By Pauline Small
In motion pictures from Houseboat to The Millionairess to Two girls, Sophia Loren demonstrated herself as an actress whose stardom spanned Italy, Europe, and at last Hollywood. Hers used to be a hugely unique upward thrust to status for a ecu movie actress, and in Sophia Loren, Pauline Small highlights a exact occupation which transcended Italian movie culture.
Sophia Loren is the 1st booklet to discover intimately the move of Loren’s stardom from Italy to Hollywood and the explanations for her American luck, relatively throughout the Nineteen Sixties. having a look separately at Loren’s significant motion pictures and drawing on infrequent archival fabrics in Italy, Small presents a radical exploration of the economic and cultural forces that mixed to make sure Loren’s enduring megastar status.
Perfect for students and aficionados of Nineteen Sixties Italian and American movie, Sophia Loren is an engaging examine one of many significant personalities of contemporary cinema.
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Extra info for Sophia Loren: Moulding the Star
For a full account of the documentation the producer was required to submit see Appendix A. Details of the content of the 1949 laws is set out in Quaglietti (1974), in which he also provides a very valuable summary of the context, political and cultural from which they emerged. For an example of what might be termed ‘self-regulation’ on the part of producers, see Marcus’s careful study of the scripting of Bread, Love and Dreams (Comencini, 1953) (Marcus 1986: 122–43); for an example of what is claimed to be direct censorship, see director Giuseppe De Santis’s own account of his unsuccessful attempts to make a film entitled Noi che facciamo crescere il grano about the brutal government treatment of workers’ unrest in Calabria, Southern Italy (Parigi 1986: 31–34).
Bernardini (2000: 371) lists the directors of Rosa Film as Antonio Altoviti, Vincenzo Cossa, Luigi De Laurentiis and Mario Perelli, and identifies Luigi De Laurentiis, the brother of Dino, as director of productions. The details set out in this chapter for Lux and Titanus refer specifically to the mode of production in the years of Loren’s early film career. By the early 1960s Titanus had scaled down the scope of its operations, and functioned mainly as a distributor – for films such as Loren’s Two Women/La ciociara (De Sica, 1960) and Rocco and his Brothers/Rocco e i suoi fratelli (Visconti, 1960).
It is commonplace to gauge star qualities in relative terms; in the case of the ‘shapely stars’ this often worked at the most banal level of comparing vital statistics. Press reports compared Loren’s measurements to her Italian counterparts (Lollobrigida and Mangano) at first, and then later to those of Hollywood stars and starlets (Marilyn Monroe and Jayne Mansfield). It is much more pertinent, and in a different sense much more revealing, to compare conditions of employment, where radical differences become apparent.