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202
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https://www.uncsa.edu/chancellor/communications/20211206-martha-de-laurentiis.aspx
|
en
|
Mourning the passing of Martha De Laurentiis
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"Martha's goodwill has been felt by many at UNCSA, and her legacy will live on in so many filmmakers of tomorrow. I know you join with me in extending sincere sympathy to her family and friends."
|
en
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|
https://www.uncsa.edu/chancellor/communications/20211206-martha-de-laurentiis.aspx
|
Dear Campus Community,
We are deeply saddened by the recent passing of accomplished film producer Martha Schumacher De Laurentiis after a battle with cancer. She was a longtime and loyal supporter of our School of Filmmaking and was also a veteran member of our Board of Visitors. She was 67.
Martha and her late husband, Dino De Laurentiis, were not only instrumental in getting our film school off the ground in 1993, but were greatly responsible for the growth of the film industry in North Carolina in the 1980s and ’90s. A prominent part of the opening ceremonies for the School of Filmmaking Studio Village in 1998, Martha was well known among our UNCSA family for her support of our student filmmakers, going so far as to host lunches for the senior film students who visited Los Angeles each spring for the screening of their thesis films in front of industry professionals.
Martha’s extensive résumé dates from Stephen King’s “Firestarter,” which was filmed in North Carolina, in 1984, to the upcoming remake of the film (she is credited as an executive producer), which is expected to be released in 2022. With Dino, Martha had a long production partnership; the couple went on to found De Laurentiis Entertainment Group (DEG) Studios in 1980 — now EUE/Screen Gems Studios — in Wilmington, N.C. Other King adaptations she produced at DEG include “Cat’s Eye,” “Silver Bullet” and “Maximum Overdrive,” as well as “King Kong Lives,” “The Bedroom Window” (part of which was filmed at the Stevens Center), “Date with an Angel,” “Desperate Hours” and “Raw Deal.” The two married in 1990, and during that decade, the couple launched the De Laurentiis Co., which produced films including “Hannibal,” “Red Dragon” and “The Last Legion.” After the death of her husband in 2010, Martha continued on as head of the company and went on to executive produce works including “Arctic” and the NBC series “Hannibal.”
Martha was an active member of the UNCSA Board of Visitors from 1988 to 2010, when she was named emeritus member. A more recent demonstration of her love for UNCSA’s hometown of Winston-Salem was her service on the National Advisory Board of The Creative Center of North Carolina Inc., which advances Winston-Salem as a creative community.
She established three scholarships in her name at UNCSA, including one in Film, one in Drama, and the Martha Schumacher De Laurentiis Endowed Scholarship.
Martha’s goodwill has been felt by many at UNCSA, and her legacy will live on in so many filmmakers of tomorrow. I know you join with me in extending sincere sympathy to her family and friends.
Sincerely,
Brian Cole
Chancellor
December 6, 2021
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https://www.amazon.com/Evidence-Blu-ray-Madonna-Mantegna-Julianne/dp/B07B658BN5
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en
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Amazon.com
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202
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dbpedia
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https://screendollars.com/dino-de-laurentiis-dies-on-11-10-2010/
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en
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Dino De Laurentiis Dies on 11/10/2010
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In an industry where anyone can claim to be an independent producer, Dino De Laurentiis was the real thing. Unlike so many others who spent decades seeking an
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Screendollars
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https://screendollars.com/dino-de-laurentiis-dies-on-11-10-2010/
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Last revised on December 30, 2020
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https://www.rottentomatoes.com/celebrity/dino_de_laurentis
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Dino De Laurentiis
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Explore the filmography of Dino De Laurentiis on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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https://www.rottentomatoes.com/celebrity/dino_de_laurentis
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A Hollywood player for decades, producer Dino De Laurentiis produced a remarkable mix of motion pictures, ranging from art house fare like Fellini's "La Strada" (1954) to camp classics like "Barbarella" (1968) to spectacles like "King Kong" (1976) and "Tai Pan" (1986), as well as popular entertainment like "Hannibal" (2001). Ever since he began his producing career with the international hit "Riso Amaro" ("Bitter Rice") (1948), De Laurentiis financed, produced or distributed hundreds of movies, including some of the most significant ever made in cinema history, like "Serpico" (1973), "Death Wish" (1974) and "Conan the Barbarian" (1982). Toward the end of the 20th century, De Laurentiis - who had missed out on the massive success of "Silence of the Lambs (1991) after declining the rights following the failure of "Manhunter" (1986) - saw a resurgence with the box office hit "Hannibal" (2001), which spawned another successful sequel, "Red Dragon" (2002), and cemented his place as one of cinema's most prolific producers.
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Death of a Showman: Dino De Laurentiis (1919-2010)
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2010-11-12T05:00:00+00:00
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A dreamer and a salesman, producer De Laurentiis gave the world masterpieces and flops, kitsch and Kong
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For his first five years, Agostino De Laurentiis didn’t speak, but his mother Giuseppina showed no concern. “Look at it this way,” she said of the lively child. “When he begins to talk, nobody will be able to make him stop.” By the time he was 15, as a traveling representative for Pastaficio Moderno, his father Aurelio’s food business, the kid from Naples had turned words to his advantage. “Agostino’s greatest asset — which he’d use to straighten out a million different messes, in decades to come — was his overwhelming skill as a communicator,” wrote his biographer Tullio Kezich. “He knew how to charm, how to dazzle … The gratified Aurelio recognized that his son was a born salesman.”
What is a salesman but a fellow with a dollar and a dream? Speaking in urgent Italian or broken English, peddling pasta for his papa or producing hundreds of films in a career that spanned nearly 70 years, Dino de Laurentiis knew that salesmanship demanded showmanship, and he had both in his blood. His dreams could cost a few lire, like the Italian comedies he made with Toto (10 films) and Alberto Sordi (22 films) or the many millions of dollars he poured into his 1976 remake of King Kong . His production of Federico Fellini’s La Strada won the Oscar for best foreign-language film; Year of the Dragon and Body of Evidence were short-listed for Razzies. Some of his movies (Death Wish, Conan the Barbarian, Hannibal) earned a bundle; on others (The Bible, Hurricane, Dune) he nearly lost his silk shirt. But Dino never lost his drive or his nerve. His death Wednesday, Nov. 10, at 91 in Beverly Hills, Calif., closed the books on a 5-ft., 4-in. giant of the movie business.
(See the All-TIME 100 Movies.)
He could have been an Italian cousin of the East European Jews who built the American movie empire. Short of stature, chomping on a pricey cigar, seated behind an enormous desk in a chair that elevated him above his visitors, he pursued his impulses with energy and chutzpah. And like MGM’s Irving Thalberg and Dino’s partner and rival Carlo Ponti, he had a movie-star wife. Silvana Mangano had been an instant sensation as the dirty-dancing peasant in the 1949 Bitter Rice . The star and her producer wed that year; they had four children and were still married when she died 40 years later. They made 22 films together, and if Mangano never reached the superstar heights of Ponti’s bride, Sophia Loren, she matured into an actress of erotic elegance. (Shortly after Mangano’s death, he married American producer Martha Schumacher, who survives him. They had two daughters.)
(See TIME’s cover story on Dino De Laurentiis’ King Kong .)
This golden huckster was susceptible to the spiels of other talented dreamers; he was a sucker for auteurs, from Roberto Rossellini to Sergei Bondarchuk, David Cronenberg to Sam Raimi. When Ingmar Bergman exiled himself from Sweden after a tax wrangle, he got De Laurentiis’ backing for the Berlin-made The Serpent’s Egg . After David Lynch had a hit with The Elephant Man , Dino financed Lynch’s goofball epic Dune , and when no one in Hollywood would have lunch with the post– Heaven’s Gate Michael Cimino, Dino let him make Year of the Dragon . More than an enabler, he was a creative businessman. In 1953, seeing the potential for worldwide appeal in Fellini’s early films, he imported American actors Anthony Quinn and Richard Basehart to star with Fellini’s wife Giulietta Masina in La Strada . De Laurentiis and Fellini teamed again on Nights of Cabiria , another international success — though Dino filched the Cabiria negative to excise a long monologue he thought superfluous. The two men never again worked together.
Art-house hits are fine, but a big producer must make big movies. Emboldened by having crossed movie cultures with La Strada , Dino hired Audrey Hepburn and Henry Fonda to star in the 1956 War and Peace , directed by Hollywood stalwart King Vidor and shot at Dinocitta, the studio he had built in Rome. The film tanked, but the paisano didn’t regret his overreaching. He’d do it again and again, leaving fate to sort out the hits and the flops. Gambling on movies wasn’t so much an addiction as a religion, as natural as breathing hard on a run up a steep hill — kind of like Sisyphus. “Dino is never happier than in a King Kong situation,” one associate said, “where the stakes are enormous, where he can win or lose everything.”
In the 1960s, toward the end of Hollywood’s fascination with biblical epics, De Laurentiis planned a series of Old Testament drama, beginning with Genesis , to be directed by the great French minimalist Robert Bresson. For the Noah’s Ark sequence, Dino hired a huge menagerie of animals, but when Bresson told him he’d be shooting only the tracks left by the animals, Dino fired him and shut down the multifilm project. (He settled for one movie, The Bible , directed by John Huston.) He then made a Napoleon film starring Rod Steiger and ignored the implications of the title — Waterloo . After Jaws did smash box office, Dino figured anything big, bad and wet was surefire. But the whale adventure Orca went belly-up, and The Hurricane was less a disaster movie than a disaster. Often he needed the less grandiose product — the Jane Fonda Barbarella , the slave-lust melodrama Mandingo , Charles Bronson’s Death Wish series — to pay off the doomed epics.
A Bergman or Fellini could stay close to home, but an ambitious producer just had to go Hollywood. De Laurentiis’ 1954 comedy An American in Rome starred Sordi as a young Italian who loves all things American: he tries to speak like Gary Cooper and walk like John Wayne, and he threatens suicide unless he can secure a visa to the States. De Laurentiis didn’t have to go that far. When the Italian government reduced its film subsidies in the late ’60s, he left for America. First stop: New York City, where he sponsored four movies — The Valachi Papers, Serpico, Death Wish and Three Days of the Condor — that painted Manhattan as the town where every nightmare can come true.
That description might also fit the New York–shot King Kong , except that Dino, in a TIME cover story on the production, called it “the greatest love story ever made.” He was enthralled with Jessica Lange, his young leading lady (whom he had signed after nixing another promising ingenue, Meryl Streep, as “ugly”), and with the emotional bond between her character and the big ape. “No one cry when Jaws die,” Dino told TIME. “But when the monkey die, people gonna cry. Intellectuals gonna love Kong . Even film buffs who love the first Kong gonna love ours. Why? Because I no give them crap.” As it happened, De Laurentiis’ Kong , like Peter Jackson’s 2005 remake, would not obliterate the memory of the original. The film’s only lasting poignancy is its connection with the site of the ape’s demise: the World Trade Center.
After Kong , De Laurentiis moved to Hollywood, where his record was just as impressively erratic. What other producer would find both E.L. Doctorow’s novel Ragtime and Alex Raymond’s Flash Gordon comic strip suitable for lavish film versions? In the ’80s, De Laurentiis forged sustaining relationships with two other authors: Stephen King, from whose fiction Dino birthed five features, and Thomas Harris, whose first Hannibal Lecter novel, Red Dragon , he filmed in 1986 as Manhunter . Over the next two decades he produced four more Lecter movies (another company made The Silence of the Lambs ). To spur the notoriously slow writer to finish the Hannibal manuscript, Dino sent his own pasta chef to Miami. He knew that, one way or another, artists need to be fed.
(See Graydon Carter on De Laurentiis for TIME.)
Like father, like son: the De Laurentiises are ardent foodies. (So is Dino’s granddaughter Giada, who has her own show on the Food Network.) In 1982, believing that America didn’t have pasta nearly as delizioso as the stuff from papa Aurelio’s spaghetti factory, he opened the DDL Foodshow in Manhattan. “He has filled his showpiece with a 32-ft. counter for cold salads, 20 ft. of charcuterie and 139 chefs, bakers and pastrymakers,” wrote then TIME staffer Graydon Carter. “De Laurentiis is no stranger to the delights of kitchen duty. ‘When I cook,’ says he, ‘my brain stops completely.’ ”
Actually, the Foodshow shut down, but Dino’s brain never did, not until Wednesday. He dreamed for a living, constantly and productively, and left a film legacy nearly as succulent as his own legend.
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The Extraordinary Career and Legacy of Dino De Laurentiis
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2019-12-30T22:18:00-08:00
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Producer Dino De Laurentiis was one of the most prolific filmmakers ever, having produced or co-produced more than 600 films during a car...
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http://italiancinemaarttoday.blogspot.com/favicon.ico
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http://italiancinemaarttoday.blogspot.com/2019/12/the-extraordinary-career-and-legacy-of.html
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Producer Dino De Laurentiis was one of the most prolific filmmakers ever, having produced or co-produced more than 600 films during a career that spanned seven decades. His legacy continues not only through the work of his children and grandchildren but also through a new generation of filmmakers in his Italian hometown.
De Laurentiis was born in the shadow of Mount Vesuvius on Aug. 8, 1919, in the city of Torre Annunziata, located just minutes from the ruins of Pompeii. As a child, he worked at a local pasta factory owned and operated by his father. That experience had a profound effect on him, shaping a lifelong passion for food and an appreciation for business.
At the age of 17, he decided to leave home for the big city. He arrived in Rome and enrolled in the prestigious film school, Centro Sperimentale di Cinematografia. After attending the school for about a year, he managed to produce one film in 1940, The Last Combat, before having to leave Rome temporarily for military duty during the years leading up to World War II.
Vittorio Gassman and Silvana Mangano in Bitter Rice
He found his way back to Rome in 1944, starting his own production company in 1947 and releasing the first of many blockbusters two years later with the neorealist classic, Riso amaro (Bitter Rice). The film follows seasonal workers in the rice fields of northern Italy during the post-war economic depression. It stars Silvana Mangano and Vittorio Gassman, two stunning young actors at the beginning of their legendary careers. De Laurentiis not only had a hit movie on his hands, but he also found a life partner in Mangano. The couple wed that year and went on to have four children: Veronica, Raffaella, Francesca, and Federico.
De Laurentiis teamed up the following year with another prolific producer, Carlo Ponti. Their collaboration lasted seven years. Among the many successful films they produced were The Unfaithfuls by Mario Monicelli (1953); Where Is Freedom? by Roberto Rossellini (1954); La Strada by Federico Fellini (1954); The Gold of Naples by Vittorio De Sica (1954); Ulysses by Mario Camerini, starring Kirk Douglas and Anthony Quinn along with Mangano (1954); and the 1956 Italy/America production of War and Peace, directed by King Wallis Vidor and starring Audrey Hepburn and Henry Fonda.
After parting ways with Ponti, De Laurentiis established his own film studios on the outskirts of Rome in an area known as the Castelli Romani. He named it Dinocittà, to mimic Rome’s Cinecittà. The idea came after the worldwide success of the 1957 Ben Hur which was filmed at the iconic Rome studio. The production ignited an international desire to shoot in Rome, so De Laurentiis, being the businessman that he was, capitalized on this new demand and built the enormous production facility. The studio was quite popular during the 1960s and early 70s and attracted big names in Italy and the United States. On any given day, there would be the likes of Vittorio De Sica, Michelangelo Antonioni, John Huston, Charlton Heston, Bette Davis, Elizabeth Taylor, and Jane Fonda.
It was a time of experimentation with a bit of fun thrown in. Italian directors worked with American actors and vice versa. B-grade westerns and war pictures were made, like Sergio Corbucci’s Navajo Joe (1966), starring Burt Reynolds, and the Civil War drama The Hills Run Red, starring American writer/actor Thomas Hunter. A couple of the more high-profile films to come out of Dinocittà were The Taming of the Shrew by Franco Zeffirelli, starring Elizabeth Taylor and Richard Burton (1967); Barbarella, starring Jane Fonda (1968); Anzio, starring Robert Mitchum (1968); and Waterloo with Orson Welles and Christopher Plummer (1970).
Although production continued at Dinocittà through the 70s, it was arguably one costly 1966 production that marked the beginning of financial problems that would eventually lead to the demise of the facility. The 1966 film, The Bible: In the Beginning, was a big-budget, elaborate production directed by John Huston with an ensemble cast that included Ava Gardner and Peter O’Toole. The plot covered the major events of the Bible in an abstract, artistic way but lacks in-depth storytelling. It was the highest-grossing film of the year in 1966 but was not able to turn a profit. The property was seized by the government for nonpayment of taxes, in the 1970s. Shortly thereafter, De Laurentiis picked up and moved his film career and his family to the United States. He told the Italian press, "I left Rome because of intolerance towards politicians, trade unions, wrong laws, the impossibility of turning an artisanal cinema like the Italian one into an industrial and international cinema."
Dinocittà was no longer in business but his production company was. Shortly after moving to Hollywood, he made his mark there with a string of hits that included Serpico (1973), Death Wish (1974), and Three Days of the Condor (1975). The success of Steven Spielberg’s Jaws inspired him to remake the 1933 King Kong but with a sentimentality that he felt Jaws lacked. One of his infamous quotes was "When Jaws dies, nobody cries. When Kong dies, we all cry." With that thought in mind, De Laurentiis got to work on his big-budget remake. The 1976 film starring Jessica Lange, Jeff Bridges, and Charles Grodin turned out to be an international hit, even though critics did not completely embrace it.
Silvana Mangano in Dune
A trio of box office successes followed with Flash Gordon (1980) Ragtime (1981) and Conan the Barbarian (1982). Then in 1984, De Laurentiis released Dune which at the time was called “his most ambitious project yet.” Adapted from Frank Herbert's popular sci-fi novel by the same name, Dune, although not a great commercial success at the time, was responsible for the launch of numerous careers in the 1980s, including director David Lynch and cast members Kyle MacLachlan and Virginia Madsen. The period of the early 80s also marked the beginning of De Laurentiis’ collaboration with his daughter Raffaele, who followed in his footsteps becoming a producer in her own right.
Apart from those over-the-top, action-adventure, and sci-fi films, De Laurentiis produced two exceptional dramas in the mid-80s. He teamed up again in 1986 with director David Lynch and actor Kyle MacLachlan for Blue Velvet. Isabella Rossellini accepted the lead role of tortured nightclub singer Dorothy Vallens after Helen Mirren reportedly turned it down due to the provocative nature of the character. Laura Dern and Dennis Hopper costar. Lynch created a surreal world inside this film, making it a cult classic.
One year later, De Laurentiis produced the lesser-known Black Eyes (also called Dark Eyes), a 19th-century period film recounting the story of an Italian who falls in love with a Russian woman. A 1987 Italy/Russia coproduction starring Marcello Mastroianni and Silvana Mangano, the film was made two years before Mangano passed away. She was 57 years old and still so beautiful. It is no longer in print or available on VOD. However, there are clips on YouTube worth checking out to see two legendary actors together in the twilight of their careers. It was Mangano’s last principal role. She and De Laurentiis separated in 1983 and divorced in 1988 but continued to work together until her untimely death at the age of 59.
Watch the trailer for Black Eyes...
De Laurentiis married fellow producer Martha Schumacher in 1990 and the couple continued to produce films. Among them were Hannibal (2001) and Hannibal Rising (2007). He passed away on Nov. 10, 2010, at the age of 91 at his home in Beverly Hills, but his legacy lives on in so many ways.
His widow, Martha, is at the helm of the De Laurentiis Company, which has studios in Vermont, Australia, and Morocco, and has provided production facilities for recent blockbusters like Aquaman, Iron Man 3, and Fox Television’s Sleepy Hollow. Dino’s nephew Aurelio De Laurentiis has his production company, Filmauro, and is a long-time collaborator of Carlo Verdone in particular. On this side of the Atlantic, Dino’s daughter Raffaella continues to work as a film producer.
De Laurentiis’ daughter Veronica has found her niche in activism, in particular, empowering women and helping them overcome abuse and get their lives back on track. In 2011, she started the non-profit Silvana Mangano Center “to create a network to help, educate and give a second chance to all victims of violence, abuse, and stalking.” She also started her own web series that invites abused women to tell their stories. “Dillo a Veronica” (Tell Veronica) is broadcast on YouTube and Facebook. Visit veronicadelaurentiis.com for more information.
Giada De Laurentiis on location in Florence for Giada in Italy
In the spirit of his humble beginnings and the DDL Food Show, an Italian specialty foods store that Dino De Laurentiis started in New York and California in the early1980s, his granddaughter, celebrity chef Giada De Laurentiis has carried on his legacy and passion for food. Since she made her debut on the Food Network in 2003, Giada has always been open about the influence her grandfather has had on her becoming a chef.
During the first season of her Food Network series, Giada in Italy, she went right back to where it all started. In the episode titled, Dino’s Pasta Factory, Giada and her Aunt Raffaella (Aunt Raffy) visited Torre Annunziata, birthplace of Dino and where her great-grandparents once owned a pasta factory. Afterward, they created some regional dishes inspired by the day. Click here to watch clips from the episode.
During Season 3, Giada brought her mother, aunt, and daughter to Capri, Italy, the family’s longtime vacation spot and a stone’s throw from Torre Annunziata, to celebrate her grandfather’s 100th birthday. The episode, titled, “Dino's 100th Birthday Party” is a moving, sentimental tribute to her grandfather’s legacy and her own Italian origins. Season 3 is still available on VOD. Recipes from all three seasons of Giada in Italy are available on the Food Network’s website.
Presenting my short film at the 2018 Cortodino Film Festival
Founded in 2010, the Cortodino Film Festival showcases short films from all over the world and carries on De Laurentiis' legacy. Held at a high school, the audience is made up of students during the day, and then in the evening, the adults come together to discuss cinema with guest filmmakers. I presented my short documentary, Luigi Di Gianni: Soul of the South, at the 2019 edition and spoke with the festival’s director, Filippo Germano, about its significance. “The festival is dedicated to Dino De Laurentiis because he was born here in Torre Annunziata and it’s the hometown of his family. We also remember his brothers, producers Luigi and Aurelio De Laurentiis.” Germano went on to explain how the screenings are continuing Dino’s legacy for the next generation of filmmakers. “Dino De Laurentiis was known in his career as a producer for discovering new talents. So our festival is aimed at young filmmakers under the age of 35 in Italian cinema to pull up new, young talent for Italian cinema. Many of the films are presented by the filmmakers, creating a path of film literacy for the young people of our community to ensure that they can also be inspired by the world of cinema and find their own creative voice.”
Watch a clip from my interview with Filippo Germano...
Many films that De Laurentiis produced or coproduced are easily available online. Today, the grounds of Dinocittà are being enjoyed by a whole new generation. Cinecittà World, a theme park with spectacular recreations of famous movie sets, was built on the site of the old studios. Visit https://www.cinecittaworld.it for more information.
