#maurizio merli

[bisotin]

Biso's skethcbook #4

Studies of anything everything interesting to (me)

#maurizio merli #digital illustration #artists on tumblr #anatomy #studies #gesture drawing #himeno chainsaw man #ubel frieren #franco nero

[suspiria76]

ROME: ARMED TO THE TEETH

Italy

1976

Directed by Umberto Lenzi

#cult cinema #italian cinema #seventies #action #crime #hunchback #umberto lenzi #maurizio merli #arthur kennedy #tomas milian

[giallofever2]

#roma a mano armata #umberto lenzi #maurizio merli #tomas milian #maria rosaria omaggio #ivan rassimov #luciano pigozzi #poliziotteschi #poliziottesco #eurocrime #euro crime #Italian crime movie #spaghetti crime movie #giallo fever #giallofever #italian giallo #gialli #italian cult #giallo #cinema cult #cult

[techaddictsuk]

Weapons of Death (1977)

Weapons of Death is a real oddity. It’s a spin off to a series of movies that were popular at the box office in the 1970s. There are a couple of tactics being used, to get bums on seats, pretty shrewd tactics. 

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#1977 #A Special Cop in Action #Franco Nero #Henry Silva #High Crime #Ida Galli #Jeff Blynn #Kirsten Gille #Leonard Mann #Marino Girolami #Mario Caiano #Massimo Deda #Maurizio Merli #Umberto Lenzi #Violent City #Violent Naples #Violent Rome #Weapons of Death

[cineploit]

I Gabbiani Volano Basso aka Killer sterben einsam aka Seagulls fly low (CP 16) Mediabook Bluray code free english german italian audio options and german and english subtitles. 28-pages Booklet, double sided Poster. Maurizio Merli Featurette. Out November 28th 2022

#maurizio merli #nathalie delon #mel ferrer #italian genre cinema #italo cinema #Mediabook #bluray #Roberto Pregadio #cineploit #cineploitdiscs #cineploitrecords #cineploitrecordsanddiscs

[watching-pictures-move]

Movie Review | The Big Racket (Castellari, 1976)

I’m no expert on poliziotteschi, but from the handful I’ve seen, it strikes me that they have no shortage of queasy morality and gleeful cruelty. My favourites would be The Italian Connection, in which a sleazy, two-bit pimp played by Mario Adorf (doing his own stunts and looking like he might die of a heart attack in the process) ends up being our hero, and The Tough Ones AKA Rome, Armed to the Teeth, which plays as an almost free-associative series of cop vs crook violence, Maurizio Merli and Tomas Milian trying to outdo each other in sadism as the movie escalates. This one, the second in the genre directed by Enzo G. Castellari that I’ve seen (after The Heroin Busters, with which this shares some terrific action direction), has its share of cruelty as well, largely meted out by a group of truly loathsome villains. We first meet them during the opening sequence, where they’re geared up in fearsome helmets as they mete out some pretty excessive property damage. The aesthetic choices here, between their wardrobe, the eerie red and yellow lighting, the slow motion and the blaring prog rock freakout on the soundtrack courtesy of Guido and Maurizio De Angelis (whose work here sometimes resembles a wilder and woollier version of “In-A-Gadda-Da-Vida”), suggest that this a newer, more vicious breed of criminal, totally beyond the pale of ordinary criminality.

And certainly, they make good on that promise, graduating pretty quickly from property damage to actual violence, sexual assault, murder and the works. A lot of this is relished by Castellari, starting with a great shot where the hero is trapped in a car that’s rolled over by the villains, the camera’s view spinning along with the body of the car as the hero gets roughed up inside. One scene of sexual violence is particularly ugly, but another earlier in the movie is handled with a bit of tact, conveyed with a somewhat touching and elegant shot of the camera refocusing to suggest the span from the victim’s rape to the discovery of her corpse by her father.

Now, with criminals this vicious, you’re gonna need a hero willing to go the limit, and we get that with Fabio Testi, towering over many of the other cast members as if his height correlates to his moral certitude. You’re not gonna get a nuanced view of police accountability in this genre, but to the movie’s credit, Testi is shown to be compassionate towards the victims and even tries to work with a relatively harmless criminal played by Vincent Gardenia to bust the criminals through less forceful means. At one point the villains disguise themselves as Marxists to stir up trouble, which probably betrays the movie’s politics, but it does try to mitigate this, with Testi insisting that these criminals have nothing to do with real leftist politics. And another scene where they incite mob violence against Gardenia’s son arguably positions their criminality as a social problem. So I didn’t find this as noxious as it could have been.

