Yeni İlin Mübarək !!! (azerbaijan - Happy New Year)
Happy happy new year with your relations ! (ayten)
Friday, December 26, 2008
Michele,BUON NATALE ! :)
Michele Placido,Merry Christmas! Le Auguro che i vostri sogni si rializzino ! (ayten)
Friday, December 19, 2008
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Sunday, December 7, 2008
Saturday, November 29, 2008
ATTENTION ATTENTION ! RAI EDU 2 & LA PIOVRA !
La Piovra with Michele Placido on RAI EDU 2 !http://www.educational.rai.it/mat/ma/indexpal.asp
La Piovra http://www.rewind.rai.it/
"La Piovra
II serie - Puntata 1
Seconda serie di uno degli sceneggiati che hanno fatto epoca nella storia della televisione, tanto da produrre negli anni dieci edizioni. Anche questa volta sono sei puntate, andate in onda a partire dal 12 gennaio 1986, per la regia di Florestano, scritte da Ennio De Concini e Odile Barski.Ne “La Piovra 2” il commissario Cattani (Michele Placido) continua la sua lotta contro la criminalità organizzata, questa volta messo a dura prova nella vita privata per la perdita della moglie e della figlia. Questo non lo ferma nelle complicate indagini per scoprire le connivenze della mafia a Roma. Tra gli altri interpreti ricordiamo: Florinda Bolkan, Martin Balsam, Paul Guers, Sergio Fantoni, Renato Mori, Renato Cecchetto, Francois Perier e Dagma Lassander.La colonna sonora di questa edizione è firmata da Ennio Morricone"
Monday, November 24, 2008
"Mio Dio come sono caduta in basso!" ("Allahim,mən necə də əskildim!") photo gallery & info
Mio Dio come sono caduta in basso! Michele Placido as Silvanno Pennacchini The Marquise Eugenia di Maqueda, an orphan raised by the nuns, marries Raimondo Corrao, but on their wedding night she finds out that he is her brother. The piece of news is in a letter written from Paris by their father, a womaniser who lives and hides from them in the French headtown. The pair decide, to avoid the scandal, to live as brother and sister. He will later leave for the war in Lybia, she will find solace and sexual satisfaction in the arms of the family chauffeur...
Director : Luigi Comencini
Cast : Laura Antonelli,Alberto Lionello,Michele Placido ..
(the first 3 photos have been made by my friend - Eldar)
Thursday, November 20, 2008
"Un Uomo in Ginocchio" ("Diz üstə çökən insan")
Director: Damiano Damiani
Country - Italia
Cast -Giuliano Gemma , Michele Placido , Eleonora Giorgi
Friday, November 14, 2008
Michele Placido - eng
Italian filmmaker Michele Placido on the set of his 'Romanzo Criminale', with actor Stefano Accorsi.Italian actor-director Michele Placido, whose last film as director, Romanzo criminale (Crime Novel) was part of the Berlinale Competition in 2006, is readying a new project for him to direct called Il grande sogno (lit. The Big Dream), about his experiences during the tumultuous period of spring 1968. Initially titled Cari compagni, the project will star local sex symbol Riccardo Scamarcio (Mio fratello è figlio unico / My Brother is an Only Child) as the character closest to Placido own experience: a young police man who goes undercover within the student movement only to find he actually sympathises with them.
Filming will start at the end of August in Ascoli Satriano, the village in the province of Foggia in Southern Italy from where Placido himself left for the Italian capital in 1968, to start his job as a rookie police officer. On March 1, he had himself just done three rounds as a guard close to the university premises when he was sent off to rest and the student riots broke out in front of the faculty of architecture in Valle Giulia. The events of the spring of 1968 finally made Placido decide to attend the Academy of Dramatic Arts rather than pursue a career in the police.
"The film will be a film with many protagonists and different points of view," said Placido in the Italian media, explaining that one of the main characters will be a bourgeois Catholic girl who ends up joining the protests for peace. "The film will not be nostalgic," Placido added. "Instead, we want to tell the youngsters of today about the youngsters of yesterday."
The project, written by the director with Angelo Pasquini and Doriana Leondeff, has been in development for quite some years but was extensively re-written when another Italian director, Bernardo Bertolucci, made a film about the 1968 student riots in Paris that was too similar to Placido's original idea. (That film, The Dreamers, in its turn inspired French director Philippe Garrel to counter the "perfume-add approach" of Bertolucci with his own bleak black-and-white account of 1968 called Les amants réguliers / Regular Lovers).