Labels
A photo exhibit dedicated to actor Franco Gasparri, a heartthrob of the 1970s, is underway at the Casa del Cinema in Rome. The exhibit opened in May with a documentary by his daughter Stella, a tireless promoter of her father's work. The exhibit consists of 150 photos chosen by the actor's family. Born on Halloween 1948, Gasparri began his film career as a teenager in the early sixties taking on small parts and supporting roles. He appeared in films of the Italian Peplum genre such as "Goliath against the Giants" (1961), "Sansone" (1961) and "The Fury of Hercules" (1962). A symbol of masculine perfection, he was known for his trademark male tresses, Greek God-like profile and green eyes. He enjoyed widespread popularity as an actor during the launch of fotoromanzi, a form of comicstrip storytelling that uses photographs rather than illustrations for the images. Gasparri rose to cinematic stardom in the mid-seventies with a police-themed
Ornella Muti was born Francesca Romana Rivelli in Rome in 1955 to a Neapolitan father and an Estonian mother. She began her career as a model during her teenage years and made her film debut in 1970 with La Moglie più bella (The Most Beautiful Wife). Her follow-up role was in the 1971 film, Sole nella pelle (Sun on the Skin) in which she played the daughter of wealthy parents who runs off with a hippie they don’t approve of. The film offers a telling journey through Italian society in the seventies with the political climate, the breathtaking seaside as well as the styles and cars of that time. Much of the film is set amid the sunny Italian seaside and succeeds in capturing the innocence and beauty of first love. Muti made her American film debut in 1980 with Flash Gordon . She played the role of Princess Aura. She’s appeared in two other American films, including, Oscar , which was directed by John Landis and featured Don Ameche, Chaz Palminteri, and Sylvester Stallone
A compelling 2018 documentary by Claudio Poli aims to shed light on a chapter of Nazi history that is still relevant today. “Hitler Versus Picasso and the Others” is the story of how the Führer didn’t just take countless human lives but also robbed a whole culture of its artistic heritage. Narrated by actor Toni Servillo, “Hitler Versus Picasso and the Others” takes viewers on an incredible journey in search of masterpieces stolen during World War II. The stories of individual works are told by people who witnessed the looting, much of which took place during raids on homes and galleries belonging to Jewish collectors. The documentary reveals that 600,000 works of art were stolen from private owners, museums, churches and galleries. The confiscated artwork was either kept by the Nazi elite, warehoused, sold or destroyed in bonfires. Few benefited more from this large-scale heist than Hildebrand Gurlitt, Hitler’s so-called art dealer, who kept many of the most priceless treasures for
Monica Bellucci as Malèna Born in Umbria in 1964, Monica Bellucci is one of the most recognizable faces of international cinema. But she didn't always have her sights set on the spotlight. She went to college to study law and modeled to pay her tuition. Her success in the fashion world coupled with the offers that were pouring in to appear on the big screen eventually took over, changing her fate. Bellucci made her on-screen debut in the 1990 television movie, " Vita coi figli." Just two years later, she scored her first American role in Francis Ford Coppola's "Dracula." In addition to her native language, she speaks fluent English and French, which has made for a smooth transition from Italian to international cinema. Stateside, she has acted in blockbusters such as "The Matrix-Reloaded," " The Passion of the Christ" and " The Sorcerer's Apprentice." She has also appeared in several French films, a
The Toronto International Film Festival is wrapping up its retrospective of the cinematic collaboration of husband and wife team, Nicoletta Braschi and Roberto Benigni. Over the last few days, the couple have participated in discussions, Q & A sessions and have introduced several of their films. Today, I attended a screening of "La voce della luna" (The voice of the moon). It was Federico Fellini's last film and is a wonderful tribute to the director's signature poetic madness. The film gave Benigni the opportunity to team up with fellow beloved comic, Paolo Villaggio, and the two created a truly unforgettable adventure. Today's screening began with an introduction by Benigni. The moments leading up to his introduction were noticeably serious and somewhat tense. Benigni's publicist and TIFF security staunchly guarded his privacy. There was no interaction and no photos were allowed. Guided by his entourage, he walked quickly from the Green Room to th
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Legendary Film Producer Dino de Laurentiis Dies at 91: LIFE Photos
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Remembering the film mogul, who counts 'La Strada,' 'Blue Velvet,' and a granddaughter on the Food Network among his successes
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Dino de Laurentiis died Wednesday at age 91. One of the first European producers to see the advantage of international co-production, de Laurentiis' successes include Federico Fellini's La Strada, Sidney Lumet's Serpico, and David Lynch's Blue Velvet. His marriage to former Miss Rome Silvana Mangano lasted 40 years, until her death in 1989, and his granddaughter, Giada de Laurentiis, is a major Food Network star. LIFE magazine produced a photo gallery in remembrance of the producer's life.
See the full gallery at LIFE.com.
We want to hear what you think about this article. Submit a letter to the editor or write to letters@theatlantic.com.
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Agostino De Laurentiis, usually credited as Dino De Laurentiis, was an Italian Academy Award-winning movie producer.
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https://www.wikiwand.com/simple/Dino_De_Laurentiis
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Agostino De Laurentiis, usually credited as Dino De Laurentiis (8 August 1919 – 10 November 2010), was an Italian Academy Award-winning movie producer.
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Dino De Laurentiis
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https://simple.wikipedia.org/wiki/Dino_De_Laurentiis
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Agostino De Laurentiis, usually credited as Dino De Laurentiis (8 August 1919 – 10 November 2010), was an Italian Academy Award-winning movie producer.
He was born at Torre Annunziata in the province of Naples. He grew up selling spaghetti produced by his father. He studied at the Centro Sperimentale di Cinematografia in Rome. His studies were interrupted by the Second World War.
His first movie was L'ultimo Combattimento in 1940. He has produced nearly 150 movies. In 1946 his company, the Dino de Laurentiis Cinematografica, moved into movie production. In the early years, De Laurentiis produced neorealist films such as Bitter Rice (1946) and the Fellini classics La Strada (1954) and Nights of Cabiria (1956). Neorealist is a style about the poor and working class. In the 1960s, De Laurentiis built his own studio facilities. During this period, De Laurentiis produced such films as Kiss the Girls and Make Them Die, Navajo Joe (1966), and Barbarella (1968).
In the 1970s, De Laurentiis moved to the US. He created his own studio, De Laurentiis Entertainment Group (DEG), based in Wilmington, North Carolina. During this period De Laurentiis made a number of successful and acclaimed movies, including Serpico (1973), Death Wish (1974), Mandingo (1975), Three Days of the Condor (1975), The Shootist (1976), Ingmar Bergman's The Serpent's Egg (1977), Ragtime (1981), Conan the Barbarian (1982) and Blue Velvet (1986).
It is for his more infamous productions that De Laurentiis's name has become known: The King Kong (1976) remake, which was a commercial hit, Lipstick, the killer whale movie Orca (1977); The White Buffalo (1977); the disaster movie Hurricane (1979); the remake of Flash Gordon (1980); Halloween II (the 1981 sequel to John Carpenter's 1978 classic horror movie); David Lynch's Dune (1984); and King Kong Lives (1986). De Laurentiis also made several adaptations of Stephen King's works during this time, including The Dead Zone (1983), Cat's Eye (1985), Silver Bullet (1985) and Maximum Overdrive (1986); Army of Darkness (1992) was produced jointly by De Laurentiis, Robert Tapert and the movie's star Bruce Campbell.
De Laurentiis also produced the first Hannibal Lecter movie Manhunter (1986), Hannibal (2001) and Red Dragon (2002), a remake of Manhunter. He also produced Hannibal Rising (2007).
In 2001 he received the Irving G. Thalberg Memorial Award from the Academy of Motion Picture Arts and Sciences.
Laurentiis died on 10 November 2010 at his residence in Beverly Hills, California.[1][2]
He had four children with his first wife, actress Silvana Mangano, who died in 1989. He later married movie producer Martha Schumacher with whom he had two daughters. One of the children from his first marriage, Raffaella De Laurentiis, is also a producer; another, Federico De Laurentiis (28 February 1955 – 15 July 1981), died at 26 in an airplane crash. His granddaughter is Giada De Laurentiis, host of Everyday Italian, Behind the Bash, Giada at Home and Giada's Weekend Getaways on Food Network. His nephew is Aurelio De Laurentiis, a film producer and the chairman of SSC Napoli football club.
Selected filmography from 1965 to the present.
Year Title Director 1965 Battle of the Bulge Ken Annakin 1968 Danger: Diabolik Mario Bava Barbarella Roger Vadim 1973 Serpico Sidney Lumet 1974 Death Wish Michael Winner 1976 King Kong John Guillermin 1980 Flash Gordon Mike Hodges 1981 Halloween II Rick Rosenthal Ragtime Miloš Forman 1982 Fighting Back Lewis Teague Conan the Barbarian John Milius Amityville II: The Possession Damiano Damiani 1983 Amityville 3-D Richard Fleischer Halloween III: Season of the Witch Tommy Lee Wallace Dead Zone David Cronenberg 1984 Yado Richard Fleischer Conan the Destroyer Richard Fleischer Firestarter Mark L. Lester Dune David Lynch The Bounty Roger Donaldson 1985 Maximum Overdrive Stephen King Raw Deal John Irvin Marie Roger Donaldson Silver Bullet Daniel Attias Cat's Eye Lewis Teague Year of the Dragon Michael Cimino Red Sonja Richard Fleischer 1986 Crimes of the Heart Bruce Beresford Blue Velvet David Lynch Tai-Pan Daryl Duke Manhunter Michael Mann King Kong Lives John Guillermin 1987 Hiding Out Bob Giraldi Evil Dead 2 Sam Raimi The Bedroom Window Curtis Hanson 1989 Collision Course Lewis Teague From the Hip Bob Clark 1990 Sometimes They Come Back Tom McLoughlin Desperate Hours Michael Cimino 1992 Once Upon a Crime Eugene Levy Kuffs Bruce A. Evans 1993 Body of Evidence Uli Edel Army of Darkness Sam Raimi 1994 Temptation Strathford Hamilton 1995 Solomon & Sheba Robert Young Slave of Dreams Robert Young Rumpelstiltskin Mark Jones (I) Assassins Richard Donner 1996 Unforgettable John Dahl Bound Larry and Andy Wachowski 1997 Breakdown Jonathan Mostow 2000 U-571 Jonathan Mostow 2001 Hannibal Ridley Scott 2002 Red Dragon Brett Ratner 2006 Hannibal Rising Peter Webber The Last Legion Doug Lefler 2007 Virgin Territory David Leland
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Required Viewing: 10 Films Produced by Dino De Laurentiis
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2010-11-11T17:45:56+00:00
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Today brings sad news for art-film snobs and B-movie fanboys alike: prolific producer Dino De Laurentiis has died. The 91-year-old Italian â who Food Network viewers may also know as Giadaâs grandpa â worked with some of 20th-century cinemaâs mostâ¦
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Flavorwire
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https://www.flavorwire.com/129652/required-viewing-10-films-produced-by-dino-de-laurentiis
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Today brings sad news for art-film snobs and B-movie fanboys alike: prolific producer Dino De Laurentiis has died. The 91-year-old Italian â who Food Network viewers may also know as Giadaâs grandpa â worked with some of 20th-century cinemaâs most important filmmakers, including Federico Fellini, Sidney Lumet, and David Lynch. But De Laurentiis was also game for fun trash, financing everything from Barbarella to Sam Raimiâs early horror flicks. After the jump, we celebrate both sides of the producer, in a list of 10 De Laurentiis films everyone should see.
Bitter Rice (1949)
De Laurentiis originally made his name as a producer of Italian neorealist films. His best, and an international success, was director Giuseppe de Santisâ Bitter Rice. The sexy flick follows a beautiful peasant rice harvester (played by Silvana Magnano) who falls in with a pair of miscreants and finds herself won over by their dangerous ways.
La Strada (1954)
Eventually, De Laurentiis fell in with Federico Fellini, who also began his career as a neorealist. Felliniâs wife Giulietta Masina starred in the directorâs first classic film, about a young woman whose mother sells her to a gypsy. Although it doesnât quite break the neorealist style, La Strada, with its musical and circus elements, certainly contained hints of Felliniâs later preoccupations.
The Nights of Cabiria (1957)
When no one else would finance Felliniâs movie about a prostitute, De Laurentiis took the risk. Masina stars again, as a streetwalker named Cabiria Ceccarelli, who struggles to stay positive despite her depressing circumstances. Fun fact: The Nights of Cabiriaâs script was co-written with that grittiest of Italian filmmakers, Pier Paolo Pasolini.
Barbarella (1968)
De Laurentiis also collaborated on some English-language films before moving to the U.S. in the â70s. His work on Roger Vadimâs 1968 cult classic Barbarella â starring intergalactic superhero Jane Fonda â is the best example of De Laurentiisâ soft spot for pulp. And if you havenât seen this midnight movie staple yet, well, what are you waiting for?
Serpico (1973)
In Sidney Lumetâs 1973 crime drama, Al Pacino stars as the real-life hippie cop Frank Serpico, who took on New York Cityâs corrupt police force. His 1975 Pacino collaboration, Dog Day Afternoon, may get more critical love, but Serpico is essential viewing for anyone who enjoyed that film. The role has been widely hailed as one of Pacinoâs best â and thatâs certainly saying a lot.
Three Days of the Condor (1975)
Another New York story â hey, they were popular in the â70s, and for good reason â Sidney Pollackâs Three Days of the Condor is a political thriller, starring Robert Redford as a C.I.A. employee who becomes caught in a web of government conspiracy.
Conan the Barbarian (1982)
More classic De Laurentiis-enabled cheese: Californiaâs gubernator stars as Conan the Barbarian â a loving, fighting, generally shirtless brute who worships steel or something. Based on a comic book, the film is basically the male equivalent of Barbarella.
Dune (1984)
Critics hated Dune, and director David Lynch wasnât thrilled with it, either. But the sci-fi epic â which De Laurentiis hired Lynch to make â has certainly earned a cult audience over the years. Itâs worth watching, if only for the appropriately ridiculous score, by Toto (the folks who brought us âAfricaâ).
Blue Velvet (1986)
Directly after finishing Dune, Lynch went on to make the film that defined his career â and, as with The Nights of Cabiria, De Laurentiis was the only producer who would pay for such a strange project. Chances are, you know the rest: Dennis Hopper. Isabella Rossellinni. Kyle Mclachlan. Laura Dern. Gas masks. Sex crimes. Surreal musical performances. If you havenât seen it yet, see it now in Dinoâs honor.
Evil Dead 2 (1987)
Yes, Dino De Laurentiis is even partially responsible for Sam Raimiâs fanboy favorite. Widely held to be better than its predecessor, Evil Dead 2 kicks off with your classic horror clichés â a guy, a girl, an abandoned cabin with a supernatural past â and ends up, well, very funny, if you have a gross sense of humor. De Laurentiis Entertainment Group also bankrolled the final film in the trilogy, Army of Darkness.
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Film Producer Dino de Laurentiis Dies
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2010-11-11T00:00:00
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LOS ANGELES | Dino De Laurentiis, the son of Italian pasta makers who became a prolific movie producer of blockbuster hits such as “Serpico,” expensive duds such as “Dune” and sweeping epics includin…
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The Ledger
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https://www.theledger.com/story/news/2010/11/11/film-producer-dino-de-laurentiis-dies/26399966007/
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LOS ANGELES | Dino De Laurentiis, the son of Italian pasta makers who became a prolific movie producer of blockbuster hits such as “Serpico,” expensive duds such as “Dune” and sweeping epics including “War and Peace,” died today in Los Angeles. He was 91.
De Laurentiis lived in Beverly Hills with his third wife, Martha.
First in his native Italy, then in the United States, De Laurentiis combined marketing flair, an eye for talent and a fearlessness of failure as he produced more than 600 films, some prodigious in scale and ambition, often featuring superstar names in action thrillers.
He worked with, among many others, directors Federico Fellini and Milos Forman and actors Al Pacino, Audrey Hepburn and Arnold Schwarzenegger, who credited De Laurentiis’ “Conan” movies with making him an international superstar.
The tumult of his personal life rivaled the action in his movie scripts. He had four children with Italian model-turned- actress Silvana Mangano, who died in 1989 shortly after their divorce became final, then two more daughters with third wife Martha, the youngest one born when De Laurentiis was 71.
His only son, Federico, died in a 1981 plane crash while making a documentary about salmon fishing. One of De Laurentiis’ grandchildren, Giada, is a celebrity chef on television.
De Laurentiis earned much of his critical acclaim early in his career. Two films he produced during a seven-year collaboration with fellow Italian Carlo Ponti — “La Strada,” which Fellini directed, and “Nights of Cabiria” — won back- to-back Academy Awards for best foreign-language film in 1956 and 1957.
Decades passed before the academy again honored De Laurentiis, presenting him with the Irving Thalberg Memorial Award in 2001 for his body of work.
“I’ve been very lucky in my long life,” De Laurentiis said upon receiving the award. “On three continents, in diverse cultures, through happy moments, not-so-happy moments, and moments as marvelous as this one, I’ve had the privilege of working with the cinema’s greatest masters.”
Small in stature (various accounts gave his height as either 5 feet 4 inches or 5 feet 6 inches), De Laurentiis made a giant impact on how the movie industry stages, promotes and finances big-budget, big-name spectacles. Rather than work for Hollywood studios, he sold his productions directly to distributors around the world.
That made De Laurentiis one of the first “global film producers, savvy about their international audience and raising money all over the world in order to make ’event’ films,” Brooklyn College professor Frederick Wasser wrote in the 2002 book “Movies and American Society.”
In the 1980s De Laurentiis briefly turned his attention to improving the American culinary experience, opening food stores in Manhattan and Los Angeles. Their lavish displays of breads, pastas and cold cuts drew crowds of sightseers, but the stores closed within a few years.
Impressed by the serenity of coastal North Carolina during filming of Stephen King’s “Firestarter” in 1983, De Laurentiis built what later became the EUE/Screen Gems Studios in Wilmington. He seemed on his way to assembling an entertainment conglomerate when he acquired Embassy Pictures from Coca-Cola Co., formed the De Laurentiis Entertainment Group and, in 1986, took the company public.
A series of big-budget disappointments, including David Lynch’s sci-fi thriller “Dune” (1984), led to a financial crisis, and the Beverly Hills, Calif.-based film company filed for bankruptcy protection in 1988. De Laurentiis stepped aside as chairman and his daughter, Raffaella, resigned as president of production.
He never stopped producing movies, however. He ran Dino De Laurentiis Co. with his wife, the former Martha Schumacher, a one-time administrative assistant in his New York offices. Among its productions was the hit “Hannibal” (2001).
“Making movies is all about instinct,” he said in a 2001 interview with the Los Angeles Times. “Nobody taught Picasso how to paint — he learned for himself. And nobody can teach you to be a producer. You can learn the mechanics, but you can’t learn what’s right about a script or a director or an actor. That comes from instinct and intuition. It comes from inside you.”
Agostino De Laurentiis, the third of seven children, was born on Aug. 8, 1919, in Torre Annunziata, near Naples. His parents ran a pasta factory.
He had just broken into Italy’s film business — working as a stagehand, extra, director’s assistant, and finally director of production — when he was called to military service in 1943 during the final weeks of Benito Mussolini’s dictatorship.
He said he retreated with other deserters, avoiding German troops, until Allied troops secured Italy. Back in Rome in 1944, he got busy reviving his film career, and Italy’s film industry.
He founded Dino De Laurentiis Studios in 1947 and had quick success with “Bitter Rice” (1949), which was nominated for an Academy Award for best picture. It was on that set that he met Mangano, a teenage model breaking into acting. They would marry in 1949.
In the 1950s he began work on the epics that would help define his career. With Ponti he produced “Ulysses” (1954), with Mangano and Kirk Douglas, and “War and Peace” (1956), with Hepburn and Henry Fonda, which was nominated for Academy Awards for cinematography, costume design and best director (King Vidor).
In 1962, De Laurentiis bought land in Rome and started work, with government subsidies, on what would become Dinocitta — “Dino City” — a sprawling production studio that opened in 1964 and was patterned after Cinecitta, the studio founded by Mussolini. Among the movies he made there was “Barbarella” (1968), the science-fiction film that featured Jane Fonda in various states of erotic dress, and undress.
De Laurentiis decamped with his family to New York and found immediate success with a trio of hit law-and-order movies: “Serpico” (1973) starring Pacino; “Death Wish” (1974) starring Charles Bronson; and “Three Days of the Condor” (1975), with Robert Redford and Faye Dunaway. He became a U.S. citizen in 1986.
De Laurentiis heaped praise on the U.S. before and after making it his home. “In Italy, contrary to the way it is in the United States, a man who works hard and tries to do something becomes a target for animosity,” he said in a 1965 interview with the New Yorker magazine. “In the United States, such a man is appreciated.”
Inspired by the success of the 1975 hit “Jaws,” De Laurentiis embarked on a $25 million remake of the 1933 movie “King Kong,” giving the starring role to a model and first- time actress, Jessica Lange.
The 1976 movie was a box office success and won an Academy Award for visual effects, but left critics mostly unimpressed. “A series of big, foolish but entertaining spectacle scenes,” Vincent Canby wrote in The New York Times.
“Conan the Barbarian” (1982), marked the acting breakthrough of Schwarzenegger, the Austrian bodybuilder who years later became governor of California.
“It was your Conan movies that launched my international career,” Schwarzenegger wrote to De Laurentiis on his 80th birthday, according to the 2004 biography of the filmmaker.
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Films produced by Dino De Laurentiis
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[
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[] | null |
Films produced by Dino De Laurentiis
|
en
|
https://letterboxd.com/producer/dino-de-laurentiis/
|
Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account—for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages (example), the ability to select (and filter by) your favorite streaming services, and no ads!
|
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202
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dbpedia
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2
| 72 |
https://www.empireonline.com/people/dino-de-laurentiis/
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en
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Dino De Laurentiis News & Biography
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[
""
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[] |
1919-08-08T00:00:00
|
Find out everything Empire knows about Dino De Laurentiis. Discover the latest Dino De Laurentiis news.
|
en
|
/assets/empire/favicon.ico
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https://www.empireonline.com/people/dino-de-laurentiis/
| ||||||
202
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dbpedia
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0
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https://www.primevideo.com/detail/Body-of-Evidence/0SOYMBTSH93LE1JLA2CMNL5CKE
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en
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Prime Video: BODY OF EVIDENCE
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[] |
[
""
] | null |
[] | null |
Sizzingly sexy Madonna leads a star-filled cast in this erotic thriller as a woman accused of killing a wealthy, elderly man through her insatiable sexual prowess.
|
en
|
https://www.primevideo.com/detail/BODY-OF-EVIDENCE/0SOYMBTSH93LE1JLA2CMNL5CKE
|
We use cookies and similar tools that are necessary to enhance your experiences on Amazon video services, enable you to make purchases, and provide our services, as detailed in our Cookie Notice. We also use these cookies to understand how customers use our services (for example, by measuring visits to our service) so we can make improvements.
