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patrizia24.
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Sarai d'accordo con noi Pinarosa....rivedendola si apprezza molto di piu' il lavoro ben fatto da tutti e la bravura di Vittoria.....Ida e Patrizia.....un abbraccio!
Un saluto e un grazie Alessandra x aver aperto questo topic!
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mi piace tanto il personaggio di oriana e un maschio con il cuore di una donna .......brava vittoria
un abbraccio a voi due patty e ida nolto care. -
domenica di luglio.
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Molto brava ad interpretare Oriana Fallaci.
Edited by domenica di luglio - 12/7/2015, 12:40. -
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Gli Americani hanno gradito l'interpretazione di Vittoria!
'Oriana Fallaci'('L'Oriana'): Film Review
A great performance surrounded by a mostly mediocre movie.
Italian actress Vittoria Puccini plays the controversial Italian journalist and writer in this biopic directed by Marco Turco.
One of Italy’s most notorious and divisive journalists and thinkers is brought to rather tame life in the biopic Oriana Fallaci (L’Oriana), from director Marco Turco. Made for TV in Italy as a 200-minute two-parter, the project was briefly released in Italian cinemas as a 106-minute film two weeks before it aired, and this theatrical cut also debuted in French theaters earlier this month. Though uneven as a whole, this is worth a look for the brave and incisive lead performance by actress Vittoria Puccini, who has clearly thrown herself into the role of a lifetime, and for the segment dealing with the writer’s impossible love affair with Greek politician, poet and national hero Alexandros Panagoulis. Further sales, especially in Europe, are likely, though small-screen interest will clearly outnumber theatrical sales.
The film opens in the Florentine countryside in the year 2000, when Oriana is over 70 years old and Puccini is covered in old-lady makeup and a Susan Sontag-y wig that's not convincing from all angles. A sincere if somewhat maladroit Ph.D. student, Lisa (Francesca Agostini), has come to help her with arranging her archives, with each new folder bringing back memories that — surprise! — inspire flashbacks. The girl confesses she has no clue about archiving, which inspires a typically crabby Fallacian diatribe about having to make do with what she’s been given, though what’s startling is mostly how short-lived and PC her outbursts are both here and throughout the film. (Even what is arguably Fallaci’s most famous interview, her encounter with Ayatollah Khomeini during which she took off her chador, doesn’t crackle with her typical rage and indignity so much as a sense of deferential disagreement followed by a coup de theatre.)
Practically no time is wasted on Fallaci’s early years, when she interviewed stars actors and directors such as Orson Welles in the U.S. in the 1950s, with the film taking her practically straight to Karachi in 1961 with the rather vague idea to "write about the condition of women." The screenplay doesn’t explain what interests her so much about this supposed condition, and during her first encounter with local women, Oriana is suggested to be so clueless about Islamic and Pakistani mores, it does the journalist, however young and naive, a disfavor (it seems reasonable that anyone traveling to Pakistan to write about the women there would already have some vague notions about the subject)[...]
Per l'articolo completo, questo è il link:
http://m.hollywoodreporter.com/review/oria...m-review-816956. -
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grazie per l articolo alessandra vittoria e molto apprezzata all estero mi fa tanto piacere .
L'ORIANA |