Besides Scamarcio, the casting of the film includes his Mio fratello è figlio unico co-star Elio Germano, Laura Morante (Les fauteuils d'orchestre / Avenue Montaigne), Giovanna Mezzogiorno (La bestia nel cuore / Don' Tell) and Jasmine Trinca, who already starred in Placido's Romanzo Criminale, as did Scamarcio and Germano. Being a French co-production, the film also has several French actresses on the pay-roll, including, according to cineuropa.org, Carole Bouquet (Feux rouges / Red Light) and Isabelle Huppert (Nue propriété / Private Property). Placido himself will also have a supporting role in the film. After the scenes set in the South of Italy which will be filmed later this month and into September, the majority of the film will be shot early next year in Rome.
Thursday, November 13, 2008
An Interview With Michele Placido
In your opinion, as an actor but also as a director, what are the essential elements that distinguish Mario Martone's approach to directing from that of other Italian directors?
- For me, Mario is a master. And there aren't many: Bellocchio, for example, and Moretti, to name a few. He has a purity of style, and by purity I mean conceding nothing to mere taste, to pleasing spectators. He's distinguished by his ability to make the viewer see himself in a film. He provokes those who want to be provoked. His work attempts to involve the filmgoers from the human point of view, with real events common to us all. He refuses to adopt those easy, "sentimental" solutions that, even when well done, don't communicate passion. For an actor this effort is difficult to sustain, but exhilarating; it's like exploring a new dimension.As a director, I've learned a lot from him. And the lesson, though I know he won't approve of the term, is that being an artist can't be taken for granted: not everyone is capable of becoming an "auteur" the way he has.It's easy to imagine that working with Fanny Ardant was more than a little interesting...Yes, remember that it was she who first wanted the film rights to the book. She had already opted for them before Martone offered her the part. But above all I learned to respect her as a woman. For her beauty, that goes without saying, but I was even more fascinated by her intelligence, an intelligence that I'd say was lucid, even illuminating. Fanny is a true intellectual. What other actress would have taken the initiative to opt for a novel by an author like Parise, an Italian author at that. In this she's typically French.
What aspect of your collaboration did you find most intriguing?
-The thing about her that struck me most was her way of observing, and how she moved before shooting a scene. First thing in the morning, five minutes before shooting, most actresses in their dressing rooms are all busy with their makeup, with the lights ... they're almost, how can I say it, flustered. Instead Fanny is reserved, and this interior elegance leaves its mark, she transmits it to everyone around her. And this enticing capacity of communicating the "essential" gets effortlessly carried over onto the set. To some extent, I feel like I've "stolen" from her a kind of introspectiveness that came over me before shooting a scene.The dominant and decisive viewpoint of the film is masculine. What does "the scent of blood" signify for Michele Placido? And for Carlo?I'd say it's easier for Michele Placido to live with it. Carlo allows himself to be anaesthetized by the scent of blood and enters into a kind of paralysis under its influence. Carlo is unable to react once threatened by emotion, by strong feelings. Maybe he's too intellectual. The proof of this is that he's incapable of managing intrigue with Silvia. He gives up when confronted by the scent of blood: he's unable to save her. He doesn't do all he can to help her, either as a man or as a companion, and for this he bears the guilt.
How would you describe the part the physical distance between Carlo and Silvia plays in the film?
-It creates a void that cannot be filled, the incapacity of living with intimacy. Even though he still loves Silvia (in fact he's always talking about her to Lu), he's incapable of remaining by her side, however much this pains him. He refuses to accept physical decay, the idea of approaching physical decline, whether it be Silvia's or his own. He wants to remember her exactly as she was when they first fell in love. During their endless telephone calls he succeeds in freezing this moment: from a distance he manages to preserve her youth, the way he wants her to remain.
In the film suffering is closely linked to pleasure. What is it the film has to teach us about human beings?