If you agree, we'll also use cookies to complement your viewing experience across Amazon video services as described in our Cookie Notice. Your choice applies to using first-party and third-party advertising cookies on this service. Cookies store or access standard device information like a unique identifier. Up to 103 third parties use cookies on this service for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products.
To learn more about the personal information Amazon uses for advertising purposes (like Store order history, Prime Video Watch history, or demographic information) and cookies, see our Privacy Notice and Cookie Notice.
Click Decline to reject or Customize to make more detailed advertising choices or learn about how to change your choices.
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||||||
202
|
dbpedia
|
1
| 70 |
https://timesofmalta.com/article/dino-de-laurentiis-dies.335711
|
en
|
Updated: Dino De Laurentiis dies
|
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[
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] | null |
[
"Times of Malta"
] |
2010-11-11T14:38:00+01:00
|
Dino De Laurentiis, producer of some of Italy's best-known films including works by Federico Fellini and Roberto Rossellini, has died in Los Angeles aged 91.
The Oscar-winner also produced several famous films in the United States, including...
|
en
|
Times of Malta
|
https://timesofmalta.com/article/dino-de-laurentiis-dies.335711
|
Dino De Laurentiis, producer of some of Italy's best-known films including works by Federico Fellini and Roberto Rossellini, has died in Los Angeles aged 91.
The Oscar-winner also produced several famous films in the United States, including "Serpico" with Al Pacino in 1973, "Three Days of the Condor" with Robert Redford and Faye Dunaway in 1975 and Ridley Scott's "Hannibal" in 2001.
"Cinema has lost one of its greats," said Walter Veltroni, an Italian lawmaker and former mayor of Rome who founded the Rome Film Festival.
"The name of Dino De Laurentiis is tied to the history of cinema," he said.
De Laurentiis was born on August 8, 1919 in Torre Annunziata near Naples and moved to the United States in the late 1960s. His parents were pasta makers.
He started out in film aged 20 and became one of the leading producers of Italy's post-war cinema boom and the neo-realist genre.
De Laurentiis produced more than 500 films over his entire career.
One of the first films he produced was "Riso Amaro" ("Bitter Rice") by Giuseppe De Santis, a 1949 classic and one of the best examples of neo-realism.
In 1949, he married Silvana Mangano, the star of "Riso Amaro" and one of the beauties of her day. They had four children together and later divorced.
He won an Oscar in 1956 for Fellini's "La Strada" and was nominated 38 times. In 2001, he received the Irving G.Thalberg Memorial Award at the Oscars for demonstrating "a consistently high quality of motion picture production."
In 2003, he won a lifetime achievement award at the Venice Film Festival.
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https://nypost.com/2010/11/11/dino-de-laurentiis-1919-2010/
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Dino De Laurentiis (1919-2010)
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2010-11-11T00:00:00
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I met legendary producer Dino De Laurentiis briefly once, in the summer of 1986. He popped in to say hello when I was interviewing Dino’s future wife...
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en
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New York Post
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https://nypost.com/2010/11/11/dino-de-laurentiis-1919-2010/
|
I met legendary producer Dino De Laurentiis briefly once, in the summer of 1986. He popped in to say hello when I was interviewing Dino’s future wife Martha Schumacher, who was running the DeLaurentiis studios in Wilmington, N.C. — now known as Screen Gems EUE, it’s still the largest movie studio on the East Coast — and co-producing with Dino two films that I was there to watch being shot on the lot: John Guillerman’s “King Kong Lives” and Charles Martin Smith’s “Trick or Treat.”
Both were flops, something they had in common with practically everything (including Steven King’s sole directorial effort, “Maximum Overdrive”) that was released by the ill-fated DeLaurentiis Entertainment Group — though a couple of them found a cult following, notably David Lynch’s “Blue Velvet,” filmed on locations in nearby Lumberton, N.C.
“Manhunter,” in which Brian Cox played the first iteration of Hannibal Lecter, was such a financial failure that Dino sold his option on “The Silence of the Lambs” to Onion, though he smartly retained sequel rights. Dino later jumped back into the Lecter business with “Hannibal,” “Red Dragon” (a remake of “Manhunter”) and “Hannibal Rising,” his last major film in 2007. “The Last Legion,” a sword-and-sandals epic starring Colin Firth, was barely released by MGM and the Weinsteins that same year. Dino’s very last producing credit is apparently a period sex comedy known variously as “Virgin Territory” and “Decameron Pie,” available in this country only as a digital download.
Over an astounding 66 years, DeLaurentiis produced over 500 movies. The earlier ones were often in partnership with Carlo Ponti, including Federico Fellini’s back-to-back foreign language Oscar winners, “La Strada” and “Nights of Cabiria.” Among his many international co-productions released by Paramount in the U.S. were King Vidor’s “War and Peace,” Sidney Lumet’s “Serpico,” “Death Wish,” “Dead Zone,” “Ragtime” and the 1977 version of “King Kong.”
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Movie producer Dino De Laurentiis dies
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LOS ANGELES, (Reuters) - Oscar-winning Italian film producer Dino De Laurentiis, who brought 500 films to the big screen including "La Strada,"
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https://s1.stabroeknews.com/images/branding/icons/favicon.ico
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Stabroek News
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https://www.stabroeknews.com/2010/11/11/news/guyana/movie-producer-dino-de-laurentiis-dies/
|
LOS ANGELES, (Reuters) – Oscar-winning Italian film producer Dino De Laurentiis, who brought 500 films to the big screen including “La Strada,” “Serpico,” and “Three Days of the Condor,” has died at age 91, his family said today.
De Laurentiis, who produced several Italian classics such as Federico Fellini’s “La Strada,” for which he won an Oscar in 1957, died at his Beverly Hills home late on Wednesday.
“Dino De Laurentiis, patriarch of the De Laurentiis family, Academy Award-winning producer and film legend, died on Wednesday, November 10, 2010 at 10PM (PST) at his home in Beverly Hills, California surrounded by family. He was 91,” his Hollywood producer daughter Raffaella De Laurentiis said in a statement.
The cause of death was not immediately known.
The filmmaker’s granddaughter Giada, a chef who hosts a show on the U.S. Food Network TV channel, called him a “true inspiration.”
“He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly,” Giada De Laurentiis said.
Funeral arrangements have not yet been determined.
De Laurentiis was born on Aug. 8, 1919 in Torre Annunziata, near Naples, but moved to the United States in the 1970s.
He entered the film industry at age 20, and went on to produce more than 500 movies, including those by Fellini and Roberto Rossellini.
He moved to the United States after the failure of his film studios in Rome, and turned to a string of big international productions known for their grandiose style, including expensive failures such as “Hurricane” and “Tai-Pan.”
He was behind the “King Kong” remake of 1976, the killer whale film “Orca,” several adaptations of Stephen King’s novels, and most recently “Hannibal,” the 2001 sequel to “The Silence of the Lambs.”
He also won critical praise for movies like “Blue Velvet” and “Ragtime” in the 198Os, and received a lifetime achievement Oscar in 2001.
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Dino De Laurentiis
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https://en.wikipedia.org/wiki/Dino_De_Laurentiis
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Italian-American film producer (1919–2010)
Agostino "Dino" De Laurentiis (Italian: [ˈdiːno de lauˈrɛnti.is]; 8 August 1919 – 10 November 2010) was an Italian film producer and businessman who held both Italian and American citizenship. Following a brief acting career in the late 1930s and early 1940s, he moved into film production; alongside Carlo Ponti, he brought Italian cinema to the international scene in the post-World War II period. He produced or co-produced over 500 films, with 38 of his Hollywood films receiving Academy Award nominations. He was also the creator and operator of DDL Foodshow, a chain of Italian specialty foods stores.
Early life
[edit]
Agostino De Laurentiis was born in Torre Annunziata, Kingdom of Italy, on 8 August 1919. He grew up selling spaghetti made by his father's pasta factory. His older brother, Luigi De Laurentiis (1917–1992), later followed him into film production. He studied at the Centro Sperimentale di Cinematografia in 1937 and 1938, but his studies were interrupted by the outbreak of World War II.[1]
Career
[edit]
Film production
[edit]
De Laurentiis produced his first film, L'ultimo Combattimento, in 1941. His company, the Dino de Laurentiis Cinematografica, moved into film production in 1946. In the early years, De Laurentiis produced Italian neorealist films such as Bitter Rice (1949) and the early Fellini works La Strada (1954) and Nights of Cabiria (1956), often in collaboration with producer Carlo Ponti.
In the 1960s, De Laurentiis built his own studio facilities. He produced such films as Barabbas (1961), a Christian religious epic; The Bible: In the Beginning... (1966); Kiss the Girls and Make Them Die, an imitation James Bond film; Navajo Joe (1966), a spaghetti Western; Anzio (1968), a World War II film; Barbarella (1968) and Danger: Diabolik (1968), both successful comic book adaptations; and The Valachi Papers (1972), released before its originally scheduled date in order to capitalize on the popularity of The Godfather.[citation needed]
In 1973, De Laurentiis relocated his headquarters to New York and he was reportedly considering to produce an American television series.[2] His studio financially collapsed during the 1970s.[citation needed] In the 1980s, he had his own studio: De Laurentiis Entertainment Group (DEG) based in Wilmington, North Carolina. The studio made Wilmington an unexpected center of film and television production.[3] In 1990, he obtained backing from an Italian friend and formed another company: Dino De Laurentiis Communications in Beverly Hills.
De Laurentiis produced a number of successful films, including The Scientific Cardplayer (1972), Serpico (1973), Death Wish (1974), Mandingo (1975), Three Days of the Condor (1975), The Shootist (1976), Drum (1976), Ingmar Bergman's The Serpent's Egg (1977), Ragtime (1981), Conan the Barbarian (1982), Blue Velvet (1986) and Breakdown (1997). De Laurentiis' name became well known through the 1976 King Kong remake, which was a commercial hit; Lipstick (1976), a rape and revenge drama; Orca (1977), a killer whale film; The White Buffalo (1977), a western; the disaster movie Hurricane (1979); the remake of Flash Gordon (1980); David Lynch's Dune (1984); The Bounty (1984); and King Kong Lives (1986).
De Laurentiis produced several adaptations of Stephen King works, including The Dead Zone (1983), Cat's Eye (1985), Silver Bullet (1985), and Maximum Overdrive (1986). De Laurentiis' company was involved with the horror sequels Halloween II (1981), Evil Dead II (1987), and Army of Darkness (1992). De Laurentiis also produced the first Hannibal Lecter film, Manhunter (1986), an adaptation of the Thomas Harris novel Red Dragon. He passed on adapting the novels' sequel, The Silence of the Lambs (1991),[citation needed] but produced the two follow-ups, Hannibal (2001) and Red Dragon (2002), a re-adaptation of the novel. He also produced the prequel Hannibal Rising (2007), which tells the story of how Hannibal becomes a serial killer.
DDL Foodshow
[edit]
DDL Foodshow was an Italian specialty foods store with three locations: two in New York City and one in Beverly Hills. They were opened in the mid-1980s, and were owned and operated by De Laurentiis.[4]
The first store was opened in the restored palm court in the ornate lobby of the historic Endicott Hotel, now a co-op on Manhattan's Upper West Side, near the existing Zabar's food emporium on Broadway.[5] The first NYC store opened in November 1982, and it was reported that the store "opened to crowds of 30,000 over the Thanksgiving weekend, when de Laurentiis himself greeted customers at the door". The store's assistant manager said that "it was like the premiere of a movie".[6]
The food critic Gael Greene wrote a scathing review on the opening in New York.[5] In an interview with the Chicago Tribune a month later, she admitted that the store was "probably the most stunningly handsome grocery in the world, certainly in New York", but "the pricing was insane. They hadn't paid enough attention to the competition." She reported that she'd talked to De Laurentiis: "Dino's reaction was that I'm full of it. And we're meeting over a bowl of pasta to discuss it."[7] A review in The San Francisco Examiner said that it was "worth a peek and a purchase".[8][9]
DDL Foodshow was later considered to be a forebear of the new Italian specialty goods food-store restaurant dining attraction Eataly.[10]
Personal life
[edit]
De Laurentiis' brief first marriage in Italy was annulled.[11]
In 1949, De Laurentiis married Italian-British actress Silvana Mangano, with whom he had four children: Veronica, an author and actress; Raffaella, a fellow film producer; Federico, also a film producer who died in a plane crash in 1981; and Francesca. His granddaughter through Veronica is chef Giada De Laurentiis, while his nephew through his brother Luigi is fellow film producer Aurelio De Laurentiis. He and Mangano divorced in 1988,[12] and she died of lung cancer the following year.
Having lived in the U.S. since 1976,[13] De Laurentiis became an American citizen in 1986.[14]
In 1990, De Laurentiis married American producer Martha Schumacher, who had produced many of his films since 1985. They had two daughters named Carolyna and Dina and remained married until his death in 2010. Schumacher died of cancer in 2021.
Death
[edit]
On 10 November 2010, at the age of 91, De Laurentiis died at his home in Beverly Hills, California.[15][16][17][18]
Awards and recognitions
[edit]
In 1958, De Laurentiis won the Academy Award for Best Foreign Film for producing La Strada. It was the only time where individuals could win the award instead of the country it was made in and in the case of the first Foreign Film Oscar, he and his fellow producer won the Academy Award, as opposed to the director of the film Federico Fellini.
In 2001, De Laurentiis received the Irving G. Thalberg Memorial Award from the Academy of Motion Picture Arts and Sciences.[19]
In 2012, De Laurentiis posthumously received the America Award of the Italy–USA Foundation.[citation needed]
Filmography
[edit]
Films produced
Year Title Director Notes 1946 Black Eagle Riccardo Freda The Bandit Alberto Lattuada 1947 The Captain's Daughter Mario Camerini Bullet for Stefano Duilio Coletti 1948 Bitter Rice Giuseppe De Santis The Street Has Many Dreams Mario Camerini 1949 The Wolf of the Sila Duilio Coletti 1951 Anna Alberto Lattuada 1952 Europe '51 Roberto Rossellini Lieutenant Giorgio Raffaello Matarazzo Toto in Color Steno 1953 Funniest Show on Earth Mario Mattoli The Unfaithfuls Mario Monicelli Man, Beast and Virtue Steno 1954 La Strada Federico Fellini Attila Pietro Francisci Woman of Rome Luigi Zampa The Gold of Naples Vittorio De Sica Poverty and Nobility Mario Mattoli Where Is Freedom? Roberto Rossellini A Slice of Life Alessandro Blasetti, Paul Paviot An American in Rome Steno Ulysses Mario Camerini 1955 The River Girl Mario Soldati Mambo Robert Rossen The Miller's Beautiful Wife Mario Camerini 1956 War and Peace King Vidor Nights of Cabiria Federico Fellini 1958 This Angry Age René Clément Tempest Alberto Lattuada 1959 The Great War Mario Monicelli 1960 Everybody Go Home Luigi Comencini Five Branded Women Martin Ritt Under Ten Flags Duilio Coletti Crimen Mario Camerini The Hunchback of Rome Carlo Lizzani 1961 The Last Judgment Vittorio De Sica A Difficult Life Dino Risi The Fascist Luciano Salce The Best of Enemies Guy Hamilton Black City Duilio Coletti 1962 Mafioso Alberto Lattuada The Italian Brigands Mario Camerini 1963 Il Boom Vittorio De Sica The Verona Trial Carlo Lizzani 1964 My Wife Luigi Comencini, Mauro Bolognini, Tinto Brass 1965 Battle of the Bulge [citation needed] Ken Annakin Uncredited 1966 The Bible: In the Beginning John Huston Kiss the Girls and Make Them Die Henry Levin Navajo Joe Sergio Corbucci The Hills Run Red Carlo Lizzani 1967 The Stranger Luchino Visconti Matchless Alberto Lattuada The Witches Luchino Visconti, Mauro Bolognini, Pier Paolo Pasolini, Franco Rossi, Vittorio De Sica 1968 Danger: Diabolik Mario Bava Barbarella Roger Vadim Anzio Edward Dmytryk, Duilio Coletti Bandits in Milan Carlo Lizzani Caprice Italian Style Mauro Bolognini, Mario Monicelli, Pier Paolo Pasolini, Steno 1969 Fräulein Doktor Alberto Lattuada Brief Season Renato Castellani The Bandit Carlo Lizzani 1970 A Man Called Sledge Vic Morrow Waterloo Sergei Bondarchuk The Deserter Burt Kennedy 1972 The Valachi Papers Terence Young The Assassin of Rome Damiano Damiani The Most Wonderful Evening of My Life Ettore Scola 1973 Serpico Sidney Lumet Chino John Sturges Mean Frank and Crazy Tony Michele Lupo 1974 Death Wish Michael Winner Two Missionaries Franco Rossi Crazy Joe Carlo Lizzani Three Tough Guys Duccio Tessari 1975 Mandingo Richard Fleischer 1976 King Kong John Guillermin Buffalo Bill and the Indians, or Sitting Bull's History Lesson Robert Altman Drum Steve Carver The Serpent's Egg Ingmar Bergman The Shootist Don Siegel 1977 Orca Michael Anderson 1978 The Brink's Job William Friedkin King of the Gypsies Frank Pierson 1979 Hurricane Jan Troell 1980 Flash Gordon Mike Hodges 1981 Beyond the Reef Frank C. Clarke Halloween II Rick Rosenthal Ragtime Miloš Forman 1982 Fighting Back Lewis Teague Conan the Barbarian John Milius Amityville II: The Possession Damiano Damiani Halloween III: Season of the Witch Tommy Lee Wallace 1983 Amityville 3-D Richard Fleischer Dead Zone David Cronenberg 1984 The Bounty Roger Donaldson Firestarter Mark L. Lester Conan the Destroyer Richard Fleischer Dune David Lynch 1985 Maximum Overdrive Stephen King Marie Roger Donaldson Silver Bullet Daniel Attias Cat's Eye Lewis Teague Year of the Dragon Michael Cimino Red Sonja Richard Fleischer 1986 Crimes of the Heart Bruce Beresford Raw Deal John Irvin Blue Velvet David Lynch Trick or Treat Charles Martin Smith Tai-Pan Daryl Duke Manhunter Michael Mann King Kong Lives John Guillermin 1987 Million Dollar Mystery Richard Fleischer Hiding Out Bob Giraldi Evil Dead II Sam Raimi The Bedroom Window Curtis Hanson From the Hip Bob Clark 1989 Collision Course Lewis Teague 1990 Sometimes They Come Back Tom McLoughlin Desperate Hours Michael Cimino 1992 Once Upon a Crime Eugene Levy Kuffs Bruce A. Evans Army of Darkness Sam Raimi Body of Evidence Uli Edel 1995 Solomon & Sheba Robert Young Slave of Dreams Rumpelstiltskin Mark Jones Assassins Richard Donner 1996 Unforgettable John Dahl Bound The Wachowskis 1997 Breakdown Jonathan Mostow 2000 U-571 2001 Hannibal Ridley Scott 2002 Red Dragon Brett Ratner 2006 The Last Legion Doug Lefler 2007 Hannibal Rising Peter Webber Virgin Territory David Leland
References
[edit]
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https://goldenglobes.com/articles/film-producer-dino-de-laurentiis-dies-age-91/
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en
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Film Producer Dino De Laurentiis dies at age 91
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[
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2010-11-12T00:44:00+00:00
|
"Monkey die, everybody cry." Legendary Italian film producer, Dino De Laurentiis, explaining why he approved of the death of Hollywood's most beloved primate in the classic film King Kong. De Laurentiis passed away November 10, 2010, at the age of 91.
|
en
|
Golden Globes
|
https://goldenglobes.com/articles/film-producer-dino-de-laurentiis-dies-age-91/
|
Golden Globes, LLC (“Golden Globes”) uses first and third-party technologies to enable PMC and third-parties to collect information about you and your interactions with our sites and services (including clicks, cursor movements and screen recordings). Learn more HERE. By continuing to use our sites or services, you agree to our Terms of Use (including the class action waiver and arbitration provisions) and Privacy Policy, which have recently changed.
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202
|
dbpedia
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2
| 48 |
https://www.stabroeknews.com/2010/11/11/news/guyana/movie-producer-dino-de-laurentiis-dies/
|
en
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Movie producer Dino De Laurentiis dies
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2010-11-11T00:00:00
|
LOS ANGELES, (Reuters) - Oscar-winning Italian film producer Dino De Laurentiis, who brought 500 films to the big screen including "La Strada,"
|
en
|
https://s1.stabroeknews.com/images/branding/icons/favicon.ico
|
Stabroek News
|
https://www.stabroeknews.com/2010/11/11/news/guyana/movie-producer-dino-de-laurentiis-dies/
|
LOS ANGELES, (Reuters) – Oscar-winning Italian film producer Dino De Laurentiis, who brought 500 films to the big screen including “La Strada,” “Serpico,” and “Three Days of the Condor,” has died at age 91, his family said today.
De Laurentiis, who produced several Italian classics such as Federico Fellini’s “La Strada,” for which he won an Oscar in 1957, died at his Beverly Hills home late on Wednesday.
“Dino De Laurentiis, patriarch of the De Laurentiis family, Academy Award-winning producer and film legend, died on Wednesday, November 10, 2010 at 10PM (PST) at his home in Beverly Hills, California surrounded by family. He was 91,” his Hollywood producer daughter Raffaella De Laurentiis said in a statement.
The cause of death was not immediately known.
The filmmaker’s granddaughter Giada, a chef who hosts a show on the U.S. Food Network TV channel, called him a “true inspiration.”
“He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly,” Giada De Laurentiis said.
Funeral arrangements have not yet been determined.
De Laurentiis was born on Aug. 8, 1919 in Torre Annunziata, near Naples, but moved to the United States in the 1970s.
He entered the film industry at age 20, and went on to produce more than 500 movies, including those by Fellini and Roberto Rossellini.
He moved to the United States after the failure of his film studios in Rome, and turned to a string of big international productions known for their grandiose style, including expensive failures such as “Hurricane” and “Tai-Pan.”
He was behind the “King Kong” remake of 1976, the killer whale film “Orca,” several adaptations of Stephen King’s novels, and most recently “Hannibal,” the 2001 sequel to “The Silence of the Lambs.”
He also won critical praise for movies like “Blue Velvet” and “Ragtime” in the 198Os, and received a lifetime achievement Oscar in 2001.
|
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202
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dbpedia
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0
| 51 |
https://www.tcm.com/tcmdb/title/69285/body-of-evidence
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en
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Not Available
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Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.
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/themes/custom/bogart/favicon.ico
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Watch TCM
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http://prod.tcm.com/unavailable/
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Welcome, DISH customer! Please note that we cannot save your viewing history due to an arrangement with DISH.
Watchlist and resume progress features have been disabled.