But ultimately, Testi has to go beyond the law and recruit a team, most of whom have been impacted by the villains personally, to take them out once and for all. And the gunplay here, both in a vicious train station shootout and the shooting gallery warehouse climax, is thunderous in its impact. The echoing of the rifle shots, the sometimes bruising editing, the sheer loudness of the gunfire (the violence feels as much sonic as physical), the liberal use of squibs combine to give every shot fired an entire movie’s worth of rage.

#film #movie review #the big racket #enzo g. castellari

[abatelunare]

Generi cinematografici riscoperti

Il genere cinematografico conosciuto come poliziottesco italiano mi piace fin da quando ero ragazzo. Certo, spesso la recitazione è approssimativa per non dire inesistente. Le trame sono più che elementari e ricche di incongruenze. E c’è un’enfasi che ritengo eccessiva. Ma le scene d’azione - a pare qualche caso - non sono per niente male. Ci sono pure presenze che non esito a definire carismatiche: Franco Nero, Maurizio Merli, Henry Silva e tanti altri. Non immaginavo ne avessero girati così tanti, eh. Però mi fa piacere riscoprirli ora che sono adulto. O che si presume io lo sia.

[mancino]

Maurizio Merli

[mgrcllctv]

One-minute teaser for 113 / 2018, an experimental short documentary conceived as a visual exploration of themes of migration, discrimination and integration, prompted by the implementation of controversial migration policies in Italy in 2018.

FULL CREDITS:

Produced by Erich Ahimin, Alessio Dicandia and Davide Marchesi

Written and directed by Davide Marchesi

DOP: Sirio Vanelli Assistant director: Andrea Bertolotti Production manager: Marcantonio Corrieri Camera assistants: Gabriele Gregorig + Gabriele Rossi Steadicam operator: Luca Sportelli Set Design: Arianna Summo w/ Sarah Pendolino + Etienne Nzi Costume Design: Monica Henriquet w/ Maria Schmid Editing: Cristiana Donghi + Davide Marchesi Colorist: Daniel Pallucca Sound recording: Riccardo Barbaro Soundtrack and mixing: Marco Mercuzio Peron a.k.a. Slon Audio post-production: Maurizio Borgna Hair & make-up: Valentina Marzona + Sara Polonghini Set photographers: Viole Merli, Daniele Gattulli and Francesco Summo

Cast - in order of appearance: Fall “King” Samba, Oudou “Freddy” Gouem, Augusto “Bato” Batougate, Ousmane Yaka, Fatou Boudo, Roland Yoccoly, Erich Ahimin, Ndeye Toure Abibatou Dianko and Amy Ndiaye, Joy Ehikioya, Annabel Vitalis Uchenwa, Inelder “Cobra” Da Silva, Amneris and Imany Manicone, Evelyn and Thomas Carbone, Sanata Kone, Moussa Daouda Idrissou, Joseph Kodjo, Savane Mawa, Siriki Ouattara, Alpha Mansaray, Osman Sesay

Special thanks: Marco, Gianni e Franca Marchesi, Nicolangelo e Denis Dicandia, Valeria Scotti, Precious Godfrey, Vanessa Hanschke, Daniel Sul, Astrid Luglio, Luigi Schmid, Marie Chantal Grahou Quinla, Raffaello Juvara, Alexandra Nikolaeva, Adingra Seydou Ouattara, Mario Domina, Marta Dore, Andrea Butera, Federico Gaudimundo, Tommaso Pellegrini, Irene Pelamatti, Ana Gabriela Teran, Oliviero Motta, Milena Minessi e Barbara Mantegazza di Intrecci Cooperativa Sociale, Rho (MI), Giorgio Romagnoni e Ilaria Pasello del Centro Astalli di Trento (TN), Fernanda Torre, Il Pulmino Verde Onlus, Torino (TO), Ilaria Leccardi di APS Cambalache, Alessandria (AL), Alberto e Patrizia al Chiosco da Alberto, via Novate, Comasina, Milano (MI), Comitato Autonomo Abitanti Barona, Milano (MI), Enzo e Gianni di Veneg Car Wash, Segrate (MI), Azienda agricola Le Rovelline, Bilegno (PC), Oratorio San Giuseppe, Milano (MI), F.O.A. Boccaccio, Monza (MI), Camera Service Group and Lombardia Film Commission

#Vimeo

[badolasblog]

Perchè quelli che hanno la Giulietta guidano tutti come Maurizio Merli in Roma a mano armata?