-Complexity. The film demonstrates the interdependency between suffering and pleasure. And not just intense sexual pleasure, which is certainly represented, but also (and this thanks to Lu and Carlo's relationship with her) those "flashes of extraordinary bliss" that Carlo experiences as if he were still uncompromised by life. The same thing I feel in my private life while watching my children, when I see that for them living is still "a great adventure". Whenever I see that they still experience the most commonplace and the most extraordinary events in the same way, without prejudice. And this because they haven't yet experienced life's suffering. As long as one remains intact, every moment is lived completely
- For me, Mario is a master. And there aren't many: Bellocchio, for example, and Moretti, to name a few. He has a purity of style, and by purity I mean conceding nothing to mere taste, to pleasing spectators. He's distinguished by his ability to make the viewer see himself in a film. He provokes those who want to be provoked. His work attempts to involve the filmgoers from the human point of view, with real events common to us all. He refuses to adopt those easy, "sentimental" solutions that, even when well done, don't communicate passion. For an actor this effort is difficult to sustain, but exhilarating; it's like exploring a new dimension.As a director, I've learned a lot from him. And the lesson, though I know he won't approve of the term, is that being an artist can't be taken for granted: not everyone is capable of becoming an "auteur" the way he has.It's easy to imagine that working with Fanny Ardant was more than a little interesting...Yes, remember that it was she who first wanted the film rights to the book. She had already opted for them before Martone offered her the part. But above all I learned to respect her as a woman. For her beauty, that goes without saying, but I was even more fascinated by her intelligence, an intelligence that I'd say was lucid, even illuminating. Fanny is a true intellectual. What other actress would have taken the initiative to opt for a novel by an author like Parise, an Italian author at that. In this she's typically French.
What aspect of your collaboration did you find most intriguing?
-The thing about her that struck me most was her way of observing, and how she moved before shooting a scene. First thing in the morning, five minutes before shooting, most actresses in their dressing rooms are all busy with their makeup, with the lights ... they're almost, how can I say it, flustered. Instead Fanny is reserved, and this interior elegance leaves its mark, she transmits it to everyone around her. And this enticing capacity of communicating the "essential" gets effortlessly carried over onto the set. To some extent, I feel like I've "stolen" from her a kind of introspectiveness that came over me before shooting a scene.The dominant and decisive viewpoint of the film is masculine. What does "the scent of blood" signify for Michele Placido? And for Carlo?I'd say it's easier for Michele Placido to live with it. Carlo allows himself to be anaesthetized by the scent of blood and enters into a kind of paralysis under its influence. Carlo is unable to react once threatened by emotion, by strong feelings. Maybe he's too intellectual. The proof of this is that he's incapable of managing intrigue with Silvia. He gives up when confronted by the scent of blood: he's unable to save her. He doesn't do all he can to help her, either as a man or as a companion, and for this he bears the guilt.
How would you describe the part the physical distance between Carlo and Silvia plays in the film?
-It creates a void that cannot be filled, the incapacity of living with intimacy. Even though he still loves Silvia (in fact he's always talking about her to Lu), he's incapable of remaining by her side, however much this pains him. He refuses to accept physical decay, the idea of approaching physical decline, whether it be Silvia's or his own. He wants to remember her exactly as she was when they first fell in love. During their endless telephone calls he succeeds in freezing this moment: from a distance he manages to preserve her youth, the way he wants her to remain.
In the film suffering is closely linked to pleasure. What is it the film has to teach us about human beings?
-Complexity. The film demonstrates the interdependency between suffering and pleasure. And not just intense sexual pleasure, which is certainly represented, but also (and this thanks to Lu and Carlo's relationship with her) those "flashes of extraordinary bliss" that Carlo experiences as if he were still uncompromised by life. The same thing I feel in my private life while watching my children, when I see that for them living is still "a great adventure". Whenever I see that they still experience the most commonplace and the most extraordinary events in the same way, without prejudice. And this because they haven't yet experienced life's suffering. As long as one remains intact, every moment is lived completely
Tuesday, November 11, 2008
Sunday, November 9, 2008
Thursday, November 6, 2008
About Michele Placido (Azerbaijan information)
Mikele Plaçido 1946-cı il may ayının 16 da İtaliyanin Askoli Satriano şəhərində dünyaya gəlib. Doğma şəhərində on yaşına qədər yaşayır,monastr məktəbində oxuyur,daha sonra vilayət mərkəzindəki kolledjə daxil olur.15 yaşında Mikele yenidən doğma şəhərinə qayıdır.Tezliklə orduda xədmətə gedir.Könüllü olduğuna görə onu ordu hissəsinə yox Romaya polis sisteminə xidmətə göndərirlər.Qulluğunu davam edə edə Mikele milli teatr incəsənəti akademiyasına imtahan verir və orda 3 il təhsil alır. İlk dəfə 25 yaşinda Mikele "Piçotto" televizija filmində cəkilməyə dəvət alır.Film uğur qazanır və Plaçidonun istedaını böyük rejissorlar dərhal sezirlər.Mikele, Moniçelli Rozi,Belokkio,Lidzani,Komençelli kimi rejissorlarla işləyir.