ACCEPT
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202
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dbpedia
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0
| 47 |
https://www.tvinsider.com/show/body-of-evidence/
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en
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Body of Evidence
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A defense attorney defends a woman in court while getting sucked into a dangerous affair with her.
|
en
|
https://www.tvinsider.com/wp-content/themes/tv/images/favicon.ico?x=2
|
TV Insider
|
https://www.tvinsider.com/show/body-of-evidence/
|
Movie
1992
R
1 HOUR 39 MINS
Crime drama
A defense attorney defends a woman in court while getting sucked into a dangerous affair with her.
Upcoming TV Airings
1992 Movie
Sorry, this movie is not airing on television in the next two weeks. Check back again soon!
|
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202
|
dbpedia
|
0
| 10 |
https://letterboxd.com/producer/dino-de-laurentiis/
|
en
|
Films produced by Dino De Laurentiis
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Films produced by Dino De Laurentiis
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https://letterboxd.com/producer/dino-de-laurentiis/
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Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account—for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages (example), the ability to select (and filter by) your favorite streaming services, and no ads!
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https://www.inquirer.com/dailynews/national/20101112_Film_producer_Dino_De_Laurentiis__91.html
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Film producer Dino De Laurentiis, 91
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2010-11-12T03:01:00-05:00
|
LOS ANGELES - Dino De Laurentiis, who helped resurrect Italy's film industry after World War II and for more than six decades produced films as diverse as the 1954 Federico Fellini classic, "La Strada," and the 1976 remake of "King Kong," has died. He was 91.
|
en
|
https://www.inquirer.com
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https://www.inquirer.com/dailynews/national/20101112_Film_producer_Dino_De_Laurentiis__91.html
|
LOS ANGELES - Dino De Laurentiis, who helped resurrect Italy's film industry after World War II and for more than six decades produced films as diverse as the 1954 Federico Fellini classic, "La Strada," and the 1976 remake of "King Kong," has died. He was 91.
De Laurentiis, who moved to the United States in the 1970s and continued to produce films until 2007, died Wednesday night at his Beverly Hills home, his daughter Raffaella De Laurentiis said in a statement yesterday. The cause was not given.
De Laurentiis launched his long career as a producer in Italy in the 1940s and in the next decade produced two Oscar-winning best foreign films - Fellini's "La Strada" (with then-partner Carlo Ponti) and Fellini's "Nights of Cabiria" (1957).
During the 1960s De Laurentiis produced, among others, director Richard Fleischer's "Barabbas," starring Anthony Quinn; John Huston's star-studded "The Bible"; and Roger Vadim's "Barbarella," starring Jane Fonda.
After selling his studio and moving to the United States in the 1970s, De Laurentiis produced "Serpico," "Death Wish," "Three Days of the Condor," "The Serpent's Egg," "Ragtime" and "Conan the Barbarian."
The son of a pasta manufacturer, he was born Agostino De Laurentiis on Aug. 8, 1919, in Torre Annunziata, about 17 miles from Naples.
In 1937, the movie-struck teenager was accepted to the first-year acting course at a new film school in Rome, Centro Sperimentale di Cinematografia. He realized that he would be better off behind the camera - as a producer.
In World War II he served for a time in the Italian army, organizing shows to entertain troops.
After the war, he returned to producing at Lux studios and scored his first international success with Giuseppe De Santis' "Bitter Rice," a 1949 drama set among women working in the rice fields of the Po Valley.
The film's cast included Silvana Mangano, whom De Laurentiis married in 1949 and with whom he had four children, Veronica, Raffaella, Federico and Francesca; they were divorced in 1989. Federico died in an airplane crash while making a documentary in Alaska in 1981 at age 26.
In 1990, he married producer-colleague Martha Schumacher, with whom he had two daughters, Carolyna and Dina.
Besides his wife and five daughters, De Laurentiis also leaves five grandchildren, including Food Network host Giada De Laurentiis; three sisters; and two great-grandchildren.
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https://www.bfi.org.uk/lists/dino-de-laurentiis-10-essential-films
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Dino De Laurentiis: 10 essential films
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2019-08-08T14:01:25+01:00
|
For his centenary, we pick out 10 key releases from across the Italian super-producer’s six decades in film.
|
en
|
BFI
|
https://www.bfi.org.uk/lists/dino-de-laurentiis-10-essential-films
|
In a career that spanned over 60 years, Dino De Laurentiis proved himself to be a titan of the film industry – a larger than life figure who managed to recover from every costly box office bomb he produced. His love of pure cinematic spectacle, and his desire to make the Italian film industry as powerful as Hollywood, helped get his name on the international stage in the 1950s, but an eventual relocation across the Atlantic saw him earn the nickname “Dino De Horrendous” after less than glowing responses to many of his big budget efforts.
De Laurentiis’s career was originally supposed to blossom on the other side of the camera, studying as an actor at the Italian National Film School before the Second World War broke out. Many years later, inspired by the works of Rossellini, he produced a number of neorealist films – most notably Bitter Rice (1949), which brought his name to international attention. From there, his productions became gradually more epic in scope and his name synonymous with blockbusters that were the antithesis of these early films.
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On the centenary of the producer’s birth, we’re taking a look at 10 essential films he produced.
La strada (1954)
Director: Federico Fellini
De Laurentiis had something of a complicated relationship with Fellini. The producer would often wax lyrical about cutting 10 minutes out of Nights of Cabiria against the director’s wishes, and at one Venice Film Festival Fellini heckled Jean-Luc Godard’s tribute to the producer by insisting La strada was made in spite of him, not because of him. Like many later De Laurentiis productions, La strada sharply divided critics on its original premiere. A few years later, it was re-evaluated as a masterpiece and awarded the inaugural Academy Award for Best Foreign Language Film after finally releasing in America.
Danger: Diabolik (1968)
Director: Mario Bava
Production on Mario Bava’s comic strip adaptation, routinely cited as a favourite by the likes of Quentin Tarantino and Edgar Wright, was tortured to say the least. When its original director Seth Holt was fired, De Laurentiis sharply reduced the budget, allocating those funds to his other comic strip adaptation of that year, Barbarella (1968). As a result, Bava had to prioritise style over substance, using kitschy production design to hide the limited sets, and created one of the most unusual comic book movies in cinema history. If post-9/11 superhero movies are defined by Christopher Nolan’s Dark Knight trilogy, then the swinging 60s had their perfect superhero match with Diabolik.
Serpico (1973)
Director: Sidney Lumet
It may have been released a year after The Godfather (1972) sprang him to fame, but that didn’t stop De Laurentiis claiming he discovered Al Pacino, seeing him in an off-broadway play and hiring him for the crime biopic being produced by Produzion De Laurentiis International. Sidney Lumet’s thriller, documenting Frank Serpico’s decade plus battle to bring the crooked cops in the New York Police Department to justice, remains one of the finest crime films of the 70s – and one of the essential Pacino performances. After this success, the actor and director worked again just two years later, on the equally heralded Dog Day Afternoon (1975).
Face to Face (1976)
Director: Ingmar Bergman
One of De Laurentiis’s final European films, after a financial scandal surrounding his troubled studio, “Dinocittà” led him to leave Italy, Face to Face sounds like a parody of an existentially despairing Ingmar Bergman effort when summarised. Liv Ullmann stars as Dr Jenny Isaksson, a psychiatrist who, through stress with her work, begins to succumb to delusions that torture her and make her unable to deal with both her personal and professional obligations. One of the director’s most celebrated films upon release, earning him a second Best Director nomination, Face to Face is now an unfortunately overlooked Bergman work, mostly remembered as a gag in Annie Hall (1977).
King Kong (1976)
Director: John Guillermin
Somewhat less celebrated is De Laurentiis’s first big Hollywood production. Initially premiering to mixed critical responses, albeit leaving with an Oscar win for visual effects, John Guillermin’s remake of the monster movie classic holds up pretty well after a bloated Peter Jackson remake and 2017’s lacklustre “cinematic universe” starter Kong: Skull Island. Many years before Jackson transformed Andy Serkis via motion capture, makeup guru Rick Baker managed to inject pathos into the titular role. De Laurentiis saw this passion project as an antidote to the new breed of monster movie, claiming that “When Jaws dies, nobody cries. When Kong dies, they all cry.”
Year of the Dragon (1985)
Director: Michael Cimino
Both De Laurentiis and American filmmaker Michael Cimino were responsible for costly critical and commercial bombs that threatened to derail their entire careers, but only one managed to get back on their feet time and time again. So, it was only a matter of time before Cimino was rescued from director jail post-Heaven’s Gate (1980) by the producer, with a gritty noir tale that feels like an interrogation of his own attitudes towards race following the controversy of The Deer Hunter (1978). The film was a Razzie nominee upon release, but now feels ahead of its time in assessing the relationship between racism and cultural appropriation.
Blue Velvet (1986)
Director: David Lynch
The existence of Blue Velvet is entirely due to Lynch’s previous film, Dune (1984), a costly flop that the producer assumed would be a hit on the level of Star Wars (1977). Prior to production on that divisive adaptation of Frank Herbert’s novel, De Laurentiis made Lynch sign a three picture contract, for one original movie and one Dune sequel – and the resulting film, the smallest production on the De Laurentiis Entertainment Group slate, became one of the defining films of the 80s. Regarded as a cult oddity on release, Lynch’s nightmarish descent into the dark heart of suburbia is now likely to be considered the greatest film bearing the De Laurentiis name.
Manhunter (1986)
Director: Michael Mann
After meeting author Thomas Harris, De Laurentiis did everything he could to snap up the rights to his book Red Dragon. But Michael Mann’s icily detached adaptation was given the cold shoulder by audiences and critics alike, only to be reassessed in the wake of later screen adaptations of Harris’s Hannibal Lecter novels. Brian Cox’s performance is chilling due to how ordinary he makes the character appear – a different kind of nightmare to the theatrics Anthony Hopkins would later bring to the role. Famously, De Laurentiis passed on adapting the Silence of the Lambs after the failure of Manhunter, but a lengthy studio battle ensured his involvement in all future Lecter productions.
Army of Darkness (1992)
Director: Sam Raimi
After the surprise commercial success of Evil Dead II (1987), De Laurentiis agreed to finance a third outing for Bruce Campbell’s Ash, as Sam Raimi sent him back to the middle ages for the period horror romp the director and star had always dreamed of making. De Laurentiis, who had taken projects out of director’s hands in the past, gave Raimi full creative freedom, but the film’s eventual distributor, Universal, took over and called for reshoots, diluting the original ending and some of the bloodier violence. Fortunately, the tortured production is far from apparent in the final film, the most purely fun Raimi has made.
Breakdown (1997)
Director: Jonathan Mostow
The last truly great film bearing the producer’s name, Jonathan Mostow’s Breakdown is a taut thriller that marries the road rage of Spielberg’s Duel (1971) with the same thirst for revenge as the Charles Bronson films De Laurentiis had produced decades earlier. Watched today, the film’s simple pleasures are all the more remarkable due to how they differ from contemporary action fare. There are no fast edits or shaky-cam anywhere in sight, and the film’s tension comes as much from watching a well-mannered man’s forced descent into vengeance as it does the bloody revenge he eventually embarks upon.
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De Laurentiis, Dino 1919(?)–(Dino de Laurentiis [1]) PERSONALOriginal name, Agostino De Laurentiis; born August 8, 1919 (some sources say 1918), in Torre Annunziata, Italy; immigrated to the United States [2], c.
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https://www.encyclopedia.com/people/literature-and-arts/film-and-television-biographies/dino-de-laurentiis
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PERSONAL
Original name, Agostino De Laurentiis; born August 8, 1919 (some sources say 1918), in Torre Annunziata, Italy; immigrated to the United States, c. 1970 (some sources say 1973); son of Rosario Aurelio (a pasta manufacturer) and Giuseppina (maiden name, Salvatore) De Laurentiis; brother of Luigi De Laurentiis (a producer); uncle of Aurelio De Laurentiis (a producer); grandfather of Dino de Laurentiis (a filmmaker); married Silvana Mangano (an actress), July 17, 1949 (died, 1989); married Martha Schumacher (a producer), April 7, 1990; children: (first marriage) Federico (died, 1981), Veronica, Raffaella (a producer), Francesca; (second marriage) Carolyna, Dina. Education: Studied film at Centro Sperimentale di Cinematografia, Rome, 1937-39.
Addresses:
Office—Dino De Laurentiis Company, 100 Universal City Plaza, Bungalow 5195, Universal City, CA 91608.
Career:
Producer and studio executive. Real Cine, Turin, Italy, founder, 1941; Lux Films, executive producer, 1942; Ponti-De Laurentiis Productions, founder (with Carlo Ponti), 1950, affiliated with company, 1950-57; operated Dinocitta Studio in the 1960s; De Laurentiis Entertainment Group (sometimes referred to as DEG) Film Studios, Wilmington, NC, founder, 1983, affiliated with company, 1983-89; Embassy Pictures, chair and member of the board of directors, 1985; DEG Productions, founder, 1986, chief executive officer and president, 1986-88; De Laurentiis Entertainment, Ltd., Australia, founder, 1986, chief executive officer and president, 1986-88; Dino De Laurentiis Co., founder and principal, beginning 1988; Dino de Laurentiis Communications, founder, 1990; Dino De Laurentiis Company, Universal City, CA, chief executive officer. Contributor to periodicals, including American Cinematographer, American Film, Cine Revue, Film Comment, Film Francais, and Interview. Owner of the restaurants DDL Foodshow and DDL Bistro, New York City. Also worked as a pasta salesman and importer. Military service: Served in the Italian Army during World War II.
Awards, Honors:
Silver Lion Award, Venice International Film Festival, 1952, for Europa 51; Silver Ribbon Award (with Carlo Ponti), best producer, Italian National Syndicated of Film Journalists, 1954, and Academy Award and New York Film Critics Circle Award (with Ponti), both best foreign language film, 1956, all for La strada; Golden Globe Award, best foreign language film, 1956, for War and Peace; Golden David Award, best production, David di Donatello Awards, Academy Award, best foreign language film, 1957, Silver Ribbon, best producer, Italian National Syndicate of Film Journalists, 1958, all for Le notti di Cabiria; Golden David Award, David di Donatello Awards, 1959, for La tempesta; Academy Award nomination, best foreign language film, 1959, for La grande guerra; David di Donatello Award, best production, 1961, for Tutti a casa; Silver Ribbon Award, best producer, Italian National Syndicate of Film Journalists, 1961; David di Donatello Award, best production, 1966, for The Bible … In the Beginning; Golden Laurel Award nomination, best producer, Producers Guild of America, 1966; David di Donatello Award (with others), best production, 1968, for Banditi a Milano; David di Donatello Award (with others), best film, 1971, for Waterloo; Life Achievement Award, Academy of Science Fiction, Fantasy, and Horror Films, 1997; Pietro Bianchi Award, Venice Film Festival, 1999; Cinecitta Award, David di Donatello Awards, 2000; Irving G. Thalberg Memorial Award, Academy of Motion Picture Arts and Sciences, 2001; "The General" Honorary Award, Sitges—Catalonian International Film Festival, 2002; Career Golden Lion Award, Venice Film Festival, 2003; Lifetime Achievement Award in Motion Pictures, Producers Guild of America, 2004; Career Award, Flaiano International Prize, 2002; 50th Anniversary David di Donatello Award, 2006.
CREDITS
Film Executive Producer:
Guendalina, 1957.
Io amo, tu ami (also known as J'aime, tu aimes and I Love, You Love), 1960.
Maciste contre il vampiro (also known as Goliath and the Island of Vampires, Maciste vs. the Vampire, The Vampires, and Goliath and the Vampires), 1961.
Il federale (also known as Mission ultra-secrete, Operation Idiot, and The Fascist), 1961.
Il commisario (also known as The Police Commissioner), 1962.
I due nemici (also known as The Best of Enemies), Columbia, 1962.
Mafioso, 1962.
(Uncredited) Battle of the Bulge, 1965.
Se tutte le donne del mondo (also known as If All the Women in the World, Kiss the Girls and Make Them Die, and Operazione paradiso), 1966.
Waterloo, Paramount, 1970.
Serpico, 1974.
Death Wish, Paramount, 1974.
Three Days of the Condor (also known as 3 Days of the Condor), Paramount, 1975.
Lipstick, Paramount, 1976.
Orca (also known as Orca: The Killer Whale, The Killer Whale, and La orca), Paramount, 1977.
The White Buffalo (also known as Hunt to Kill), United Artists, 1977.
King of the Gypsies, Paramount, 1978.
The Brink's Job (also known as Big Stickup at Brink's), Universal, 1979.
Conan the Barbarian, Universal, 1982.
The Bounty, Paramount, 1983.
The Dead Zone, Paramount, 1983.
Conan the Destroyer, Universal, 1984.
Dune, Universal, 1984.
Maximum Overdrive, De Laurentiis Entertainment Group, 1986.
Tai-Pan, De Laurentiis Entertainment Group, 1986.
King Kong Lives (also known as King Kong 2), De Laurentiis Entertainment Group, 1987.
Executive producer, Kuffs, Universal, 1992.
Army of Darkness (also known as Army of Darkness: Evil Dead 3, Army of Darkness: The Ultimate Experience in Medieval Horror, Bruce Campbell vs. Army of Darkness, Captain Supermarket, Evil Dead 3, Army of Darkness: The Medieval Dead, The Evil Dead 3: Army of Darkness, and Medieval Dead), Universal, 1993.
Assassins (also known as Day of Reckoning), Warner Bros., 1995.
Film Producer:
Troppo tardi t'ho conosciuta, 1939.
L'amore canta (also known as Love Song), 1941.
Il miserie del Signor Travet, 1942.
Malombra, 1942.
Margherita fra i tre, 1942.
La donna della montagne, 1943.
Il bandito (also known as The Bandit), 1946.
Il cavaliere misterioso (also known as The Mysterious Cavalier and The Mysterious Rider), 1947.
Il passatore, 1947.
La figlia del capitano (also known as The Captain's Daughter), 1947.
Molti sogni per le strade (also known as Woman Trouble and The Street Has Many Dreams), 1948.
Riso amaro (also known as Bitter Rice), 1949.
Il lupo della Sila (also known as Lure of the Sila and The Wolf of the Sila), 1949.
I pompieri di Viggiu (also known as The Fireman of Viggiu), 1949.
Adamo ed Eva (also known as Adam and Eve), 1950.
Il brigante Musolini (also known as Outlaw Girl), 1950.
Romanticismo, 1950.
Accidenti alle tasse!! (also known as Accidents to the Taxes!!), 1951.
(With Carlo Ponti) Anna, IFE, 1951.
Botta e risposta, 1951.
Guardie e ladri (also known as Cops and Robbers), 1951.
L' ultimo incontro (also known as The Last Meeting), 1951.
Romanticismo, 1951.
Il padrone del vapore, 1951.
Toto terzo uomo (also known as Toto the Third Man), 1951.
Dov'e la liberta? (also known as Where Is Freedom?), 1952.
Fratelli d'italia (also known as Brothers of Italy), 1952.
Gli undici moschettieri (also known as The Eleven Musketeers), 1952.
I sette dell'orsa maggiore (also known as Hell Raiders of the Deep and Panique a Gilbraltar), 1952.
I tre cosari, 1952.
Jolanda, la figlia del corsaro nero (also known as Jolanda, the Daughter of the Black Corsair and Yolanda), 1952.
Toto a colori (also known as Toto in Color), 1952.
Anni facili (also known as Easy Years), 1953.
Il paese dei campanelli (also known as Ces voyous d'hommes and The Country of the Campanelli), 1953.
La lupa (also known as She Wolf and The Devil Is a Woman), 1953.
La tratta delle bianche (also known as Girls Marked for Danger, Ship of Condemned Women, and The White Slave Trade), 1953.
(With Carlo Ponti) Sensualita (also known as Two Nights with Cleopatra), Ultra, 1953.
(With Carlo Ponti) Le infedeli (also known as The Unfaithfuls), 1953.
Miseria e nobilta (also known as Poverty and Nobility), 1954.
Siluri umani (also known as Human Torpedoes and Torpilles humaines), 1954.
La romana (also known as The Woman of Rome and La belle Romaine), 1954.
(With Carlo Ponti) Attila (also known as Attila the Hun, Attila fleau de Dieu, and Attila, il flagello di Dio), 1954.
(With Carlo Ponti) Un giorno in pretura (also known as A Day in Court), 1954.
Dov'e la liberta? (also known as Where Is Freedom?), 1954.
Miseria e nobilita (also known as Poverty and Nobility), 1954.
(With Carlo Ponti) La strada (also known as The Road), 1954.
Un Americano a Roma (also known as An American in Rome), 1954.
Il coraggio, 1955.
Le diciottenni (also known as Eighteen Year Olds), 1955.
Mambo, Paramount, 1955.
Ragazze d'oggi (also known as La chasse aux marins and Girls of Today), 1955.
(With Carlo Ponti and William W. Schorr) Ulysses (also known as Ulisse), Paramount, 1955.
(With Carlo Ponti) La bella mugnaia (also known as The Miller's Beautiful Wife and The Miller's Wife), 1955.
L'oro di Napoli (also known as Every Day's a Holiday and Gold of Naples), Distributors Corp. of America, 1955.
La banda degli honesti, 1956.
Toto, Peppino, e … la malafemmina, 1956.
War and Peace (also known as Guerre e pace), Paramount, 1956.
Le notti di Cabiria (also known as Cabiria, Les nuits de Cabriria, and Nights of Cabiria), 1957.
Fortunella, 1957.
Malafemmina, 1957.
Barrage contre le Pacifique (also known as The Sea Wall, This Angry Age, and La diga sul Pacifico), Columbia, 1958.
Guardia, ladro e cameriera (also known as Maid, Thief, and Guard), 1958.
La tempesta (also known as Tempest and La Tempete), Paramount, 1958.
Fortunella, 1958.
La grande guerra (also known as La grande guerre and The Great War), 1959.
Giovanna e le altre (also known as Five Branded Women and Jovanka e le altre), Paramount, 1960.
Le pillole di Ercole (also known as Hercules Pills), 1960.
Sotto dieci bandiere (also known as Under Ten Flags), Paramount, 1960.
Tutti a casa (also known as La grande pagaille and Everybody Goes Home), 1960.
Ill gobbo (also known as Le bossu de Rome and The Hunchback of Rome), 1960.
Crimen (also known as Criminals, Killing in Monte Carlo, Chacun son alibi, and … And Suddenly It's Murder!), 1960.
(With Vittorio De Sica) Il giudizia universale (also known as The Last Judgment and Le jugement dernier), 1961.
Una vita difficile (also known as A Difficult Life), 1961.
Il re di Poggioreale (also known as Black City), 1961.
Barabbas (also known as Barabba), Columbia, 1962.
Il processo di Verona (also known as Le proces de Verone and The Verona Trial), 1962.
Le pillole di Ercole (also known as Hercules' Pills and Les pilules d'Hercule), 1962.
