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Venice's Restored Classic Lineup for 80th Fest Includes Welles, Hawks, Bergman, Rosselini and Cimino, In Person with 'Heaven's Gate'

Photo of Beth Hanna By Beth Hanna | Thompson on Hollywood July 25, 2012 at 2:51PM

In celebration of the Venice Film Festival's 80th anniversary, the fest will screen a program of restored classic films, titled "Venezia Classici." Included in the cinephile-dream lineup is Welles' "Chimes at Midnight," Bergman's "Fanny and Alexander," Hawks' "Gentlemen Prefer Blondes," Rosselini's "Stromboli" and Cimino's restored "Heaven's Gate."

VENEZIA CLASSICI –  Restored Films

·         The Mattei Affair (Il caso Mattei, 1972)

by Francesco Rosi, Italy, 1972 (Restored by Cineteca di Bologna at the lab L’Immagine Ritrovata in collaboration with The Film Foundation, Paramount Pictures and Museo Nazionale del Cinema of Turin. Restoration financed by Gucci, Eni, and The Film Foundation)

·         Heaven’s Gate (219’)

by Michael Cimino, USA, 1980 (Criterion)

·         Chimes at Midnight (Campanadas a medianoche, 1965s)

       by Orson Welles, Spain, 1965  (Filmoteca Española)

·         Karumen kokyō ni kaeru  (Carmen Comes Home, 1951)

       by Kinoshita Keisuke, Japan, 1951  (Shochiku)

·         Investigation of a Citizen Above Suspicion (Indagine su un cittadino al di sopra di ogni sospetto, 1970) (Sony)

by Elio Petri, Italy, 1970  

·         Stromboli (Stromboli Terra di Dio, 1950)

by Roberto Rossellini, Italy, 1950  (Istituto Luce Cinecittà, Cineteca di Bologna, CSC-Cineteca Nazionale, Coproduction Office)

·         Tell Me Lies
      by Peter Brook, UK/USA, 1968 (Fondation Technicolor pour le Patrimoine du Cinéma)

·         Pigsty  (Porcile, 1969)

      by Pier Paolo Pasolini, Italy, 1969 (Cineteca di Bologna)

·         Miracle  (Himala, 1982)

by Ishmael Bernal, Philippines, 1982 (Film Development Council of Philippines, Manila)

·         Anita Garibaldi (Camicie rosse, 1952)

by Goffredo Alessandrini, Italy, 1952 (Cineteca Nazionale)

·          Terra animata (1967, 7’) e SKMP2 (1968, 30’)

by Luca Patella (Cineteca Nazionale)

·         Sunset Boulevard

by Billy Wilder, USA, 1950, Paramount

·         Fanny e Alexander (BIM)

by Ingmar Bergman, Sweden, 1982

·         Gentlemen Prefer Blondes (20th Century Fox)

by Howard Hawks, USA, 1953

·         The Ghost and Mrs. Muir, (20th Century Fox)

by Joseph L. Mankiewicz , USA, 1947

·         South Seas Adventure (Cinerama, 1958)

by Francis D. Lvon Walter Thompson, Basil Wrangler, Richard Goldstone, Carl Dudley, USA, 120’

·         To Be Twenty in the Aures (Avoir 20 ans dans le Aurès, 1972) (Cinémathèque française)

by René Vautier, France, 1972

·         The Tenth Victim (La decima vittima, 1965)

by Elio Petri, Italy, 1965 (Cineteca di Bologna, Museo Nazionale del Cinema of Turin)

·         American Dreams

by James Benning, USA, 1984, 53’ (FilmMuseum Vienna)

VENEZIA CLASSICI  - Documentaries

  • La Guerra dei vulcani                       

by Francesco Patierno (Italy)

·         Dai nostri inviati alla Mostra di Venezia

by G. Giannotti, D. Savelli, E. Salvatori  (Italy)

·         Valentino’s Ghost                              

by Michael Singh   (USA)

·         Miradas Multiples                             

by Emilio Maillé  (Messico-France-Spain)

·         Harry Dean Stanton Partly Fiction  

by Sophie Huber  (USA-Switzerland)

·         Conteurs d’images                            

by Noelle Deschamps (France)

·         Sedia elettrica                                    

by Monica Strambini (Italy)

·         Gli anni delle immagini perdute     

by Adolfo Conti (Italy)

·         Monicelli. La versione di Mario      

by Mario Canale, Felice Farina, Mario Gianni, Wilma Labate, Annarosa Morri (Italy)

This article is related to: Venice Film Festival, Classics, Digital Future, Michael Cimino

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Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.