reception case by case, in a relationship of reciprocal determination between the medium and the (institutional, social) venue where they were shown. this strengthened the identity of the group, cohesive in sharing the same needs and striving towards the same goals. the case of fiamme, a fic - tional film made by the saverian fathers of parma in 1929, displays the narrative and linguistic models of mainstream movies yet also has the practical sense and ‘hand - crafted’ qualities typical of autodidacts .
bocelli and sarah brightman' s duet version of
con te partirò
was used in the 2007 film blades of glory, as an ice skating song. k - 1 mixed martial arts fighter yoshihiro akiyama started using
con te partirò
as his ring entrance music. on 8 september, bocelli sang an arrangement of mozart' s ave verum corpus at the funeral of luciano pavarotti in modena, italy .
for hughes, this meant the gruelling prospect of taking on the roles of writer, director, producer and editor himself. “there were some pretty fucking low points, ” he admits. “i put my body through the wringer. i was sick for, like, months by the end of it. it gets pretty lonely in the edit suite … and at that point i didn’t have a distributor, i didn’t know if we were going to get the film into a festival. ”
perché studiare i film di famiglia? che senso ha ricostruire le pratiche amatoriali del fare cinema? quali saperi aggiunge una storia del cinema amatoriale alla ‘storia ufficiale’ del cinema? certo, dopo gli studi pionieristici di roger odin e della sua scuola non si tratta più di fondare la legittimità scientifica di un oggetto – fondamentale, tra l’altro, per capire i processi di definizione delle pratiche di consumo istituzionale o per comprendere le strategie industriali per accaparrarsi il mercato, scena di una lotta accesissima, ancora negli anni cinquanta, tra formati, standard e modelli. si tratta, piuttosto, di trovare la giusta collocazione a quest’oggetto che, soprattutto per quel che riguarda i film di famiglia, sembra offrirsi a molteplici letture. è in un’idea di cinema come traccia di una storia della cultura che l’amatoriale si impone come studio necessario, soprattutto per ricostruire le forme di appropriazione di un linguaggio e del suo significato. in pratica, si tratta di domandarsi in che misura l’amatoriale contribuisca a definire il cinema in quanto forma culturale .
on 2 march, he was honoured with a star on the hollywood walk of fame for his contribution to live theater, at 7000 hollywood boulevard, in front of the roosevelt hotel. [ 82 ] the previous day, bocelli, along with david foster, were honored by l. a. italia film, fashion and art fest during a ceremony at the grauman' s chinese theatre, in hollywood, where the story behind the voice, a documentary about bocelli' s life and career was shown. [ 83 ]
hi all, yes, that isn' t really something that makes one happy... but it was an article that was just after the announcment. i really didn' t get wiser from the relative poor interviews (nothing really new from the interview with jools holland, although i enjoyed the gene vincent cover). somehow rumours are there that he' s working on
blues
again, just from fans. mostly it contains some truth. lets hope for a release within a year and a tour would be awesome, but it won' t be a passione tour. that much is clear from that raceprogram interview. well lets hope that uk people can tell us what they think after the release tommorow. i think it will be a small week before i get my copy from amazon. anneke
on 14 july, bocelli gave a concert at the european parliament' s espace léopold, in brussels, belgium, during
rome in the heart of the future
, an event hosted by the vice president of the european parliament for the seventh parliament, mep, roberta angelilli. [ 110 ] [ 111 ] a screening of the film homage to rome, directed by franco zeffirelli, who was present during the event, and starring bocelli, in his cinematographic debut, was shown prior to the special concert. [ 110 ] [ 112 ]
l’ambito teorico in cui si inserisce il mio intervento è quello di intersezione tra la filosofia nomade femminista di rosi braidotti, oltre l’assimilazione o l’integrazione (nonostante appaiano addirittura utopiche nell’attuale panorama), gli studi sulla nazione e il canone e le ricerche sulla letteratura postcoloniale (carroli, 2010) e nomade italiana scritta da donne (carroli e gerrand, 2014). insomma, si assume una prospettiva teorica che invece del conflitto e del cinismo, propone orizzonti di speranza (arendt). non si tratta di proponimenti ingenui e facili, ma di teorie e proposte pratiche radicate in un materialismo femminista: una soggettività nomade che pone al centro il corpo (fisico, filosofico, narrante) e il genere. come la letteratura, anche il corpo e il genere sono caratterizzati da continue transizioni e trasformazioni, viaggi epici intrapresi attraverso continenti e tradotti sulla carta .