Il boom, 1963.
Il diavolo (also known as Amore in Stockholm, The Devil, and To Bed or Not to Bed), Continental Distributing, 1963.
Il giovedi (also known as The Thursday), 1963.
Il maestro di Vigevano (also known as The Teacher from Vigevano), 1963.
L'immortelle, Grove, 1963.
Cadavere per signora (also known as Corpse for the Lady and I due detectives), 1964.
Crazy Desire, Embassy, 1964.
Eighteen in the Sun, Goldstone, 1964.
Il disco volante (also known as The Flying Saucer), Dino De Laurentiis, 1964.
La mia signora (also known as My Wife), 1964.
I tre volti (also known as The Three Faces and Three Faces of a Woman), Dino De Laurentiis, 1965.
Le ore dell more (also known as The Hours of Love), Cinema V, 1965.
Menage all taliana (also known as Menage Italian Style), 1965.
An Orchid for the Tiger (also known as Le tigre se parfume a la dynamite, Our Agent Tiger, La tigre profumata all dinamite, and El tigre se perfuma condinamita), 1965.
The Railroad Man, Continental Distributing, 1965.
Thrilling, 1965.
The Bible … In the Beginning (also known as The Bible and La Bibbia), Twentieth Century-Fox, 1966.
Le streghe (also known as Les sorcieres and The Witches), 1966.
The Hills Run Red, United Artists, 1967.
Lo straniero (also known as The Stranger, Amare per vivere, and L'stranger), Paramount, 1967.
Matchless, United Artists, 1967.
My Wife's Enemy, Magna, 1967.
Navajo Joe, United Artists, 1967.
Anzio (also known as The Battle for Anzio and Lo sbarco di Anzio), Columbia, 1968.
Banditi a Milano (also known as Bandits in Milan and The Violent Four), Paramount, 1968.
Barbarella (also known as Barbarella, Queen of the Galaxy), Paramount, 1968.
The Bride Wore Black, Lopert, 1968.
Capriccio all taliana (also known as Caprice Italian Style), 1968.
Diabolik (also known as Danger: Diabolik and Danger: Diabolik!), Paramount, 1968.
L'mante di Gramigna (also known as Lyubovnitzite na Graminya and The Bandit), 1968.
Pierrot le fou, Pathe, 1968.
Roma come Chicago (also known as Bandits in Rome, Rome Like Chicago, and The Violent Four), 1968.
Romeo and Juliet, Paramount, 1968.
Fraulein Doktor (also known as The Betrayal, Fraeulein Doktor, and Gospodjica Doktor-Spijunka Bez Imena), 1968.
Barbagia (also known as The Tough and the Mighty and La societa del malessere), 1969.
The Brain, Paramount, 1969.
Io non scappo … fuggo, 1969.
Monte Carlo or Bust!, 1969.
Osvobozhdenie: Napravleniye glavnogo udara (also known as Liberation and The Direction of the Main Blow), 1969.
Those Daring Young Men in Their Jaunty Jalopies, Paramount, 1969.
Una breve stagione (also known as A Brief Season), 1969.
Nerosubianco (also known as Black on White and The Artful Penetration of Barbara), 1969.
Il primo premio si chiama Irene (also known as Danimarca—L'incredible realta deall nuova morale and First Prize Irene), 1969.
Io non scappo fuggo, 1970.
La spina dorsale del diavolo (also known as The Deserter, The Devil Backbone, Ride to Glory, and Djavolja kicma), Paramount, 1970.
A Man Called Sledge (also known as Sledge), Columbia, 1970.
Waterloo, Paramount, 1970.
Io non vedo, tu no parli, lui non sente, 1971.
Causa di divorzio (also known as Cause of Divorce), 1972.
Lo scopone scientifico (also known as The Scientific Cardplayer and The Scopone Game), 1972.
Boccaccio, 1972.
The Valachi Papers (also known as Joe Valachi, Carteggio Valachi, Cosa Nostra, I segreti di Cosa Nostra, Joe Valachi: I segreti Cosa Nostra, and Le dossier Valachi), Columbia, 1972.
La piu bella serata della mia vita (also known as La plus belle soiree de ma vie and The Most Wonderful Evening of My Life), 1972.
The Stone Killer, Columbia, 1973.
(Uncredited) Valdez, il mezzosangue (also known as Valdez the Halfbreed, The Valdez Horses, Wild Horses, Caballos salvajes, and Chino), 1973.
Crazy Joe, Columbia, 1974.
Porgi l'ultra guancia (also known as Don't Turn the Other Cheek, Turn the Other Cheek, The Two Missionaries, I due missionari, and Les deux missionaires), Titanus, 1974.
Serpico, Paramount, 1974.
Uomini duri (also known as Three Tough Guys, Tough Guys, and Les durs), Paramount, 1974.
Neveroyatnye priklyucheniya italyantesev v Rossii (also known as Una matta, matta, matta corsa in Russia, and Unbelievable Adventures of Italians in Russia), 1974.
(Uncredited) Death Wish, 1974.
Mandingo, 1975.
Buffalo Bill and the Indians, or Sitting Bull's History Lesson, United Artists, 1976.
Casanova (also known as Fellini's "Casanova" and Il Casanova di Federico Fellini), Universal, 1976.
Drum, United Artists, 1976.
Face to Face (also known as Ansikte mot ansikte), Paramount, 1976.
King Kong, Paramount, 1976.
Mean Frank and Crazy Tony, Aquarius, 1976.
The Shootist, Paramount, 1976.
Das Schlangenei (also known as The Serpent's Egg), Paramount, 1977.
The Great Train Robbery, United Artists, 1979.
Hurricane (also known as Forbidden Paradise), Paramount, 1979.
Flash Gordon, Universal, 1980.
Halloween II, Universal, 1981.
Ragtime (also known as Love and Glory), Paramount, 1981.
Amityville II: The Possession, Orion, 1982.
Striking Back, 1982.
Amityville 3-D, Orion, 1983.
Firestarter, Universal, 1984.
Cat's Eye (also known as Stephen King's "Cat's Eye"), Metro-Goldwyn-Mayer/United Artists, 1985.
Marie, Metro-Goldwyn-Mayer/United Artists, 1985.
Red Sonja, Metro-Goldwyn-Mayer/United Artists, 1985.
Stephen King's "Silver Bullet" (also known as Silver Bullet), Paramount, 1985.
Year of the Dragon, Metro-Goldwyn-Mayer/United Artists, 1985.
Blue Velvet, De Laurentiis Entertainment Group, 1986.
Crimes of the Heart, De Laurentiis Entertainment Group, 1986.
Manhunter (also known as Red Dragon: The Pursuit of Hannibal Lecter and Red Dragon: The Curse of Hannibal Lecter), De Laurentiis Entertainment Group, 1986.
Raw Deal, De Laurentiis Entertainment Group, 1986.
Trick or Treat, De Laurentiis Entertainment Group, 1986.
The Bedroom Window, De Laurentiis Entertainment Group, 1987.
Date with an Angel, De Laurentiis Entertainment Group, 1987.
From the Hip, De Laurentiis Entertainment Group, 1987.
Hiding Out (also known as Adult Education), De Laurentiis Entertainment Group, 1987.
Million Dollar Mystery, De Laurentiis Entertainment Group, 1987.
Rampage, De Laurentiis Entertainment Group, 1987.
Collision Course, De Laurentiis Entertainment Group, 1988.
Pumpkinhead, Metro-Goldwyn-Mayer/United Artists, 1988.
Traxx (also known as Trax), De Laurentiis Entertainment Group, 1988.
Weeds, De Laurentiis Entertainment Group, 1988.
Desperate Hours, Metro-Goldwyn-Mayer, 1990.
Once Upon a Crime (also known as Criminals, Over My Dead Body, Returning Napoleon, 7 Gauner und ein Dackel, Es war einmal ein Mord, and Troublemakers), Metro-Goldwyn-Mayer, 1992.
Body of Evidence (also known as Deadly Evidence), Dino De Laurentiis Communications, 1993.
Bound, De Laurentiis Entertainment Group, 1996.
Unforgettable, Metro-Goldwyn-Mayer, 1996.
Breakdown, Paramount, 1997.
U-571, Universal, 2000.
Hannibal, Metro-Goldwyn-Mayer/United Artists, 2001.
Red Dragon (also known as Roter Drache), Universal, 2002.
Hannibal Rising (also known as Hannibal Lecter—Le origini del male and Hannibal Lecter—Les origines du mal), Metro-Goldwyn-Mayer, 2007.
The Last Legion (also known as La derniere legion and L'ultima legione), Weinstein Company, 2007.
Virgin Territory, Metro-Goldwyn-Mayer, 2007.
Film Coproducer:
Napoli milionaria (also known as Naples Millionaire and Side Street Story), 1950.
(As Dino de Laurentiis) La donna del fiume (also known as La fille du fleuve, The River Girl, and Woman of the River), 1955.
Film Associate Producer:
Europa 51 (also known as No Greater Love and The Greatest Love), 1952.
Film Production Supervisor:
Troppo tardi t'ho conosciuta (also known as I Met You Too Late), 1940.
L'ultimo combattimento (also known as The Last Fight), 1941.
Film Production Manager:
L'amore canta (also known as Love Song), 1941.
Margherita fra I tre (also known as Margherita and Her Three Uncles), 1942.
Zaza, 1944.
La donna della montagna (also known as The Mountain Woman), 1944.
Aquila nera (also known as Return of the Black Eagle and The Black Eagle), 1946.
Film Unit Manager:
Le miserie del Signor Travet (also known as His Young Wife), 1945.
Film Presenter:
Anima nera (also known as Ame noire), 1962.
Lo sbarco di Anzio (also known as Anzio and The Battle of Anzio), 1968.
La spina dorsale del diavolo (also known as The Deserter, The Devil Backbone, and Djavolja kicma), Paramount, 1970.
The Stone Killer (also known as L'assassino di pietra), 1973.
Death Wish, 1974.
Buffalo Bill and the Indians, or Sitting Bull's History Lesson (also known as Buffalo Bill and the Indians), 1976.
The Shootist, 1976.
King Kong, 1976.
The First Great Train Robbery (also known as The Great Train Robbery), 1979.
The Dead Zone, 1983.
Amityville 3-D (also known as Amityville III: The Demon and Amityville: The Demon), 1983.
Year of the Dragon, 1985.
Marie (also known as Marie: A True Story), 1985.
Once Upon a Crime (also known as 7 Gauner und ein dackel and Es war einmal ein mord), 1992.
Red Dragon (also known as Roter Drache), Universal, 2002.
The Last Legion (also known as Le derniere legion and L'ultima legione), Weinstein Company, 2007.
Film Appearances:
L'orologio a cucu (also known as The Cuckoo Clock), 1938.
Il fattorino del fioraio, Batticuore (also known as Heartbeat), 1939.
Un fattorino, I grandi magazzini (also known as Department Store), 1939.
Piccolo hotel (also known as Small Hotel), 1939.
Dino, Troppo tardi t'ho conosciuta (also known as I Met You Too Late), 1940.
Uno degli studenti con la penna, Boccaccio, 1940.
L'ultimo combattimento (also known as The Last Fight), 1941.
I tre volti (also known as The Three Faces and Three Faces of a Woman), Dino De Laurentiis, 1965.
Himself, Conan Unchained: The Making of "Conan" (documentary; also known as Conan Unchained: The Making of "Conan the Barbarian"), Universal Studios Home Video, 2000.
Himself, Breaking the Silence: The Making of "Hannibal" (documentary), Metro-Goldwyn-Mayer Home Entertainment, 2001.
Himself, A Director's Journey: The Making of "Red Dragon" (documentary short), Universal Home Video, 2003.
Himself, Federico Fellini—Mit den augen der anderen (documentary; also known as Federico Fellini—Through the Eyes of Others), Preview Release GmbH, 2003.
Television Producer; Miniseries:
L'Odissea (also known as The Adventures of Ulysses, Die Odyssee, Odissea, and Le avventure di Ullisse), 1969.
Noble House, NBC, 1987.
Television Executive Producer; Movies:
Dracula's Widow, HBO, 1988.
Stephen King's "Sometimes They Come Back" (also known as Sometimes They Come Back), CBS, 1991.
Slave of Dreams, Showtime, 1995.
Solomon and Sheba, Showtime, 1995.
Television Appearances; Specials:
Dino De Laurentiis: The Last Movie Mogul, 2001.
Inside "Red Dragon," 2002.
Mario Bava: Operazione paura, 2004.
Television Appearances; Episodic:
The Tonight Show Starring Johnny Carson, NBC, 1970.
"Sophia Loren: Actress Italian Style," Biography, Arts and Entertainment, 1997.
"Anthony Quinn: A Lust for Life," Biography, Arts and Entertainment, 1998.
OTHER SOURCES
Periodicals:
Business Week, March 13, 1989.
Forbes, March 7, 1988.
Los Angeles Times, January 23, 2001.
Variety, February 24, 1988; March 21, 1990; August 28, 2000, p. F22; May 26, 2003, p. 68; August 25, 2003, p. S16; December 6, 2004, p. S28.
DE LAURENTIIS, Dino
Producer. Nationality: Italian. Born: Torre Annunciata, 8 August 1919. Education: Attended Centro Sperimentale di Cinematografia, Rome. Military Service: During World War II. Family: Married 1) the actress Silvana Mangano, 1949 (deceased), one son (deceased), three daughters; 2) the producer Martha Schumacher. Career: Worked as extra, actor, propman, unit manager, and assistant director while still in school; 1939—produced his first film, Troppo tardi t'ho conosciuta; early 1950s—co-founded Ponti-De Laurentiis production company with Carlo Ponti: dissolved, 1957; built Dinocittà studio in early 1960s: sold to Italian government, early 1970s; resettled in the United States with Embassy Pictures, and, in 1985, De Laurentiis Entertainment Group (resigned as chairman of the board, 1988). Awards: Academy Award, for La strada, 1954, and Nights of Cabiria, 1956. Address: De Laurentiis Communications, 8670 Wilshire Boulevard, Beverly Hills, California 90211, U.S.A.
Films as Producer:
1939
Troppo tardi t'ho conosciuta (Caraccioli)
1941
L'amore canta (Poggioli)
1942
Margherita fra i tre (Perilli); Malombra (Soldati)
1943
La donna della montagne (Castellani)
1946
Il miserie del Signor Travet (Soldati); Il bandito (Lattuada)
1947
La figlia del capitano (Camerini); Il passatore (Coletta)
1948
Riso amaro (Bitter Rice) (de Santis); Molti sogni per le strade (Women Trouble) (Camerini)
1949
Il lupo della Sila (Lure of the Sila) (Coletti)
1950
Il brigante Mussolini (Camerini); Napoli milionaria (de Filippo); Adamo e Eva (Mattòli)
1951
Guardie e ladri (Cops and Robbers) (Steno and Monicelli); Botta e risposta (Soldati); Romanticismo (Fracassi); Sensualità (Fracassi); Totò a colori (Totò in Color) (Steno)
1952
Anna (Lattuada) (co); Europa '51 (Rossellini); I tre corsari (Soldati); La tratta delle bianche (Girls Marked Danger) (Comencini); Jolanda, la figlia del Corsaro Nero (Soldati)
1953
Anni facili (Easy Years) (Zampa); Dov'è la libertà? (Rossellini); La Lupa (The She-Wolf) (Lattuada)
1954
Ulisse (Ulysses) (Camerini); La strada (Fellini); La romana (Woman of Rome) (Zampa)
1955
Il coraggio (Paolella); Mambo (Rossen); L'oro di Napoli (Gold of Naples) (De Sica); La donna del fiume (Soldati); La bella mugnaia (The Miller's Beautiful Wife) (Camerini)
1956
Guendalina (Lattuada); La banda degli honesti (Mastrocinque); Totò, Peppino, e . . . la malafemmina (Mastrocinque); War and Peace (K. Vidor); La notti di Cabiria (Nights of Cabiria; Cabiria) (Fellini)
1958
Barrage contre le Pacifique (La diga sul Pacifico; The Sea Wall; This Angry Age) (Clément); La tempesta (Tempest) (Lattuada); Fortunella (de Filippo)
1959
La grande guerra (The Great War) (Monicelli)
1960
Giovanna e le altre (Five Branded Women) (Ritt); Crimen (. . . and Suddenly It's Murder) (Camerini); Tutti a casa (Everybody Go Home!) (Comencini); Il gobbo (The Hunchback of Rome) (Lizzani)
1961
I due nemici (The Best of Enemies) (Hamilton); Il giudizia universale (The Last Judgment) (De Sica); Barabba (Barabbas) (Fleischer); Io amo, tu ami (I Love, You Love) (Blasetti)
1962
Mafioso (Lattuada)
1963
Il boom (De Sica); Il diavolo (To Bed or Not to Bed) (Polidoro)
1965
La Bibbia (The Bible . . . in the Beginning) (Huston)
1966
Se tutte le donne del mondo (Kiss the Girls and Make Them Die) (Levin and Maiuri)
1967
Lo straniero (The Stranger) (Visconti); Le streghe (The Witches) (Visconti and others)
1968
La sbarco di Anzio (Anzio; The Battle for Anzio) (Coletti and Dmytryk); Barbarella (Vadim); Diabolik (Danger: Diabolik) (Bava); Fraulein Doktor (Lattuada); Banditi a Milano (The Violent Four) (Lizzani); Romeo and Juliet (Zeffirelli)
1969
Una breve stagione (A Brief Season) (Castellani)
1970
Waterloo (Bondarchuk); La spina dorsale del diavolo (Kennedy)
1971
The Deserter (Kennedy)
1972
Joe Valachi—i segreti di Cosa Nostra (The Valachi Papers) (Kennedy)
1973
The Stone Killer (Winner); Serpico (Lumet)
1975
Mandingo (Fleischer)
1976
Casanova (Fellini); Drum (Carter); King Kong (Guillermin); Ansikte mot ansikte (Face to Face) (Bergman); Buffalo Bill and the Indians (Altman); The Shootist (Siegel)
1977
Das Schlangenei (The Serpent's Egg) (Bergman)
1979
Hurricane (Troell); Flash Gordon (Hodges)
1981
Ragtime (Forman); Conan the Barbarian (Milius)
1984
Conan the Destroyer (Fleischer); Firestarter (Lester)
1985
Year of the Dragon (Cimino); Red Sonja (Fleischer); Marie (Donaldson); Cat's Eye (Teague); Silver Bullet (Attias)
1990
Desperate Hours (Cimino)
1991
Sometimes They Come Back (McLoughlin—for TV)
1992
Once upon a Crime (Criminals; Over My Dead Body; Troublemakers; Returning Napoleon) (Levy)
1993
Body of Evidence (Edel)
1995
Solomon & Sheba (Young—for TV); Assassins (Donner) (exec); Slave of Dreams (Young—for TV)
1996
Unforgettable (Dahl)
1997
Breakdown (Mostow)
Films as Executive Producer:
1954
Un giorno in pretura (A Day in Court) (Steno) (co)
1961
Maciste contre il vampiro (Goliath and the Vampire) (Gentilomo and Corbucci)
1974
Death Wish (Winner)
1975
Three Days of the Condor (Pollack)
1977
La orca (Orca) (E. Visconti); The White Buffalo (Lee Thompson)
1978
The Brink's Job (Friedkin); King of the Gypsies (Pierson)
1983
The Dead Zone (Cronenberg)
1984
The Bounty (Donaldson)
1985
Dune (Lynch)
1986
Tai Pan (Duke); Crimes of the Heart (Beresford); Blue Velvet (Lynch); Maximum Overdrive (Stephen King)
Publications
By DE LAURENTIIS: articles—
Bianco e Nero (Rome), no. 7–8, 1961.
Interview (New York), January 1973.
Film Français (Paris), 11 June 1976.
American Film (Washington, D.C.), December/January 1977.
American Cinematographer (Hollywood), January 1977.
Ciné Revue (Paris), 6 January 1977.
Film Comment (New York), January/February 1977.
Ciné Revue (Paris), 15 May 1980.
Stills (London), June/July 1984.
On DE LAURENTIIS: articles—
Films and Filming (London), January 1957.
Film Français (Paris), 15 June 1984.
National Film Theatre Booklet (London), July 1984.
American Film (Washington, D.C.), November 1984.
Film Français (Paris), 28 December 1984.
Cinema Papers (Melbourne), March 1987.
Time, 11 January 1988.
Variety (New York), 24 February 1988.
Variety (New York), 3 February 1992.
Astronomy, November 1994.
Variety (New York), 10 May 1999.
* * *
One of the most colorful, prolific, and successful producers in the contemporary motion picture business, Dino De Laurentiis has proven his entrepreneurial skills time and again, growing from an independent Italian producer into an international conglomerate. His product, from low-budget neorealist works to multimillion dollar spectacles, has always stressed entertainment value, and no matter what the era, he has managed to overcome the exigencies of the fickle motion picture industry to produce consistently crowd-pleasing fare. In the 1950s and 1960s it was the epic; in the 1970s and 1980s a flow of Charles Bronson and Arnold Schwarzenegger action movies, and a series of Stephen King horror shows. De Laurentiis has been a popular media figure with his flamboyant personality and high profile; very much a mogul in the tradition of Samuel Goldwyn, he maintains a strong degree of production value with talented directors, actors, writers, and technicians. What other producer, for example, has produced films by Fellini, Bergman, Rossellini, De Sica, Visconti, Vidor, Huston, Lumet, Forman, Altman, Friedkin, Pollack, Cimino, and Cronenberg, to name but a few? Their films bear the De Laurentiis imprimatur; at the same time, he has shown his fondness for such impersonal, reliable directorial technicians as Richard Fleischer, John Guillermin, and Michael Winner on many of his bread-andbutter pictures.
De Laurentiis attended the Centro Sperimentale di Cinematografia in Rome at the age of 16, then gained practical filmmaking experience in the Italian film industry as an actor, prop man, assistant director, and unit manager. By the age of 20, he had produced his first major film, L'amore canta, then organized Realcine in Turin in order to arrange financing for his productions. World War II disrupted his progress, and Realcine was destroyed during the war. De Laurentiis was at the heart of the postwar neorealism movement in Italy, helping to revitalize the Italian cinema. He scored his first international success with Giuseppe de Santis's Bitter Rice, a stark drama of the women who work the rice fields of the Po Valley, starring Silvana Mangano (whom De Laurentiis married shortly thereafter). The producer solidified his status when he formed the Ponti-De Laurentiis Production Company with Carlo Ponti in the early 1950s.
Together, De Laurentiis and Ponti produced films by Roberto Rossellini (Europa '51), Vittorio De Sica (Gold of Naples), and Federico Fellini (La strada). Europa '51, starring Rossellini's wife Ingrid Bergman, was a bleak disappointment, typical of the Rossellini-Bergman films, but it did give the producers the prestige of a former Hollywood star. They had much better fortune with De Sica and Fellini—Gold of Naples is an exceptional anthology of four vignettes dealing with Neapolitan life, while La strada has become a classic of world cinema, a beautiful and affecting drama of a loutish circus performer and the young woman he abuses, brilliantly directed by Fellini and acted by Anthony Quinn and Giulietta Massina. La strada won De Laurentiis and Ponti an Academy Award for Best Foreign Film, and worldwide recognition as the preeminent producers in Italy.