Öz ölkəsində və dünyada ona ilk məşhurluğu Mario Moniçellinin “Xalq Romanı” komediyası gətirir. (1974) Daha sonralar Mikele,L.Komençininin “Allah,mən necə də əskildım”,L.Djampinin “Dəli yataqlar”,S.Samperinin “Ernesto” filmlərində rol alır.
80 –ci illərin əvvəllərində Mikele öz vətənində kifayət qədər taninmış aktyor idi.Ancaq ona əsl dönya şöhrəti gətirən obraz – Komissar Kattani rolu oldu (La Piovra) . Bu rol dünyada misli görünməmiş populyarlığa nail olur,bütün dünyada Plaçidonu Komissar Korrado Kattani kimi taniyır və sevməyə başlayirlar.
Plaçidonun çox zəngin filmoqrafiyasi var.O özünü muxtəlif obrazlarda sınayıb..Onu həm qatil həm polis rolunda,həm çox yüngül həm də çox ciddi obrazlarda görmüşük.
Mikele aktrisa Simonetta Stefanelli ilə evli olub ayrılıb.Hal hazırda isə Federika Vinçenti ilə ailə həyatı sürür.60 yaşında Mikele yenidən ata olur.oğlu Gabriele dünyaya gəlir.
Artıq neçə ildir ki,Mikele Plaçıdo həm də rejissor kimi də fəaliyyət göstərir.Bu sahə də onda yaxşı alınır.
(H.Aytən)
Öz ölkəsində və dünyada ona ilk məşhurluğu Mario Moniçellinin “Xalq Romanı” komediyası gətirir. (1974) Daha sonralar Mikele,L.Komençininin “Allah,mən necə də əskildım”,L.Djampinin “Dəli yataqlar”,S.Samperinin “Ernesto” filmlərində rol alır.
80 –ci illərin əvvəllərində Mikele öz vətənində kifayət qədər taninmış aktyor idi.Ancaq ona əsl dönya şöhrəti gətirən obraz – Komissar Kattani rolu oldu (La Piovra) . Bu rol dünyada misli görünməmiş populyarlığa nail olur,bütün dünyada Plaçidonu Komissar Korrado Kattani kimi taniyır və sevməyə başlayirlar.
Plaçidonun çox zəngin filmoqrafiyasi var.O özünü muxtəlif obrazlarda sınayıb..Onu həm qatil həm polis rolunda,həm çox yüngül həm də çox ciddi obrazlarda görmüşük.
Mikele aktrisa Simonetta Stefanelli ilə evli olub ayrılıb.Hal hazırda isə Federika Vinçenti ilə ailə həyatı sürür.60 yaşında Mikele yenidən ata olur.oğlu Gabriele dünyaya gəlir.
Artıq neçə ildir ki,Mikele Plaçıdo həm də rejissor kimi də fəaliyyət göstərir.Bu sahə də onda yaxşı alınır.
(H.Aytən)
Wednesday, November 5, 2008
Michele Placido's filmography .. as director
Michele Placido is an internationally known Italian actor and director.
Filmography
Estrenando sueГ±os (2005)
LiolГ (2005)
Il Grande Torino (2004)
L'Odore del sangue (2004)
L'Amore ritorna (2004)
Soraya (2003)
Un PapГ quasi perfetto (2003)
Il Posto dell'anima (2003)
Searching for Paradise (2002)
Il Sequestro Soffiantini (2002)
Tra due mondi (2001)
Padre Pio - Tra cielo e terra (2000) (TV)
Liberate i pesci! (2000)
Terra bruciata (1999)
Un Uomo perbene (1999)
La Balia (1999)
Panni sporchi (1999)
Del perduto amore (1998)
La Missione (1998)
Le Plaisir (et ses petits tracas) (1998)
Racket (1997)
La Lupa (1996)
Un Eroe borghese (1995)
Padre e figlio (1994)
Poliziotti (1994)
Lamerica (1994)
Quattro bravi ragazzi (1993)
Le Amiche del cuore (1992)
Uomo di rispetto (1992)
Drug Wars: The Cocaine Cartel (1992)
Scoop (1991)
Afganskiy izlom (1990)
La Piovra 4 (1989)
Mery per sempre (1989)
Via Paradiso (1988)
Big Business (1988)
Come sono buoni i bianchi (1988)
La Piovra 3 (1987)
Ti presento un'amica (1987)
Grandi magazzini (1986)
Notte d'estate con profilo greco, occhi a mandorla e odore di basilico (1986)
La Piovra 2 (1985)
Pizza Connection (1985)
Les Amants terribles (1984)