that' s why i wanted to make a film about the city and its music. the kind of crime world we' ve all seen in gomorrah is part of the culture in naples, but music is vital. they co - exist. besides basic things such as shelter and food and family, music is what matters. if you sing a song on the streets, people will pick right up on it and sing along, whether you' re a good singer or not. if you want to, you can go out on the street and get somebody to dance with you; it' s really not that hard .
in the new year, he performed two concerts at the bellagio hotel in las vegas. at the 56th golden globe awards held on 24 january ,
the prayer
won the golden globe award for best original song from the film quest for camelot. [ 34 ] at the 41st grammy awards ceremony on 24 february, bocelli was nominated for best new artist, which was won by lauryn hill. [ 1 ] bocelli and dion sang
the prayer
at the ceremony. [ 34 ] the song was also nominated for an academy award for best original song and performed by bocelli and dion at the ceremony held at the los angeles music center on 21 march. [ 34 ]
a ‘formless’ genre, which traverses the whole history of the cinema, frequently altering its appearance and functions, the ‘back - stage’ or ‘making - of’ film appears at many points of its history to converge with the immense range of amateur practices. a series of clues, relative to both the form and production strategies and to the enunciational perspective that characterize it, are in fact related to the field of those audiovisuals pro - duced and consumed within a non - professional logic and context, and where it is precisely the dimension of ‘love’, namely the dimension of the impassioned and the affective, that emerges as the driving force. the paper exemplifies the development of the genre and its frequent oscillation between amateur and profession - al approaches by means of case histories drawn from the history of the italian cinema .
hi tobi, ann and others, i can' t help agreeing with some points tobi puts forward. - too little audio material on cds - disappointing number of outtakes included (i remember lots of short instrumentals in the film that are not on original cd or singles) but i do not see much of a problem that dame shirley is not here again. also, as i understood from the official english description on amazon, the (reworked) original movie will be included along with some new clips and von trips footage, in which more new music is supposed to appear. thus, i am sitll rather positive about the forthoming release, though promotion is poor and hectic as usual. and i do agree with mrb as well that the new all - original release is coming soon (chris has talked about new works on jools holland show) and we do not have to wait the same long years! best wishes andrey
movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
it' s a happy ramble through the storied streets with turturro as our guide, not pretending to be an expert; it' s more like having a good friend take you to this place he really loves .
close to the sublime, especially if you have a thing for sensuous italians of either gender unleashing ballads of soaring romantic masochism .
nothing is middle - of - the - road here: it' s heartbreaking passion or riotous humor, and always performed at full throttle .
part documentary, part musical, all fabulous. john turturro' s deep affection for naples, italy, and its music shines through every frame .
like pasta, turturro throws it on the wall and some of it sticks .
john turturro takes us on a tour of the naples music scene, where a melange of influences - - - from opera to arabic music to american jazz / pop of the 1940s (brought in by g. i. s during wwii) - - - blend together to create a unique musical atmosphere. almost entirely built around full length music - video style performances, it' s more a variety show than a documentary. entertaining, but your actual rating will depend on how well you like the performers .
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a look at the musical roots and traditions of naples, italy, as well as its influence on the rest of the world .
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mr. turturro might have taken an ethno - musicological approach to all this bounty, laying out its history and inviting experts to explain its meaning. happily, he chose a more impressionistic path, one that allows the musicians to do most of the talking, in interviews and in performances that sometimes resemble music videos. these are shot in a style that is at once straightforward — singers facing the camera as they belt out verses of longing and betrayal — and stylized, in a retro - mtv manner. but a little cheesiness is as necessary to neapolitan song as it is to the local pizza. there is guile and nuance in these songs, but also a florid, wailing melodrama capable of turning skeptics into addicts .
the attention you give this movie will be gloriously repaid, whether or not your knowledge of neapolitan music extends beyond recognizing the name enrico caruso. i arrived in that state of ignorance, and was edified by a spirited argument among three of caruso’s followers about his place in their native tradition .
i was also blown away by the songs of misia and m’barka ben taleb, and by the biography of james senese, whose father was an african - american soldier and who testifies both to the tolerance and the cruelty of his hometown. it is a place mr. turturro clearly loves, and whose seductions he manages to capture with intelligence and enthusiasm .