De Laurentiis realized the box-office appeal of epics during the 1950s, when small-screen television began stealing motion picture audiences. Another advantage was attracting big-name stars to increase the size of their potential audience, and with this in mind Ponti and De Laurentiis produced two gargantuan spectacles, Mario Camerini's Ulysses, starring Kirk Douglas and Silvana Mangano, and King Vidor's War and Peace with Henry Fonda and Audrey Hepburn. Ulysses, indirectly based on Homer's saga of ancient Greece, sold on the strength of Douglas's marquee value; it is a tedious, talky picture. War and Peace was more successful, with the Tolstoy novel condensed into two hours and 30 minutes, marked by vivid imagery of the Napoleonic Wars, and King Vidor's eye for character and landscape.
De Laurentiis and Ponti went their separate ways after these films, and De Laurentiis created a new independent production company. Nights of Cabiria, a Fellini film about a wistful prostitute (played by Massina), won De Laurentiis another Best Foreign Film Oscar, and later served as the basis for the Broadway musical and film Sweet Charity. Although he still produced Italian movies such as Cabiria and Mario Monicelli's The Great War, a comedy-drama set during World War I, De Laurentiis continued with a policy of U.S.-Italo co-productions, frequently releasing in America through Paramount, filming in Italy with English-speaking stars and directors. In the early 1960s, he constructed a vast studio complex outside Rome and used it as a base of operations for production, as well as leasing it to other independents. In addition to such steamy dramas as Martin Ritt's Five Branded Women and René Clément's This Angry Age, De Laurentiis made money from epics such as Richard Fleischer's Barabbas and particularly from The Bible . . . in the Beginning, directed by John Huston with an all-star cast reverently recreating the great tales of the Old Testament. De Laurentiis had another prestigious blockbuster with Franco Zeffirelli's adaptation of Romeo and Juliet. For once the Shakespeare tragedy was correctly cast with teenagers in the leads, and the picture struck a chord with the rebellious young generation of the late 1960s.
De Laurentiis moved to America in the early 1970s, after Italy imposed tight tax restrictions on the film industry. Since then his career has expanded rapidly. He continued to support individualistic filmmakers such as Fellini (Casanova) and Ingmar Bergman (Face to Face, The Serpent's Egg), and experienced noble failures with Robert Altman's Buffalo Bill and the Indians and William Friedkin's The Brink's Job, but began to rely more and more on sure-fire mass appeal material. A series of Charles Bronson action films—The Valachi Papers, The Stone Killer, and Death Wish—were huge moneymakers, and employed a graphic, streetwise realism. Although De Laurentiis still made important films such as Sidney Lumet's Serpico. (the true story of New York police corruption), Sydney Pollack's CIA thriller Three Days of the Condor, Don Siegel's The Shootist, (a nostalgic Western and John Wayne's last movie), and Milos Forman's impressive turn-of-the-century epic Ragtime, he found it profitable to exploit more popular genres.
For a time in the 1970s, it seemed as though the producer was dedicated to such overwrought kitsch as Mandingo, Orca, and Hurricane. Of these only Mandingo was a resounding box-office hit, spawning a sequel, Drum. While he had enjoyed a science-fiction success with Roger Vadim's sexy Barbarella, De Laurentiis's other sci-fi films, Flash Gordon and David Lynch's $50 million Dune did not perform well. Much stronger were the Conan films; Robert E. Howard's classic sword and sorcery adventures were faithfully transmitted to the screen with Arnold Schwarzenegger in the title role. John Milius directed Conan the Barbarian; Richard Fleischer handled the inferior sequel Conan the Destroyer, as well as a related adventure, Red Sonja. After a well-mounted remake of The Bounty with Mel Gibson as Fletcher Christian and Anthony Hopkins as Captain Bligh under Roger Donaldson's direction, De Laurentiis opened new studios in Wilmington, North Carolina. In 1985 he acquired Embassy Pictures and formed De Laurentiis Entertainment Group, a new distribution and production company, making many of its films at the North Carolina studios. Again, there was a familiar pattern to the De Laurentiis product, with prestigious films (Crimes of the Heart), epics (Tai-Pan), action movies (Desperate Hours), and occasionally the offbeat (Blue Velvet). Horror pictures have been the mainstay of De Laurentiis's output in recent years, especially the successful Stephen King movies—The Dead Zone, Firestarter, Cat's Eye, Silver Bullet, and Maximum Overdrive. De Laurentiis has seemingly beat the system by surviving as an independent producer for 50 years, capping his career with a thriving distribution company. It is no surprise. For 50 years, De Laurentiis has been making movies, not just deals, and his prodigious body of work is rare indeed in today's film industry. Few producers possess his sense of daring—he was the only producer to hire Michael Cimino, for example, after the Heaven's Gate debacle, and their film, Year of the Dragon, helped Cimino back on his feet—or his sense of showmanship, whether promoting the sublime or the banal.
—John A. Gallagher
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Dino De Laurentiis, Italian-born American film producer known for his prolific output of films ranging from the populist to the cerebral. In Italy he produced La Strada, and he was behind the American production of such films as Serpico, Ragtime, and Blue Velvet, among many others.
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Encyclopedia Britannica
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https://www.britannica.com/biography/Dino-De-Laurentiis
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Dino De Laurentiis (born August 8, 1919, Torre Annunziata, Italy—died November 11, 2010, Beverly Hills, California, U.S.) was an Italian-born American film producer known for his prolific output of films ranging from the populist to the cerebral.
De Laurentiis—one of seven children—was raised near Naples. After leaving school at age 15, he briefly worked for his father, a pasta manufacturer, before attending the Centro Sperimentale di Cinematografia, a film school in Rome. He acted and performed odd jobs on film sets before producing his first film at age 20. He scored his first hit with Riso amaro (1949; Bitter Rice), a drama about Italian rice-field workers that was dominated by the sensuous presence of Silvana Mangano, his future wife.
Britannica Quiz
Oscar-Worthy Movie Trivia
De Laurentiis formed a joint production company with fellow producer Carlo Ponti and produced films such as Federico Fellini’s La strada (1954) and Le notti di Cabiria (1957; The Nights of Cabiria), both of which won Academy Awards for best foreign-language film. In 1964 he opened a studio, Dinocittà, where he made several epics; their lack of success, combined with increasingly stringent nationalist restrictions on film production, forced him to sell the studio in the early 1970s. By that time, he had established strong relations with American studios, particularly Paramount Pictures, which distributed Romeo and Juliet (1968) and Barbarella (1968).
De Laurentiis then moved to the United States, where he produced such popular films as the crime drama Serpico (1973)—the rights to which he acquired when the biography upon which it was based was only a 20-page draft—Death Wish (1974), Three Days of the Condor (1975), and King Kong (1976), as well as Ragtime (1981), a critically lauded adaptation of E.L. Doctorow’s novel. In 1984 he opened another film studio in Wilmington, North Carolina, and—after engineering the De Laurentiis Entertainment Group (DEG), an umbrella company—he opened production offices in Australia. DEG failed four years later, though it managed to release such classics as director David Lynch’s Blue Velvet (1986) and Bill and Ted’s Excellent Adventure (1989).
However, the production company he cofounded (1983) with his future wife, Martha Schumacher, survived to produce cult classics such as Army of Darkness (1992). De Laurentiis had also acquired the rights to Thomas Harris’s novels about serial killer Hannibal Lecter, and, though he was not involved with the production of The Silence of the Lambs (1991), he produced Manhunter (1986)—later remade as Red Dragon (2002)—Hannibal (2001), and Hannibal Rising (2007).
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Explore the filmography of Dino De Laurentiis on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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A Hollywood player for decades, producer Dino De Laurentiis produced a remarkable mix of motion pictures, ranging from art house fare like Fellini's "La Strada" (1954) to camp classics like "Barbarella" (1968) to spectacles like "King Kong" (1976) and "Tai Pan" (1986), as well as popular entertainment like "Hannibal" (2001). Ever since he began his producing career with the international hit "Riso Amaro" ("Bitter Rice") (1948), De Laurentiis financed, produced or distributed hundreds of movies, including some of the most significant ever made in cinema history, like "Serpico" (1973), "Death Wish" (1974) and "Conan the Barbarian" (1982). Toward the end of the 20th century, De Laurentiis - who had missed out on the massive success of "Silence of the Lambs (1991) after declining the rights following the failure of "Manhunter" (1986) - saw a resurgence with the box office hit "Hannibal" (2001), which spawned another successful sequel, "Red Dragon" (2002), and cemented his place as one of cinema's most prolific producers.
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Remembering Dino – The key films of producer Dino De Laurentiis
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From Fellini to Flash Gordon, from classics to high-camp, a look at the films that defined the career of Italian producer and master showman Dino De Laurentiis Bitter Rice (1949) In the neorealist swirl of post-war Italy, young bespectacled producer Dino De Laurentiis, on a salary at Lux Film, worked alongside writer/director Giuseppe De Santis…
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From Fellini to Flash Gordon, from classics to high-camp, a look at the films that defined the career of Italian producer and master showman Dino De Laurentiis
Bitter Rice (1949)
In the neorealist swirl of post-war Italy, young bespectacled producer Dino De Laurentiis, on a salary at Lux Film, worked alongside writer/director Giuseppe De Santis in this down-at-heel rice-field romance. The film starred Silvana Mangano as heaving peasant girl Silvana – she became a star and, soon after, De Laurentiis’ wife.
La Strada (1954)
De Laurentiis had produced over 50 films in Italy before partnering with arthouse king Federico Fellini for La Strada in 1954. “One day Fellini called me and said, ‘Dino, nobody wants this film of mine. I’m sending over the screenplay, and we’ll see if you’re interested.’” And that, according to De Laurentiis, is how Fellini’s poetic masterpiece began. The film was an international hit, and earned de Laurentiis his first Oscar, for Best Foreign Language Film.
The Nights Of Cabiria (1957)
A second teaming with Fellini, again starring the director’s doe-eyed wife, Giulietta Masina. After the drifting fable of La Strada, Cabiria is a return to a more direct neorealism, with Masina’s feisty working girl encountering a cross-section of Roman life while stroll through the lamplit capital. It’s De Laurentiis’ best Italian film, and earned him a second Oscar.
Barabbas (1961)
Dino was never shy of chasing a box-office trend, and in an era of biblical epics and runaway productions, Barabbas was his sandy shot at the big time. And, while it doesn’t quite measure up to its big influences Ben-Hur and Spartacus, the production has serious heft, and Anthony Quinn is suitably anguished as the man released from crucifixion ahead of Christ.
Barbarella (1968)
A unique and disastrous meeting of De Laurentiis’ European sensibilities with a Hollywood budget and stars. The result is a barely-constructed sex-com sci-fi overflowing with gauche props and camp-glitz set design that, like polyester and savage bowl cuts, has somehow become cultishly fashionable.
Waterloo (1970)
A master of international financing with a taste for the epic, De Laurentiis put Waterloo together as a $40 million co-production with Soviet cinema factory Mosfilm. It’s dramatically solid, but the real draw is its size – over 16, 000 Russian military extras that put director Sergei Bondarchuk in charge of the world’s seventh largest standing army.
Serpico (1973)
With thirty years in the business De Laurentiis relocated to Manhattan in the early 1970s and became an independent producer for Paramount. The producer bought the rights to Peter Maas’ book for $450,000 on the strength of a few pages, and pulled strings with friend and Paramount boss Charles Bluhdorn to make sure his dream team of Lumet and Al Pacino made the film.
Death Wish (1974)
As a producer De Laurentiis relied heavily on his own taste and intuition in picking projects. So it’s remarkable that his track record flits so quickly between art house and pure trash. Luckily, this is good trash, with Charles Bronson’s geologically-faced everyman turning mad vigilante after his family is killed. “I didn’t ask myself whether it was a fascist film or any crap like that,” the producer stormed. “I understood it was a story the public could identify with.”
Three Days Of The Condor (1975)
The pendulum swings again, with De Laurentiis setting up the framework for this brilliant, shadowy post-Watergate thriller starring Hollywood golden boy Robert Redford. It’s among the producer’s finest films, worthy of mention in the same breath as All The President’s Men and The Conversation, as Redford’s sweater-wearing CIA bookworm trips over the wrong secret and ends up on the run.
King Kong (1976)
Another of Dino’s blockbusters paid for with a spiderweb of international financing. The producer engineered a thriving circus of publicity surrounding the film, centred around the star attraction – a giant mechanical version of Kong built at a cost of $1.7 million. While the uneven result was not the tragic epic the world anticipated, neither was it the flop it was widely reported to be, making a healthy profit for De Laurentiis and Paramount.
Flash Gordon (1980)
De Laurentiis’ slate was uniquely eclectic, with bona fide masterpieces sitting alongside camp trash like 1968’s Barbarella and Flash Gordon. It’s a shameless attempt to chase the Star Wars dollar, with a fair-haired hero battling an evil space empire, except here fuelled by a Queen soundtrack and smothered in spandex.
Conan The Barbarian (1982)
Conan made a star of Austrian bodybuilder Arnold Schwarzenegger, and in the context of early-‘80s Hollywood seemed to come from nowhere. But for De Laurentiis there must have been a clear link back to the mythical peplum epics that ruled the Italian cinema in the ‘50s and ‘60s. Schwarzenegger was hand-picked as a modern day Steve Reeves, and triumphed in this heavy-handed but successful vehicle.
The Dead Zone (1983)
Hungry for raw material, De Laurentiis struck a deal with Stephen King that would see him produce several films based on the author’s work including Firestarter, Cat’s Eye, and the awful but still awesome Maximum Overdrive. The best – all right, only good one – was The Dead Zone, not least because De Laurentiis coaxed a fresh-from-Videodrome David Cronenberg into directing. Cronenberg reshaped the script and formed a very effective partnership with shock-faced hero Christopher Walken.
Dune (1984)
Perhaps the producer’s greatest folly. Again it’s De Laurentiis hunting the Star Wars crowd, this time with an adaptation of Frank Herbert’s multi-million selling sci-fi novel. His eye for talent correctly identified director David Lynch as a future star, but the dreamy auteur was the wrong man for the job, obsessing over details (the wonderfully crafted Harkonnen homeworld) and losing his grip on the monster project, leaving us with a fractured snowglobe of a potential epic.
Blue Velvet (1986)
The flipside to the Dune coin. With De Laurentiis now managing his own mini-studio, Lynch was given final cut on this far more modest suburban mystery. What he came up with surprised everyone and struck upon the dark ethereal tone that would define his career. Blue Velvet is a bona fide masterpiece, a uneasy Freudian inspection of white picket Americana, a Hardy Boys adventure that descends into perversion and obsession.
Manhunter (1986)
Released just weeks apart from Blue Velvet was this less-heralded but arguably just as influential serial killer thriller. Having established DEG after the release of Dune, De Laurentiis was not just producing films but distributing them. This meant a down-shift in budgets and led the producer to work with some of Hollywood’s most interesting new filmmakers. Among them Micael Mann, who delivered his often overlooked precursor to Silence Of The Lambs starring Brian Cox as cinema’s first Dr Hannibal Lecktor, full of the blue-tinged silhouette style found in later classics Heat and The Insider.
Evil Dead II (1987)
Yes – De Laurentiis really got around in the ‘80s. Sam Raimi and friends were struggling after the poorly received Crimewave, only for Dino to dig them out of a hole. The way star Bruce Campbell remembers it, a crew member happened to mention to Stephen King they were short of money for a sequel. “With that, Stephen called Dino, Dino called us, and we found ourselves in his gigantic office. Twenty minutes later, a deal was in place.”
Assassins (1995)
This Sly Stallone versus Antonio Banderas action flick might be unremarkable summer box-office grist, but it also showed that half a century after he started producing movies, De Laurentiis could compete at the very top. Stallone’s popularity was cresting, but he was still a superstar with enough heft to drag the film into the red overseas. And the film’s screenplay was an original by the soon-to-be-huge Matrix creators, the Wachowski brothers.
Breakdown (1997)
By the late ‘90s De Laurentiis was beginning to ease off the production pedal. But he still found time to unearth this criminally unsung kidnapping B-movie. Written and directed by Terminator 3 helmer Jonathan Mostow, the film’s big asset is Kurt Russell, on hugely watchable and determined form as the husband whose wife disappears after a roadside breakdown. The low-budget thriller is tight, tense, and comes with a crunchingly satisfying pile-up conclusion.
Red Dragon (2001)
When Manhunter flopped De Laurentiis passed on the follow-up, Silence Of The Lambs, and regretted it deeply. Many of his later films were an attempt to recapture the largely bolted Lecter horse – Hannibal, Hannibal Rising – and the best of them all was this Manhunter remake, starring Ed Norton, Ralph Fiennes and, of course, Anthony Hopkins.
This text originally appeared in Total Film #176 and on totalfilm.com
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Dino De Laurentiis
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Agostino "Dino" De Laurentiis was an Italian film producer best known for producing science fiction, fantasy, and horror films.
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https://www.themoviedb.org/person/5398-dino-de-laurentiis
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Looks like we're missing the following data in it-IT or en-US...
Agostino "Dino" De Laurentiis was an Italian film producer best known for producing science fiction, fantasy, and horror films.
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Dino De Laurentiis Net Worth
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Dino De Laurentiis was an Oscar-winning Italian-American film producer who had a net worth of $120 million at the time of his death in 2010. De Laurentiis founded the production company Dino de Laurentiis Cinematografica in 1946 and produced more than 180 projects
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Celebrity Net Worth
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https://www.celebritynetworth.com/richest-businessmen/producers/dino-de-laurentiis-net-worth/
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What was Dino De Laurentiis' net worth?
Dino De Laurentiis was an Oscar-winning Italian-American film producer who had a net worth of $120 million at the time of his death in 2010. De Laurentiis founded the production company Dino de Laurentiis Cinematografica in 1946 and produced more than 180 projects, including "La Strada" (1954), "War and Peace" (1956), "The Bible: In the Beginning" (1966), "King Kong" (1976), "Conan the Barbarian" (1982), "Dune" (1984), and "Hannibal" (2001). Dino also produced the Stephen King films "Dead Zone" (1983), "Firestarter" (1984), "Maximum Overdrive" (1985), "Silver Bullet" (1985), "Cat's Eye" (1985), and "Sometimes They Come Back" (1990).
Though De Laurentiis was primarily known for feature films, he produced an episode of the 1968 miniseries "Odissea" as well as the 1995 TV movies "Solomon & Sheba" and "Slave of Dreams." He briefly worked as an actor, appearing in the films "L'orologio a cucù" (1938), "Heartbeat" (1939), "Department Store" (1939), "Small Hotel" (1939), "I Met You Too Late" (1940), "Boccaccio" (1940), and "The Last Fight" (1941). Dino also owned and operated the Italian specialty foods store DDL Foodshow, which had two New York locations and one in Los Angeles. De Laurentiis passed away in November 2010 at the age of 91.
Early Life
Dino De Laurentiis was born Agostino De Laurentiis on August 8, 1919, in Torre Annunziata, Kingdom of Italy. His father owned a pasta factory, and during his youth, Dino sold spaghetti made by the factory. De Laurentiis attended Rome's Centro Sperimentale di Cinematografia from 1937 to 1938, but his studies were interrupted when World War II began. Dino had an older brother named Luigi, who was also a film producer.
Career
De Laurentiis' first film was 1940's "L'ultimo Combattimento," and by the end of the decade, he had produced "L'amore canta" (1941), "Return of the Black Eagle" (1946), "The Bandit" (1946), "The Captain's Daughter" (1947), "Bullet for Stefano" (1947), "Bitter Rice" (1948), "The Street Has Many Dreams" (1948), and "The Wolf of the Sila" (1949). In the '50s, Dino produced films such as "Anna" (1951), "Funniest Show on Earth" (1953), "The Unfaithfuls" (1953), "Woman of Rome" (1954), "An American in Rome" (1954), "Ulysses" (1955), "War and Peace" (1956), "Tempest" (1958), and "The Great War" (1959), and he won an Academy Award for 1954's "La Strada," which was directed by Federico Fellini. De Laurentiis produced more than 30 films in the '60s, including "The Hunchback of Rome" (1960), "The Last Judgment" (1961), "The Best of Enemies" (1961), "Mafioso" (1962), "The Hills Run Red" (1966), "The Stranger" (1967), "The Witches" (1967), "Barbarella" (1968), and the 1966 John Hutson-directed epic "The Bible: In the Beginning," which starred Ava Gardner, Peter O'Toole, and George C. Scott. He then produced "Waterloo" (1970), "The Valachi Papers" (1972), "The Assassin of Rome" (1972), "Serpico" (1973), and "Death Wish" (1974), and in 1976, he produced "King Kong," which grossed $90.6 million against a $24 million budget. That year he also moved to America, and he became a U.S. citizen 10 years later.
In the '80s, Dino launched De Laurentiis Entertainment Group in Wilmington, North Carolina, and he is credited with bringing the film industry to the city, which came to be known as "Wilmywood" and "Hollywood East." In 1990, he opened Dino De Laurentiis Communications in Los Angeles. De Laurentiis produced numerous horror movies in the '80s and early '90s, including "Halloween II" (1981), "Amityville II: The Possession" (1982), "Amityville 3-D" (1983), "Halloween III: Season of the Witch" (1983), "Trick or Treat" (1986), "Evil Dead II" (1987), "Army of Darkness" (1992), and several adaptations of Stephen King novels and short stories. Around this time, he also produced notable films such as "Flash Gordon" (1980), "Ragtime" (1981), "Conan the Barbarian" (1982), "Conan the Destroyer" (1984), "Dune" (1984), "Blue Velvet" (1986), and "King Kong Lives" (1986). De Laurentiis produced 1986's "Manhunter," which was based on Thomas Harris' 1981 novel "Red Dragon," the first book in his "Hannibal Lecter" series. Dino later produced three more films featuring Hannibal Lecter: "Hannibal" (2001), "Red Dragon" (2002), and "Hannibal Rising" (2007). In the late '90s, De Laurentiis produced the films "Unforgettable" (1996), "Bound" (1996), and "Breakdown" (1997), and in the last decade of his life, he produced "U-571" (2000), "The Last Legion" (2007), and "Virgin Territory" (2007).
Personal Life
After his first marriage was annulled, Dino married actress Silvana Mangano on July 17, 1949. Dino and Silvana had four children together, daughters Veronica, Raffaella, and Francesca and son Federico. Raffaella and Federico both became film producers, but sadly Federico died in a plane crash at the age of 26. De Laurentiis and Mangano divorced in 1988, and Silvana died the following year. Dino married producer Martha Schumacher on April 7, 1990, and they remained married until his death in 2010. Martha produced several films with Dino, such as "Breakdown" and "Hannibal," and they had two daughters together, Dina and Carolyna. Famed chef Giada De Laurentiis is one of Dino's grandchildren.