La Piovra (1984)
Ars amandi
SciopГЁn (1982)
Cargo (movie) (1981)
Tre fratelli (1981)
Les Ailes de la colombe (1981)
Lulu (1980)
Salto nel vuoto (1980)
Letti selvaggi (1979)
Il Prato (1979)
Sabato, domenica e venerdì (1979)
Ernesto (1979)
Un Uomo in ginocchio (1978)
Io sono mia (1978)
Corleone (1977)
Fontamara (1977)
Kleinhoff Hotel (1977)
La Ragazza dal pigiama giallo (1977)
Casotto (1977)
L'Agnese va a morire (1976)
La Orca (1976)
Divina creatura (1976)
Marcia trionfale (1976)
Peccati in famiglia (1975)
Moses the Lawgiver (1975)
Orlando Furioso (movie) (1975)
Mio Dio come sono caduta in basso! (1974)
Processo per direttissima (1974)
Romanzo popolare (1974)
Il Picciotto (1973)
La Mano nera - prima della mafia, piГ№ della mafia (1973)
Mia moglie, un corpo per l'amore (1973)
Teresa la ladra (1972)
Il Caso Pisciotta (1972)
As Director
Romanzo criminale (2005)
Ovunque sei (2004)
Un Viaggio chiamato amore (2002)
Un Altro mondo ГЁ possibile (2001)
Del perduto amore (1998)
Un Eroe borghese (1995)
Le Amiche del cuore (1992)
PummarГІ (1990)
Filmography
Estrenando sueГ±os (2005)
LiolГ (2005)
Il Grande Torino (2004)
L'Odore del sangue (2004)
L'Amore ritorna (2004)
Soraya (2003)
Un PapГ quasi perfetto (2003)
Il Posto dell'anima (2003)
Searching for Paradise (2002)
Il Sequestro Soffiantini (2002)
Tra due mondi (2001)
Padre Pio - Tra cielo e terra (2000) (TV)
Liberate i pesci! (2000)
Terra bruciata (1999)
Un Uomo perbene (1999)
La Balia (1999)
Panni sporchi (1999)
Del perduto amore (1998)
La Missione (1998)
Le Plaisir (et ses petits tracas) (1998)
Racket (1997)
La Lupa (1996)
Un Eroe borghese (1995)
Padre e figlio (1994)
Poliziotti (1994)
Lamerica (1994)
Quattro bravi ragazzi (1993)
Le Amiche del cuore (1992)
Uomo di rispetto (1992)
Drug Wars: The Cocaine Cartel (1992)
Scoop (1991)
Afganskiy izlom (1990)
La Piovra 4 (1989)
Mery per sempre (1989)
Via Paradiso (1988)
Big Business (1988)
Come sono buoni i bianchi (1988)
La Piovra 3 (1987)
Ti presento un'amica (1987)
Grandi magazzini (1986)
Notte d'estate con profilo greco, occhi a mandorla e odore di basilico (1986)
La Piovra 2 (1985)
Pizza Connection (1985)
Les Amants terribles (1984)
La Piovra (1984)
Ars amandi
SciopГЁn (1982)
Cargo (movie) (1981)
Tre fratelli (1981)
Les Ailes de la colombe (1981)
Lulu (1980)
Salto nel vuoto (1980)
Letti selvaggi (1979)
Il Prato (1979)
Sabato, domenica e venerdì (1979)
Ernesto (1979)
Un Uomo in ginocchio (1978)
Io sono mia (1978)
Corleone (1977)
Fontamara (1977)
Kleinhoff Hotel (1977)
La Ragazza dal pigiama giallo (1977)
Casotto (1977)
L'Agnese va a morire (1976)
La Orca (1976)
Divina creatura (1976)
Marcia trionfale (1976)
Peccati in famiglia (1975)
Moses the Lawgiver (1975)
Orlando Furioso (movie) (1975)
Mio Dio come sono caduta in basso! (1974)
Processo per direttissima (1974)
Romanzo popolare (1974)
Il Picciotto (1973)
La Mano nera - prima della mafia, piГ№ della mafia (1973)
Mia moglie, un corpo per l'amore (1973)
Teresa la ladra (1972)
Il Caso Pisciotta (1972)
As Director
Romanzo criminale (2005)
Ovunque sei (2004)
Un Viaggio chiamato amore (2002)
Un Altro mondo ГЁ possibile (2001)
Del perduto amore (1998)
Un Eroe borghese (1995)
Le Amiche del cuore (1992)
PummarГІ (1990)
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