[nifevihecer]

Breve manual de filosofia pdf descargar

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[junkfoodcinemas]

My friend, life's like a soup... and it needs a pinch of craziness. Highway Racer (Poliziotto sprint, 1977) dir. Stelvio Massi

#Highway Racer #Poliziotto sprint #Maurizio Merli #filmedit #filmgifs #caredit #actionedit #dailyworldcinema #dailytvfilmgifs #poliziottesco #70s #gifs #by mikael

[suspiria76]

VIOLENT NAPLES

Italy

1976

Directed by Umberto Lenzi

#cult cinema #italian cinema #seventies #crime #action #umberto lenzi #maurizio merli

[mariocki]

Poliziotto sprint (Highway Racer, 1977)

"No whiskey. Whenever Il Nizzardo beat the driver of a squad car, he used to drink a bottle of champagne to celebrate - two bottles if it was that son of a bitch Tagliaferri!"

"Alright, then we'll drink champagne and think of that asshole Tagliaferri."

"Only I call him a son of a bitch."

"But they're all assholes, really, aren't they?"

"No, not Tagliaferri. Tagliaferri is a man. He just stands on the other side."

#Poliziotto sprint #Highway Racer #poliziotteschi #italian cinema #Stelvio Massi #Maurizio merli #Gino Capone #Stelvio Cipriani #Angelo Infanti #Giancarlo Sbragia #lilli carati #Orazio Orlando #Glauco Onorato #Rosario borelli #Gaetano balestrieri #Mimmo poli #Vittorio fanfoni #Feels strangely prescient of the moods and styles of cinema to come: prefigures the 80s boom in Hollywood for buddy cop films #With a comic centre‚ particularly the Lethal Weapon kind‚ and the complicated relationship between hero and villain (part rivalry part #Mutual respect and just a frisson of homoeroticism..) feels very Point Blank. The whole film feels very US influenced except that it's #Happening before the US even really started in on these tropes... Idk. It's good tho‚ a fun bit of nonsense about cops and robbers which is #Really just an excuse for escalating car stunts (and some of them are absolutely nuts tbh) (like i mean they actually threw a car upside #Down‚ down a real public monument set of steps‚ that absolutely must have been damaged quite a lot) (they definitely didn't have permission #To shoot half the shit in this film‚ it's crazy). Strange to see Merli‚ so often a brooding and stoic antihero cop‚ playing a character who #Is still a cop but is SO much louder and dumber and hot headed. He probably shouldn't even be a cop but he drives good and apparently thats #More important than anything in 70s Italy. Much much stranger is seeing Merli without his trademark moustache! He looks bald #It's strange... Unsettling. Merli and director Massi (who sometimes used the amazing alias Max Steel) would go on to make a whole string of #Poliziotteschi films together‚ mainly including the fabled moustache‚ and only cut short by Merli's untimely death in the 80s #The Spanish steps!! I couldn't remember the name of them. Yeah they really smash some cars down those bad boys #Crazy stuff

[techaddictsuk]

A Special Cop In Action (1976)

The final instalment of the Inspector Betti series sees Merli in Milan to track down some kidnapped children, negotiate their release and deal with the group responsible. Simple.

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#A Special Cop in Action #Franco Borelli #John Saxon #Marino Girolami #Mario Caiano #Maurizio Merli #Mirella D&039;Angelo #Raymond Pellegrin #Toni Ucci #Umberto Lenzi #Violent Milan #Violent Naples #Violent Rome #Weapons of Death

[perfettamentechic]

10 marzo … ricordiamo …

10 marzo … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic #felicementechic #lynda

2018: Hubert de Givenchy, conte Hubert James Marcel Taffin de Givenchy, stilista francese. Hubert James Marcel Taffin de Givenchy studia all’École nationale supérieure des beaux-arts a Parigi, dove, contro il volere della famiglia, inizia la carriera nel mondo della moda. Lavora per Luciene Lelong dal ’45 al ’46, per Piguet dal 46 al 48, per Jacques Fat dal 48 al 49 e per Schiaparelli dal ’49 al…

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#10 marzo #Alfred Reginald Jones #conte Hubert James Marcel Taffin de Givenchy #Corey Haim #Corey Ian Haim #docente #Dora Durante #Doris Duranti #Duchessa di Halland #Gisela Goetten #Givenchy #Hubert de Givenchy #Hubert James Marcel Taffin de Givenchy #Irene Tedrow #June Marlowe #Lillian May Davies #Lloyd Bridges #Lloyd Vernet Bridges Jr. #Marguerite De La Motte #Maurizio Merli #Principessa Lilian #Principessa Lilian di Svezia #Ray Milland #Ricordiamo