Death
On November 10, 2010, Dino passed away at his Beverly Hills home at the age of 91. According to his daughter Raffaella, De Laurentiis was surrounded by his family when he died. After Dino's death, his granddaughter Giada paid tribute to him, telling "The Hollywood Reporter," "My grandfather was a true inspiration. He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly."
Awards and Nominations
In 1957, De Laurentiis won an Academy Award for Best Foreign Language Film for "La strada," and in 2001, he was honored with the Irving G. Thalberg Memorial Award. Dino received eight David di Donatello Awards: Best Production (Migliore Produzione) for "Le notti di Cabiria" (1957), "Tutti a casa" (1961), "The Bible: In the Beginning…" (1966), and "Banditi a Milano" (1968), Best Film (Miglior Film) for "Waterloo" (1971), a Golden Plate (1965), a Cinecittà Award (2000), and a 50th Anniversary David (2006). He earned six nominations from the Italian National Syndicate of Film Journalists, winning the Silver Ribbon for Best Producer (Produttore del Miglior Film) for "La strada" in 1955, "Le notti di Cabiria" in 1958, and "Tutti a casa" and "Il gobbo" in 1961. De Laurentiis received Lifetime Achievement Awards from the Academy of Science Fiction, Fantasy & Horror Films (1997) and the PGA Awards (2004), and he earned a Palm Springs International Film Festival Distinguished Achievement Award in 2000. Dino won a Laceno d'Oro for Best Producer at the 1960 Avellino Neorealism Film Festival and a Golden Cup for "Lo scopone scientifico" at the 1973 Golden Goblets, and he received a Pietro Bianchi Award (1999) and Career Golden Lion (2003) at the Venice Film Festival. In 2002, he earned a Career Award at the Flaiano International Prizes and "The General" Honorary Award at the Sitges – Catalonian International Film Festival, and in 2012, he posthumously received the Italy-USA Foundation's America Award.
Real Estate
In 1987, Dino and his wife Martha paid $2.8 million for a 6-acre property in Beverly Hills that features a 6,000 square-foot mansion. A few months after Martha's death in late 2021, this home came to market with a $37.5 million asking price:
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Body of Evidence (1993)
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When an elderly millionaire is found dead with cocaine in his system, his will leaves $8 million to Rebecca Carlson, who was having an affair with him. District attorney Robert Garrett decides to prosecute Rebecca, arguing that she deliberately engaged in wild sex with the old man to overexcite him and lead to his premature death. Defense attorney Frank Dulaney defends Rebecca in court while getting sucked into a dangerous affair with her.
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Infamously bad erotic thriller is more notable at this point for its amazing imdb trivia page than anything that happens in it.
Examples:
-Madonna's acting coach quit just before production began, claiming that "she thinks she knows everything". (Believable and hilarious)
-Madonna had five personal assistants for this film, including her own hairstylist, make-up artist and personal trainer. (Easily believable as well)
-Two of Madonna's more infamous scenes (one involving dripping candles, the other requiring her to masturbate) were improvised. (LOL Madonna is now a master of improv!)
-Madonna's character doesn't remove her shoes in any of the three major sex scenes, except very briefly to smash a lightbulb with her heel. (Umm ok, dont know why this is in…
"Have you ever seen animals make love, Frank? It's intense. It's violent. But they never really hurt each other."
"We're not animals..."
"Yes, we are."
Sure, you know this as the movie where Madonna pours her hot wax all over Willem Dafoe, but did you remember that it's also the movie where Joe Mantegna knows all about nipple clamps and Julianne Moore melodramatically slaps Madonna for having stolen her husband? No? Well, you're welcome!
Roger Ebert liked to refer to Hollywood's most libidinous cinematic offerings of the 80s and 90s as the "Fatal Basic" style, explaining it as "sex between bad people who live in good houses," and to that end I don't think it gets any more fatal or…
Madonna released her SEX book before Body of Evidence was released, against the producers and director's wishes (as the whole box office potential hinged on, what does Madonna look like naked, and that was already answered in a coffee table book). And Basic Instinct scorched the earth of this genre a year prior with Paul Verhoeven's patented go-for-broke panache. So all you're left with is Willem Dafoe being covered with candle wax and champagne, with his hands tied behind his back, and loving it. But in regards to sex on top of a car and shattered glass, Madonna predated the auto-eroticism of Crash just a little bit, sans body horror.
Body of Evidence is one of Roger Ebert's most hated…
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The 20 Best Dino De Laurentiis Movies
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2010-11-12T15:00:00+00:00
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In memory of the master showman
|
en
|
gamesradar
|
https://www.gamesradar.com/the-20-best-dino-de-laurentiis-movies/
|
Bitter Rice (1949)
In the neorealist swirl of post-war Italy, young bespectacled producer Dino De Laurentiis, on a salary at Lux Film, worked alongside writer/director Giuseppe De Santis in this down-at-heel rice-field romance.
The film starred Silvana Mangano as heaving peasant girl Silvana – she became a star and, soon after, De Laurentiis’ wife.
La Strada (1954)
“One day Fellini called me and said, ‘Dino, nobody wants this film of mine. I’m sending over the screenplay, and we’ll see if you’re interested.’”
And that, according to De Laurentiis, is how Fellini’s poetic masterpiece began. The film was an international hit, and earned de Laurentiis his first Oscar, for Best Foreign Language Film.
The Nights Of Cabiria (1957)
A second teaming with Fellini, again starring the director’s wide-eyed wife, Giulietta Masina.
After the drifting fable of La Strada, Cabiria is a return to a more direct neorealism, with Masina’s feisty working girl encountering a cross-section of Italy while roaming Rome’s red light district. It’s De Laurentiis’ best Italian film, and earned him a second Oscar.
Barabbas (1961)
Dino was never shy of chasing a box-office trend, and in an era of biblical epics and runaway productions, Barabbas was his sandy shot at the big time.
And, while it doesn’t quite measure up to its big influences Ben-Hur and Spartacus, the production has serious heft, and Anthony Quinn is suitably anguished as the man released from crucifixion ahead of Christ.
Barbarella (1968)
A unique and disastrous meeting of De Laurentiis’ European sensibilities with a Hollywood budget and stars.
The result is a barely-constructed sex-com sci-fi overflowing with gauche props and camp-glitz set design that, like polyester and savage bowl cuts, has somehow become cultishly fashionable.
Waterloo (1970)
De Laurentiis was by now an independent producer, but used his dealmaking skills to set up elaborately financed blockbusters with international backing that rivalled Hollywood’s homegrown giants.
Waterloo was as big as they came, with Russian co-financing and a then-record budget of around $40 million powering awesomely scaled battle sequences featuring 17,000 extras from the Soviet army.
Serpico (1973)
Sidney Lumet’s corrupt cop thriller was the first film De Laurentiis made after moving to the United States in the early ‘70s.
The producer bought the rights to Peter Maas’ book for $450,000 on the strength of a few pages, and pulled strings with friend and Paramount boss Charles Bluhdorn to make sure his dream team of Lumet and Al Pacino made the film.
Death Wish (1974)
As a producer De Laurentiis relied heavily on his own taste and intuition in picking projects. So it’s remarkable that his track record flits so quickly between art house and pure trash.
Luckily, this is good trash, with Charles Bronson’s geologically-faced everyman turning mad vigilante after his family is killed. “I didn’t ask myself whether it was a fascist film or any crap like that,” the producer stormed. “I understood it was a story the public could identify with.”
Three Days Of The Condor (1975)
The pendulum swings again, with De Laurentiis setting up the framework for this brilliant, shadowy post-Watergate thriller starring Hollywood golden boy Robert Redford.
It’s among the producer’s finest films, worthy of mention in the same breath as All The President’s Men and The Conversation, as Redford’s sweater-wearing CIA bookworm trips over the wrong secret and ends up on the run.
King Kong (1976)
Another of Dino’s blockbusters paid for with a spiderweb of international financing.
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Dino De Laurentiis Company
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2024-07-12T14:06:28+00:00
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Martha De Laurentiis formed the Dino De Laurentiis Company (DDLC) in 1980 with her partner and husband, Dino De Laurentiis, after a robust career in film production during the 1970's (The Dain Curse, Wolfen, Warriors, Prince of the City, Ragtime.) Beginning with a quintet of Stephen King...
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https://static.wikia.nocookie.net/hannibal/images/4/4a/Site-favicon.ico/revision/latest?cb=20210516173531
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Hannibal Wiki
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https://hannibal.fandom.com/wiki/Dino_De_Laurentiis_Company
|
Martha De Laurentiis formed the Dino De Laurentiis Company (DDLC) in 1980 with her partner and husband, Dino De Laurentiis, after a robust career in film production during the 1970's (The Dain Curse, Wolfen, Warriors, Prince of the City, Ragtime.)
Beginning with a quintet of Stephen King stories, Martha helped spearhead a new studio in Wilmington, NC to accommodate the flurry of productions that came with the coming decades, while continuing to drive productions on the West Coast and abroad. Today, with more than 40 films, series, and mini-series to her name, Martha leads the company into the future with exciting projects that include NBC's Hannibal, Barbarella, and the forthcoming series, Gateway.
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https://www.theledger.com/story/news/2010/11/11/film-producer-dino-de-laurentiis-dies/26399966007/
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en
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Film Producer Dino de Laurentiis Dies
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2010-11-11T00:00:00
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LOS ANGELES | Dino De Laurentiis, the son of Italian pasta makers who became a prolific movie producer of blockbuster hits such as “Serpico,” expensive duds such as “Dune” and sweeping epics includin…
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en
|
The Ledger
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https://www.theledger.com/story/news/2010/11/11/film-producer-dino-de-laurentiis-dies/26399966007/
|
LOS ANGELES | Dino De Laurentiis, the son of Italian pasta makers who became a prolific movie producer of blockbuster hits such as “Serpico,” expensive duds such as “Dune” and sweeping epics including “War and Peace,” died today in Los Angeles. He was 91.
De Laurentiis lived in Beverly Hills with his third wife, Martha.
First in his native Italy, then in the United States, De Laurentiis combined marketing flair, an eye for talent and a fearlessness of failure as he produced more than 600 films, some prodigious in scale and ambition, often featuring superstar names in action thrillers.
He worked with, among many others, directors Federico Fellini and Milos Forman and actors Al Pacino, Audrey Hepburn and Arnold Schwarzenegger, who credited De Laurentiis’ “Conan” movies with making him an international superstar.
The tumult of his personal life rivaled the action in his movie scripts. He had four children with Italian model-turned- actress Silvana Mangano, who died in 1989 shortly after their divorce became final, then two more daughters with third wife Martha, the youngest one born when De Laurentiis was 71.
His only son, Federico, died in a 1981 plane crash while making a documentary about salmon fishing. One of De Laurentiis’ grandchildren, Giada, is a celebrity chef on television.
De Laurentiis earned much of his critical acclaim early in his career. Two films he produced during a seven-year collaboration with fellow Italian Carlo Ponti — “La Strada,” which Fellini directed, and “Nights of Cabiria” — won back- to-back Academy Awards for best foreign-language film in 1956 and 1957.
Decades passed before the academy again honored De Laurentiis, presenting him with the Irving Thalberg Memorial Award in 2001 for his body of work.
“I’ve been very lucky in my long life,” De Laurentiis said upon receiving the award. “On three continents, in diverse cultures, through happy moments, not-so-happy moments, and moments as marvelous as this one, I’ve had the privilege of working with the cinema’s greatest masters.”
Small in stature (various accounts gave his height as either 5 feet 4 inches or 5 feet 6 inches), De Laurentiis made a giant impact on how the movie industry stages, promotes and finances big-budget, big-name spectacles. Rather than work for Hollywood studios, he sold his productions directly to distributors around the world.
That made De Laurentiis one of the first “global film producers, savvy about their international audience and raising money all over the world in order to make ’event’ films,” Brooklyn College professor Frederick Wasser wrote in the 2002 book “Movies and American Society.”
In the 1980s De Laurentiis briefly turned his attention to improving the American culinary experience, opening food stores in Manhattan and Los Angeles. Their lavish displays of breads, pastas and cold cuts drew crowds of sightseers, but the stores closed within a few years.
Impressed by the serenity of coastal North Carolina during filming of Stephen King’s “Firestarter” in 1983, De Laurentiis built what later became the EUE/Screen Gems Studios in Wilmington. He seemed on his way to assembling an entertainment conglomerate when he acquired Embassy Pictures from Coca-Cola Co., formed the De Laurentiis Entertainment Group and, in 1986, took the company public.
A series of big-budget disappointments, including David Lynch’s sci-fi thriller “Dune” (1984), led to a financial crisis, and the Beverly Hills, Calif.-based film company filed for bankruptcy protection in 1988. De Laurentiis stepped aside as chairman and his daughter, Raffaella, resigned as president of production.
He never stopped producing movies, however. He ran Dino De Laurentiis Co. with his wife, the former Martha Schumacher, a one-time administrative assistant in his New York offices. Among its productions was the hit “Hannibal” (2001).
“Making movies is all about instinct,” he said in a 2001 interview with the Los Angeles Times. “Nobody taught Picasso how to paint — he learned for himself. And nobody can teach you to be a producer. You can learn the mechanics, but you can’t learn what’s right about a script or a director or an actor. That comes from instinct and intuition. It comes from inside you.”
Agostino De Laurentiis, the third of seven children, was born on Aug. 8, 1919, in Torre Annunziata, near Naples. His parents ran a pasta factory.
He had just broken into Italy’s film business — working as a stagehand, extra, director’s assistant, and finally director of production — when he was called to military service in 1943 during the final weeks of Benito Mussolini’s dictatorship.
He said he retreated with other deserters, avoiding German troops, until Allied troops secured Italy. Back in Rome in 1944, he got busy reviving his film career, and Italy’s film industry.
He founded Dino De Laurentiis Studios in 1947 and had quick success with “Bitter Rice” (1949), which was nominated for an Academy Award for best picture. It was on that set that he met Mangano, a teenage model breaking into acting. They would marry in 1949.
In the 1950s he began work on the epics that would help define his career. With Ponti he produced “Ulysses” (1954), with Mangano and Kirk Douglas, and “War and Peace” (1956), with Hepburn and Henry Fonda, which was nominated for Academy Awards for cinematography, costume design and best director (King Vidor).
In 1962, De Laurentiis bought land in Rome and started work, with government subsidies, on what would become Dinocitta — “Dino City” — a sprawling production studio that opened in 1964 and was patterned after Cinecitta, the studio founded by Mussolini. Among the movies he made there was “Barbarella” (1968), the science-fiction film that featured Jane Fonda in various states of erotic dress, and undress.
De Laurentiis decamped with his family to New York and found immediate success with a trio of hit law-and-order movies: “Serpico” (1973) starring Pacino; “Death Wish” (1974) starring Charles Bronson; and “Three Days of the Condor” (1975), with Robert Redford and Faye Dunaway. He became a U.S. citizen in 1986.
De Laurentiis heaped praise on the U.S. before and after making it his home. “In Italy, contrary to the way it is in the United States, a man who works hard and tries to do something becomes a target for animosity,” he said in a 1965 interview with the New Yorker magazine. “In the United States, such a man is appreciated.”
Inspired by the success of the 1975 hit “Jaws,” De Laurentiis embarked on a $25 million remake of the 1933 movie “King Kong,” giving the starring role to a model and first- time actress, Jessica Lange.
The 1976 movie was a box office success and won an Academy Award for visual effects, but left critics mostly unimpressed. “A series of big, foolish but entertaining spectacle scenes,” Vincent Canby wrote in The New York Times.
“Conan the Barbarian” (1982), marked the acting breakthrough of Schwarzenegger, the Austrian bodybuilder who years later became governor of California.
“It was your Conan movies that launched my international career,” Schwarzenegger wrote to De Laurentiis on his 80th birthday, according to the 2004 biography of the filmmaker.
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https://en.wikipedia.org/wiki/Body_of_Evidence_(1993_film)
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Body of Evidence (1993 film)
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1993 film by Uli Edel
Body of EvidenceDirected byUli EdelWritten byBrad MirmanProduced byDino De LaurentiisStarringCinematographyDouglas MilsomeEdited byThom NobleMusic byGraeme Revell
Production
company
Dino De Laurentiis Communications[1]
Distributed byMetro-Goldwyn-Mayer[1]
Release dates
Running time
99 minutes[1]Countries
Germany[1]
United States[1]
LanguageEnglishBudget$30 million[2]Box office$38 million[3]
Body of Evidence is a 1993 erotic thriller film directed by Uli Edel, written by Brad Mirman, and starring Madonna and Willem Dafoe, with Joe Mantegna, Anne Archer, Julianne Moore, and Jürgen Prochnow in supporting roles.
Widely considered to be a vanity project for Madonna and derided for its plot inconsistencies and incongruous dialogue, it marked her fourth film performance to be universally panned by critics, following Shanghai Surprise, Who's That Girl, and Bloodhounds of Broadway.[4]
In France and Japan, the film was released under the name Body. In Japan, Madonna's other 1993 film Dangerous Game was released there as Body II even though the films have nothing in common nor are related to each other in narrative.
Plot
[edit]
The elderly and wealthy Andrew Marsh dies from complications stemming from an erotic incident involving bondage and homemade pornography. The main suspect is his lover Rebecca Carlson who proclaims her innocence to lawyer Frank Dulaney. Initially believing her, Frank agrees to represent her.
District Attorney Robert Garrett seeks to prove that Rebecca deliberately killed Marsh in bed to receive the $8 million he left her in his will. As the trial begins, Rebecca and Frank enter a sadomasochistic sexual relationship behind the back of Frank's unsuspecting wife, Sharon.
During their first sexual encounter, Rebecca secures Frank's arms behind his back using his own belt and alternately pours hot wax and champagne on him before having sex.
After an ex-lover of Rebecca's, Jeffrey Roston, testifies that he also had a heart condition, and both changed his will to favour Rebecca, and that she was sexually domineering and compelled him to engage in sexual activity with no regard to his health, describing an incident that clearly resonates with Frank's own experience, Frank attempts to end their affair.
Sharon confronts him about the affair having figured it out from a phone call with Rebecca as well as the strange marks on his body from the hot wax. Frank goes to Rebecca's home and accuses her of telling his wife about them (although Sharon says she worked it out from her tone alone). Rebecca taunts Frank, and he pushes her to the ground. Rebecca begins to masturbate on the floor in front of him. Rebecca pulls out handcuffs, Frank forcibly cuffs her hands instead and sexually assaults her. Initially she resists before appearing to enjoy the assault.
Footage from Marsh's home video reveals that he had an affair with his secretary, Joanne Braslow, who is a key witness against Rebecca. He also had previously left Joanne more money in his will before beginning his relationship with Rebecca. She says that she was hurt but she loved him and would never hurt him. However, there is evidence that she bought the murder weapon. Rebecca suggests to Frank that the secretary tried to frame her, but he is now less sure of her innocence in the crime.
Rebecca takes the stand and her surprising testimony that Roston had an affair with another man convinces the jury, which acquits her. Before leaving court, she mockingly thanks Frank and indicates that she is guilty after all.
Frank still cannot resist going to Rebecca's home, where he overhears an incriminating conversation between her and Marsh's doctor, Alan Paley. He confronts the co-conspirators, realizing that it was Paley who supplied the fatal dose of cocaine. Rebecca is amused by Frank's discovery of her manipulating him, but Paley is shocked to learn that she was in a sexual relationship with Frank as well. Rebecca mocks both men, bluntly acknowledging that she used her sexual prowess to control and humiliate both of them, as well as Marsh. Paley realizes she does not care about him and becomes enraged.
After a struggle with Frank who tries to save Rebecca, Paley shoots her twice. She plunges from a window to her death. Paley is arrested for murdering her.
Before leaving the scene with his wife to repair their relationship, Frank then tells Garret he should've won the case with Garrett replying: "I did".
Cast
[edit]
Madonna as Rebecca Carlson
Willem Dafoe as Frank Dulaney
Joe Mantegna as Robert Garrett
Anne Archer as Joanne Braslow
Julianne Moore as Sharon Dulaney
Stan Shaw as Charles Briggs
Charles Hallahan as Dr. McCurdy
Lillian Lehman as Judge Mabel Burnham
Mark Rolston as Detective Reese
Jeff Perry as Gabe
Richard Riehle as Detective Griffin
Jürgen Prochnow as Dr. Alan Paley
Frank Langella as Jeffrey Roston
Michael Forest as Andrew Marsh
Corey Brunish as Jamie
Production
[edit]
Body of Evidence was filmed in Portland, Oregon, with the Pittock Mansion serving as a primary location.[5] The cemetery scene featured in the beginning of the film was shot on location at Lone Fir Cemetery.
Julianne Moore said her nude scene in this movie was "just awful": "I was too young to know better. It was the first time I'd been asked to get naked and it turned out to be completely extraneous and gratuitous."[7]
Release
[edit]
Box office
[edit]
Body of Evidence performed poorly at the box office.[8] In its second week it experienced a 60% drop.[9] It grossed $13 million in the United States and Canada and $25 million internationally for a worldwide total of $38 million.[3]
Censorship
[edit]
The film originally received the rare NC-17 rating from the Motion Picture Association of America.[10] The first theatrical release was censored for the purpose of obtaining an R rating, reducing the film's running time from 101 to 99 minutes.[11] The video premiere, however, restored the deleted material.
Critical response
[edit]
Body of Evidence has an 8% rating at Rotten Tomatoes based on 38 reviews, with a rating average of 3.10/10. The critical consensus reads, "Body of Evidence's sex scenes may be kinky, but the ludicrous concept is further undone by the ridiculous dialogue."[12] Metacritic assigned the film a weighted average score of 29 out of 100, based on 17 critics, indicating "generally unfavorable reviews".[13] Audiences surveyed by CinemaScore gave the film a grade of "C" on scale of A+ to F.[14] The film appeared on the 2005 list of Roger Ebert's most hated films.[15] The screenplay and performances were especially disparaged.[16] His colleague Gene Siskel called Body of Evidence a "stupid and empty thriller" that is worse than her softcore coffee table book Sex.[17]
Julianne Moore later regretted acting in the film and went on to call it "a big mistake".[18]
Accolades
[edit]
Award Category Recipient Result Fantasporto Best Film Uli Edel Nominated Golden Raspberry Awards[19][20] Worst Picture Dino De Laurentiis Nominated Worst Director Uli Edel Nominated Worst Actor Willem Dafoe Nominated Worst Actress Madonna Won Worst Supporting Actress Anne Archer Nominated Worst Screenplay Brad Mirman Nominated MTV Movie Awards Most Desirable Female Madonna Nominated Stinkers Bad Movie Awards Worst Actress Nominated
References
[edit]
Sources
[edit]
Bergen, Teresa; Davis, Heide (2021). Historic Cemeteries of Portland, Oregon. Charleston, South Carolina: Arcadia Publishing. ISBN 978-1-467-14861-0.
