Life Is a Bed of Roses
With a stature as wide as his smile, a spectacular expressiveness, and a remarkable diction, Vittorio Gassman is one of the greatest actors cinema has ever seen. Capable of embodying a hundred different personas in a single character, switching instantly from comedy to drama, he masterfully embodied the Italian man with flamboyant irony. Simultaneously boastful and tragic, he never shied away from the grotesque side of Italian comedy, while excelling as a classical actor – he who always remained faithful to Theatre.
A man seeks happiness in love, in various periods and settings. Three parallel stories in which Gassman plays a classic old Italian man.
Alain Resnais
Alain Resnais was a French director, screenwriter, and editor. As the director of Hiroshima, mon amour (1959) and Last Year at Marienbad (1961), he quickly became regarded as one of the major figures of the French New Wave and one of the fathers of European cinematic modernity, alongside Roberto Rossellini, Ingmar Bergman, and Michelangelo Antonioni, for his way of challenging classical cinema grammar and deconstructing linear narration. A filmmaker who enjoyed experimentation and was able to question himself with each new project, Alain Resnais was recognized for his ability to create new forms and enrich the codes of cinematic representation by blending it with other arts: literature, theater, music, painting, and comics. His work encompasses a wide range of themes such as memory, political engagement, intimacy, death, and dreams.
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The Easy Life by Dino Risi
Vittorio Gassman, coupable et innocent
S’il a endossé au cours de sa carrière des rôles d’une grande diversité, Vittorio Gassman a particulièrement brillé dans son incarnation outrancière d’une masculinité italienne reflétant les travers et faiblesses d’une société à la croisée des chemins et en perte de repères. Et si sa filmographie est pléthorique, sa collaboration fructueuse avec Dino Risi en demeure la pierre angulaire, terrain de jeu sur mesure pour l’acteur, qui était avant tout un homme de scène et se méfiait du réalisme au cinéma.
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