Director: Carlo Lizzani
Italy, 165’, 1992, color
Italian with Turkish subtitles
So what is neorealism? André Bazin called it a cinema of 'fact' and 'reconstituted reportage', having its antecedents in the anti-Fascist movement with which these directors identified. Although they owed a debt to Renoir (with whom both Luchino Visconti and Michelangelo Antonioni had worked), the neo-realists respected the entirety of the reality they filmed. For a more scholarly documentary approach, this documentary by Carlo Lizzani produced in 1992 as the "Antologia del Cinema Italiano" series, covers neorealism in a very wide scope from 1942 to 1954.
He had imagined the court room as a big place. It wasn’t. It was about the size of his living room, with an elevation at one end, with a dais on it. The judges and the attorneys sat there. Below it was an old wooden rail, worn out in some places. That was his place. There was another seat for his lawyer. At the back, about 20 or 30 chairs were stowed out for the non-existent crowd.
Coffee was served with much splendor at the harems of the Ottoman palace and mansions. First, sweets (usually jam) was served on silverware, followed by coffee serving. The coffee jug would be placed in a sitil (brazier), which had three chains on its sides for carrying, had cinders in the middle, and was made of tombac, silver or brass. The sitil had a satin or silk cover embroidered with silver thread, tinsel, sequin or even pearls and diamonds.
When we examine the Ottoman-themed paintings of indoor everyday life by western painters, musical entertainment attracts attention as a fundamental aspect of the lifestyle.
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