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y family is originally from sicily and my father was from puglia. my cousin aida is half neapolitan. most of the italians in new york are from naples, sicily and calabria – the south. naples itself reminds me a little bit of new york in the 70s, except everyone is crushed together more. it' s so beautiful and so dangerous. it has a brutality, but also a sense of poetry – plenty of writers have lived there and written about it. neopolitans have their own language and, most importantly, the people are unbelievably musical. the relationship between classical and popular music goes back a long, long time. many classical musicians (and some great opera singers) have sung popular neapolitan songs throughout the years .
my own introduction to naples proper came through cinema: i worked with francesco rosi on the adaptation of primo levi' s the truce. through francesco i encountered the work of the dramatist eduardo de filippo, and acted in a play of his, questi fantasmi (three ghosts), which contained a great deal of neopolitan music. we took the play to naples and it was really an experience. the truth is that naples is a complicated culture, and it comes out in the music. it can be moving and emotional, really sexy and funny, but there is a tremendous amount of irony. there' s a famous song called dove sta zaza, and the lyric is essentially a man calling to his lover :
where are you? i need to find you – but if i can' t find you, i will have your sister .
interestingly, the irony is lost when the song is transplanted, because people turn it into a longing for a place they miss .
we started out shooting a straight documentary but, as we went along, we realised we were making a musical adventure. one of our main inspirations was norman lewis' travel book, naples' 44, about his time in the city during the second world war. i' ve been in talks to make a movie of the book, but it would be very hard as it' s so episodic and the writer' s touch is so delicate. and you' d need a lot of money .
one thing we couldn' t do was shoot the miracle of liquefaction, which takes place twice a year at the naples cathedral. we were there when it took place – they bring out a vial of the dried blood of saint januarius, and if it doesn' t liquefy then legend has it disaster will befall the city. the jury is out as to whether it is a genuine miracle, but it made an impression on me .
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which is fine as far as it goes, and there’s no denying the vibrancy of much of the music as well as the obvious sexiness of a large number of the performances, but the richness that turturro professes to find in the music, which he labels an art form of contradiction and irony, is likely to remain largely unapparent to the viewer. only when enacting a sceneggiata, which the filmmaker describes as a “story built around a song, ” do these contradictions emerge, as a man sings a duet with his wife who waits downstairs while he lies in bed with a lover .
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2 dvd' s are included... at leasts according to amazon uk. did i miss something mrb? and the paintings he did, what i saw was great too. anneke
neither dvd contains the actual movie. the first has re - edited original and new short films to complement the music along with an interview with chris between each piece .
tommorow it will be released, but i will wait some reviews before buying it, not in so big hurry with it .
if you' re unsure you like it what' s the rush... i happen to love the old one, don' t have all music, so it' s welcome. i even read that chris has been making music in mirabeau, france again, in the studio. god knows what to believe. mostly there is some thruth in this. and an album in 2016? let' s keep our fingers crossed for such a treat! anneke
and it is again slowed down, another 14 days to wait, see urltoken .
i can only think that such inclusion was not possible to the heavy constraints warner bros. put on chris' s use of the old material (the same with shirley bassey songs absence) .
by the way, i liked your self - composed tribute to chris, formentera' 86, very much! sounds authentical, though very close to such chris' s tunes as no wro today, and when she smiles, bless them all and other mid - 80s instrumentals .
now what on earth they are still waiting there? ?? seems like the product is ready, so why the delay? insane... .
ann268 wrote: and it is again slowed down, another 14 days to wait, see urltoken .
urltoken shows a new counting clock, let' s hope it won' t be set back again ace of hearts... i had no emails from amazon yet. anneke
by the way, chris' s twitter says the tv interview from abbey road will be aired today! (but the time is not given... )
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passione is a 2010 documentary film directed by john turturro . it was filmed on location in naples , italy . the film was released in the united states in june 2011 . 
passione is a 2010 documentary film directed by john turturro. it was filmed on location in naples, italy. the film was released in the united states in june 2011.
passione is a 2010 documentary film directed by john turturro. it was filmed on location in naples, italy. the film was released in the united states in june 2011.