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https://www.nj.com/entertainment/2010/11/dino_de_laurentiis_legendary_m.html
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Dino De Laurentiis, legendary movie producer, dead at 91
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2010-11-11T23:34:08+00:00
|
Worked on everything from "La Strada" to "Barbarella"
|
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/pf/resources/images/nj/favicon.ico?d=1366
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nj
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https://www.nj.com/entertainment/2010/11/dino_de_laurentiis_legendary_m.html
|
By Jake Coyle
AP Entertainment Writer
Dino De Laurentiis, an Academy Award-winning film impresario and producer of "Serpico" and "Barbarella," who helped revolutionize the way movies are bankrolled and sold, has died. He was 91.
The producer's daughter said her father was surrounded by family when he died Wednesday night at his home in Beverly Hills. The statement from Raffaella De Laurentiis did not give a cause of death.
"My grandfather was a true inspiration. He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly," granddaughter Giada De Laurentiis, a star chef and host on Food Network, said Thursday.
De Laurentiis was a legend of Italian New Wave filmmaking. His works also included "Bitter Rice," "La Strada" and "Death Wish."
He was tiny, but tough, a veritable Napoleon on the set and utterly tireless. "Such a little lion," was how his second wife, producer Martha De Laurentiis, put it when he turned 80.
Like any larger-than-life movie figure, De Laurentiis went through boom times and busts. But he always bounced back and his passion for movies never dimmed.
His career spanned hundreds of films, including several Oscar winners and he worked with some of the biggest stars and best directors in the business. His credits include box office and/or critical successes such as "U-571," "War and Peace," "Ragtime," "Three Days of the Condor" and "Blue Velvet."
A pivotal figure in postwar Italian New Wave cinema, De Laurentiis moved to the United States in the 1970s, becoming a citizen in 1986. But this son of a Neapolitan pasta maker never lost his thick Italian accent and tried to spend a month in Capri and Rome each year.
The Oscar-winning "Serpico," in 1973 with Al Pacino, was De Laurentiis' Hollywood debut. But by then, he already had two Italian-made Oscar-winners: Federico Fellini's "La Strada" and "Nights of Cabiria" to his credit.
De Laurentiis was one of the first producers to understand the box-office potential of foreign audiences, and helped invent international co-productions, raising money by pre-selling distribution rights outside North America.
Throughout his career, he alternated lavish, big-budget productions with less commercial films by directors such as Robert Altman, Ingmar Bergman and David Lynch, and he often packaged the blockbusters with art films to secure distribution for the smaller films.
De Laurentiis was capable of bold, brilliant strokes and audacious risks. In his 80s, he could still pull off a major coup by snapping up the movie rights to "Hannibal," novelist Thomas Harris' sequel to hit "The Silence of the Lambs" (Anthony Hopkins, Jodie Foster).
One of six children, he was born in Torre Annunziata on the Bay of Naples on Aug. 8, 1919. When he was 16, he headed for Rome to study acting. When he was 18, he produced his first film. A few years later, he started his own production company in Turin.
The serious success began after World War II, starting with "Bitter Rice," in 1948, which launched the career of his first wife, Silvana Mangano.
In 1950, De Laurentiis went into business with another rising director, Carlo Ponti. They soon dominated the Italian movie business, monopolizing top stars such as Mangano, Sophia Loren (who later married Ponti) and Marcello Mastroianni. Their first international production was the epic "War and Peace" (Henry Fonda, Audrey Hepburn, Mel Ferrer) in 1955.
He also teamed up with acclaimed New Wave directors. One of his most successful partnerships was with the legendary Federico Fellini. Together they made "La Strada" and "Nights of Cabiria," Oscar winners for best foreign film in 1957 and 1958.
De Laurentiis built a huge new studio on the outskirts of Rome, called it Dinocitta (Dino city), and began producing spectacles with Hollywood stars: "Barrabas" (Anthony Quinn), "The Bible" (George C. Scott, Ava Gardner), "Anzio" (Robert Mitchum), "Waterloo" (Rod Steiger). He also made more offbeat fare, such as Roger Vadim's sex romp, "Barbarella" (Jane Fonda).
The studio folded in 1972, the victim of rising costs and De Laurentiis left for United States, where he produced his formula of alternating grandiose spectacle with more sophisticated fare.
He got off to a strong start in the United States with "Serpico," then followed it up with another success, "Three Days of the Condor," a spy thriller starring Robert Redford.
But he was also battered by flops, including the infamous "Dune," in 1984 and a truly awful "King Kong" sequel.
Personal tragedy also took its toll. In 1981, his son Federico was killed in a plane crash. "My father still to this day can't speak of him. ... He told me that every morning he wakes up and thinks of him," De Laurentiis' daughter Veronica said nearly 20 years after Federico's death.
The strain of the loss helped end his marriage to Mangano. They were divorced in 1988, the same year De Laurentiis Entertainment Group went into bankruptcy, finished off by the flop of "King Kong Lives."
Yet De Laurentiis, close to 70 years old, was undaunted and started over.
Within two years, he had a new wife, 29-year-old Martha Schumacher, formed a new company and started producing moneymakers again.
"My philosophy is very simple," De Laurentiis once said. "To feel young, you must work as long as you can."
Survivors include three daughters with Mangano -- Rafaela, Francesca and Veronica -- and two with Schumacher: Carolina and Dina. Funeral arrangements have not yet been determined.
Associated Press writer Colleen Barry, AP Television Writer Frazier Moore and former AP writer Candice Hughes contributed to this report.
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Hollywood Legend Dino De Laurentiis Dies
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[
"Josh Grossberg"
] |
2010-11-11T17:45:41+00:00
|
Dino De Laurentiis didn't do anything small. The legendary Italian producer cranked out classics (La Strada, Nights of Cabiria, Serpico), big hits (Hannibal, Death Wish, Three Days of the Condor) and catastrophic misses (1976's King Kong, Orca, Flash Gordon) over a 70-year, Oscar-sanctioned career that included more than 500 films.
|
en
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https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/today/all-other-sizes-PNG.ico/favicon.ico
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TODAY.com
|
https://www.today.com/popculture/hollywood-legend-dino-de-laurentiis-dies-wbna40133259
|
Dino De Laurentiis didn't do anything small.
The legendary Italian producer cranked out classics (La Strada, Nights of Cabiria, Serpico), big hits (Hannibal, Death Wish, Three Days of the Condor) and catastrophic misses (1976's King Kong, Orca, Flash Gordon) over a 70-year, Oscar-sanctioned career that included more than 500 films.
And now the maestro has died at the age of 91.
RELATED: Giada De Laurentiis shoots down John Mayer hookup rumor
De Laurentiis passed away at the Beverly Hills home he shared with his third wife, Martha. No word on cause of death.
Working his way up through the ranks of the Italian film industry after serving in the Italian army during World War II, De Laurentiis' name became synonymous with high-quality foreign flicks that influenced generations of filmmakers. He had a fruitful partnership with fellow producer Carlo Ponti that resulted in a slew of critically acclaimed movies, several with Italian maestros Roberto Rossellini, Luchino Visconti and Federico Fellini.
His collaborations with Fellini produced 1956's La Strada and 1957's Nights of Cabiria, which garnered back-to-back Academy Awards. De Laurentiis would eventually rack up more than 30 Oscar nominations and in 2001 received the Irving G. Thalberg Memorial Award, the industry's highest honor for a producer. He also has received accolades from the Italian film industry, taking home a lifetime achievement award in 2003 from the Venice Film Festival.
By the late '50s, De Laurentiis began working in Hollywood, teaming up with director King Vidor for 1956's War and Peace, starring Henry Fonda and Audrey Hepburn. He also executive produced 1965's The Battle of the Bulge.
The '60s and the '70s saw De Laurentiis venture into big budget filmmaking with checkered results. That period included John Huston's The Bible: In the Beginning, starring Richard Harris and George C. Scott; Roger Vadim's campy sci-fi cult classic Barbarella, starring Jane Fonda; 1976's ill-conceived King Kong remake with Jessica Lange and Jeff Bridges; 1979's disaster extravaganza Hurricane; and 1979's Queen-powered Flash Gordon.
His most critically revered films of the decade were 1973's Serpico, featuring Al Pacino in a tour-de-force performance as a New York cop on a crusade against corruption, and the Robert Redford spy thriller Three Days of the Condor.
Other notable credits included 1974's franchise-spawning Death Wish with tough-guy Charles Bronson; 1977's Jaws wannabe Orca; 1981's Ragtime, the final film of James Cagney; 1982's Arnold Schwarzenegger vehicle Conan the Barbarian; 1984's The Bounty, with Anthony Hopkins, Laurence Olivier and Mel Gibson; and more recently 1997's Breakdown, starring Kurt Russell; 2000's U-571, starring Matthew McConaughey; and the two Silence of the Lambs sequels, Hannibal and Hannibal Rising.
De Laurentiis is survived by six daughters. His only son, Federico, died in a 1981 plane crash. His granddaughter Giada is a chef and star of the Food Network's Everyday Italian and Giada at Home.
"My grandfather was a true inspiration," Giada said in a statement. "He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly."
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https://www.cbc.ca/news/entertainment/film-producer-dino-de-laurentiis-dies-1.960678
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Film producer Dino De Laurentiis dies
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2010-11-11T17:02:00+00:00
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Dino De Laurentiis, the Italian film producer who became a legend with movies such as Serpico, Death Wish and Hannibal, has died. He was 91.
|
en
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/a/apple-touch-icon.png
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CBC
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https://www.cbc.ca/news/entertainment/film-producer-dino-de-laurentiis-dies-1.960678
|
Dino De Laurentiis, the Italian film producer who became a legend with movies such as Serpico, Death Wish and Hannibal, has died. He was 91.
De Laurentiis died Wednesday in Los Angeles surrounded by family, according to his daughter, Raffaella De Laurentiis. No cause of death has been released.
He won an Oscar for producing Federico Fellini's film La Strada in 1957 and was awarded the Irving G. Thalberg Memorial award for lifetime achievement by the Academy of Motion Picture Arts and Sciences in 2001.
"Cinema has lost one of its greats," said Walter Veltroni, former mayor of Rome and a founder of the International Rome Film Festival.
"The name of Dino De Laurentiis is tied to the history of cinema," he told the AFP news agency.
De Laurentiis began his career at age 20 in Italy, working with Carlo Ponti and Roberto Rossellini. He hit it big with Riso Amaro (Bitter Rice) in 1949.
In the 1950s, he saw the potential of reaching an international market and worked on epic films such as Ulysses with Kirk Douglas and War and Peace with Audrey Hepburn. Simultaneously, he was working with New Wave Italian directors such as Fellini.
He went on to build a studio in Rome called Dinocitta, hoping to rival the city's famous Cinecitta facility. He produced successes such as Barbarella and Kiss the Girls and Make Them Die, but also suffered a string of flops that resulted in financial difficulties.
In the 1970s, he moved to the U.S., where he formed the Di Laurentiis Entertainment Group in North Carolina. The studio made films such as Conan the Barbarian, Three Days of the Condor, Ragtime and Blue Velvet.
De Laurentiis is associated with adaptations of Stephen King novels, such as The Dead Zone and Silver Bullet, as well as four of the Hannibal Lecter films, including Manhunter, Hannibal and Red Dragon.
He produced more than 160 films in a career that stretched from the 1940s to 2007 and became known for huge spectacle films. He particularly like backing film adaptations of popular novels, such as the sci-fi series Dune and Barabbas.
Ever the entrepreneur, he took huge risks with some of his projects and was forced to sell DEG Studios because of economic conditions in 1989.
He is survived by his wife, Martha, their two children and three daughters from his first marriage to actor Silvana Mangano. He lost his son, Federico, in a 1981 plane crash.
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Dino De Laurentiis
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/favicon.ico
| null |
Agostino De Laurentiis, usually credited as Dino De Laurentiis, (born August 8, 1919) is an Italian movie producer born at Torre Annunziata in the province of Naples. He grew up selling spaghetti produced by his father. A study at the school of cinematography in Rome was interrupted by the Second World War. Nonetheless de Laurentiis succeeded in making movies.
Since his first movie, L'ultimo Combattimento, (1940) he has produced nearly 150 movies to date. In the early years de Laurentiis produced neoclassical art films as Bitter Rice (1946) and the Fellini classics La Strada (1954) Nights of Cabiria (1956). In his later choice of stories he displayed a strong preference for adaptations of successful books, especially sweeping classics like the Bible, Barabbas (1961), or Dune (1984).
He has 4 children with his previous wife, actress Silvana Mangano who died in 1989. Today, he is married to the movie producer Martha Schumacher and they have two daughters.
In 2001 he received the Irving G. Thalberg Memorial Award from the Academy of Motion Picture Arts and Sciences.
Template:Italy-stub
External links
http://www.dinodelaurentiis.it/
IMDB entry (http://www.imdb.com/name/nm0209569/)it:Dino De Laurentiis
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https://www.pressherald.com/2010/11/11/dino-de-laurentiis-pivotal-producer-of-serpico-dies/
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Dino De Laurentiis, pivotal producer of ‘Serpico’, dies
|
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2010-11-11T00:00:00
|
His credits include "U-571," ''War and Peace," ''Ragtime," ''Three Days of the Condor" and "Blue Velvet."
|
Press Herald
|
https://www.pressherald.com/2010/11/11/dino-de-laurentiis-pivotal-producer-of-serpico-dies/
|
Dino De Laurentiis, an Academy Award-winning film impresario and producer of “Serpico” and “Barbarella,” who helped revolutionize the way movies are bankrolled and sold, has died. He was 91.
The producer’s daughter said her father was surrounded by family when he died Wednesday night at his home in Beverly Hills. The statement from Raffaella De Laurentiis did not give a cause of death.
“My grandfather was a true inspiration. He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly,” granddaughter Giada De Laurentiis, a star chef and host on Food Network, said Thursday.
De Laurentiis was a legend of Italian New Wave filmmaking. His works also included “Bitter Rice,” ”La Strada” and “Death Wish.”
He was tiny, but tough, a veritable Napoleon on the set and utterly tireless. “Such a little lion,” was how his second wife, producer Martha De Laurentiis, put it when he turned 80.
Like any larger-than-life movie figure, De Laurentiis went through boom times and busts. But he always bounced back and his passion for movies never dimmed.
His career spanned hundreds of films, including several Oscar winners and he worked with some of the biggest stars and best directors in the business. His credits include box office and/or critical successes such as “U-571,” ”War and Peace,” ”Ragtime,” ”Three Days of the Condor” and “Blue Velvet.”
A pivotal figure in postwar Italian New Wave cinema, De Laurentiis moved to the United States in the 1970s, becoming a citizen in 1986. But this son of a Neapolitan pasta maker never lost his thick Italian accent and tried to spend a month in Capri and Rome each year.
The Oscar-winning “Serpico,” in 1973 with Al Pacino, was De Laurentiis’ Hollywood debut. But by then, he already had two Italian-made Oscar-winners: Federico Fellini’s “La Strada” and “Nights of Cabiria” to his credit.
De Laurentiis was one of the first producers to understand the box-office potential of foreign audiences, and helped invent international co-productions, raising money by pre-selling distribution rights outside North America.
Throughout his career, he alternated lavish, big-budget productions with less commercial films by directors such as Robert Altman, Ingmar Bergman and David Lynch, and he often packaged the blockbusters with art films to secure distribution for the smaller films.
De Laurentiis was capable of bold, brilliant strokes and audacious risks. In his 80s, he could still pull off a major coup by snapping up the movie rights to “Hannibal,” novelist Thomas Harris’ sequel to hit “The Silence of the Lambs” (Anthony Hopkins, Jodie Foster).
One of six children, he was born in Torre Annunziata on the Bay of Naples on Aug. 8, 1919. When he was 16, he headed for Rome to study acting. When he was 18, he produced his first film. A few years later, he started his own production company in Turin.
The serious success began after World War II, starting with “Bitter Rice,” in 1948, which launched the career of his first wife, Silvana Mangano.
In 1950, De Laurentiis went into business with another rising director, Carlo Ponti. They soon dominated the Italian movie business, monopolizing top stars such as Mangano, Sophia Loren (who later married Ponti) and Marcello Mastroianni. Their first international production was the epic “War and Peace” (Henry Fonda, Audrey Hepburn, Mel Ferrer) in 1955.
He also teamed up with acclaimed New Wave directors. One of his most successful partnerships was with the legendary Federico Fellini. Together they made “La Strada” and “Nights of Cabiria,” Oscar winners for best foreign film in 1957 and 1958.
De Laurentiis built a huge new studio on the outskirts of Rome, called it Dinocitta (Dino city), and began producing spectacles with Hollywood stars: “Barrabas” (Anthony Quinn), “The Bible” (George C. Scott, Ava Gardner), “Anzio” (Robert Mitchum), “Waterloo” (Rod Steiger). He also made more offbeat fare, such as Roger Vadim’s sex romp, “Barbarella” (Jane Fonda).
The studio folded in 1972, the victim of rising costs and De Laurentiis left for United States, where he produced his formula of alternating grandiose spectacle with more sophisticated fare.
He got off to a strong start in the United States with “Serpico,” then followed it up with another success, “Three Days of the Condor,” a spy thriller starring Robert Redford.
But he was also battered by flops, including the infamous “Dune,” in 1984 and a truly awful “King Kong” sequel.
Personal tragedy also took its toll. In 1981, his son Federico was killed in a plane crash. “My father still to this day can’t speak of him. … He told me that every morning he wakes up and thinks of him,” De Laurentiis’ daughter Veronica said nearly 20 years after Federico’s death.
The strain of the loss helped end his marriage to Mangano. They were divorced in 1988, the same year De Laurentiis Entertainment Group went into bankruptcy, finished off by the flop of “King Kong Lives.”
Yet De Laurentiis, close to 70 years old, was undaunted and started over.
Within two years, he had a new wife, 29-year-old Martha Schumacher, formed a new company and started producing moneymakers again.
“My philosophy is very simple,” De Laurentiis once said. “To feel young, you must work as long as you can.”
Survivors include three daughters with Mangano – Rafaela, Francesca and Veronica – and two with Schumacher: Carolina and Dina. Funeral arrangements have not yet been determined.
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The last time Madonna was in Portland, she visited Pittock Mansion, hung out at the waterfront, poured candle wax on Willem Dafoe's genitals, and fucked an old man to death.
That's the plot of Body of Evidence, the alleged erotic thriller she shot here in 1992, but you'd be forgiven for forgetting. Critically eviscerated upon release, it quickly vanished from theaters, remembered only by the barely pubescent boys who'd come across it on cable and feel strangely aroused walking past Yankee Candle for years afterward. Along with the Sex book, Madonna's much-derided detour into softcore porn, the film represents one of the lowest points of her long reign as the Queen of Pop. But for Portland, it persists as an odd bit of local lore—that time, a decade before Portlandia and all the New York Times travel pieces, when one of the most famous people in the world came to town, and all she got was a crappy Basic Instinct ripoff.
In honor of Her Madgesty's return engagement—marking her first Portland performance since the Like a Virgin tour in 1985—we spoke to those who were there for our month with the Material Girl.
Stephen Simon, executive producer: I was the head of production of Dino De Laurentiis' film company. When I was working for Dino, we made a deal to distribute Madonna's Truth or Dare film outside the United States. We made a lot of money on it. Dino had a conversation with Madonna, then came to me and said, "Madonna wants to do a real sexy thriller. Find one." I don't remember the exact number, but basically he said, "With her being as famous as she is, and as well as Truth or Dare did, we can pre-sell this for $18 million. So you've got to make this movie for $15 million." At that point, Dino didn't really much care how the movie was going to be.
David Woolson, former executive director of the Oregon Film & Video Office: There was an intense focus around that film because it was really her first starring role after Desperately Seeking Susan. It was wild.
Simon: We didn't want to be in L.A. because it's too expensive. Portland had a lot of the moodiness that we wanted. She was going to live on a houseboat, so putting a houseboat in the Willamette was easy.
With the news that Madonna would be living in Portland for four weeks, local media promptly went into hyperdrive, with The Oregonian announcing "Madonna Watch," asking readers to submit their most "candid photos" of the singer. To counteract the press frenzy, city officials set up a press conference at the Benson Hotel prior to shooting.
Mike Lindberg, ex-City Commissioner: The theory was that she, along with Willem Dafoe, can have this one-time, major interview where they were introduced and could answer questions, and that would take the air of future inquiries the press might be making. I was, oddly enough, in a political campaign for re-election. When it came up in my office, my campaign manager said, "Why don't you give her the key to the city and get some publicity for yourself?"
Mindy Leek, Lindberg's campaign manager: I had worked on the periphery of the film industry, and I just thought, "Let's have some fun with it." I had someone at this prop shop produce it for me.
Lindberg: It was about 2 ½, 3-feet high, made out of Styrofoam, and it had a black-knit stocking with a garter belt and a rose in the crotch. I kinda looked at it and went, "Oh my gosh." Somebody introduced me, and then I stood up and someone delivered the key. She looked somewhere between horrified and disdainful. I got more negative letters about that issue than anything else I had done on the City Council.
Shooting commenced in April 1992. Locations included Pittock Mansion, City Hall, Old Town, various private residences and a downtown karate dojo.
Corey Brunish, Portland actor: I landed a role, and it's much ado about nothing. They went out and spent about $1,000 on my wardrobe, and I literally have one line you don't really hear too clearly.
Simon: I hired a guy to be the head of security for Madonna named Pete Weireter. If you Google him, you'll find Pete was the police negotiator who finally got O.J. out of the Bronco. He brought a contingent of guys with him from L.A. to form her security detail.
Brunish: My first day on the set, I was walking down the hall, and the next thing you know, I get stiff-armed by this bodyguard, and who's behind him, kind of sashaying along, but Madonna. She had this little smirk on her face as she noted the shock on my face, and I felt like saying, "Yeah, I work here. You don't need to be pushing me out of the way. I'm not going to assault you." But, of course, I didn't say anything.
Lindberg: Some of the shooting was happening in City Hall. On the first floor, there was an auditor's office, and the auditor was on vacation. When the auditor returned from vacation, her desk was kind of cleared off, and they left a note for her that said, "We hope it's OK, but they wanted to do a big sex scene with Madonna, and they wanted to do it on a desk." He just made up the story. She ran out of her office with that note yelling, "Who did this?! Who authorized this?!"
According to Simon, Madonna was not at all the sex-crazed diva of public perception; she spent most of her time off the set jogging along the waterfront. Of course, that didn't stop rumors from circulating.
Brunish: I heard she went to [Embers] nightclub, and she literally would pick someone on the dance floor, take them out to her limo, screw them, go back to the dance floor, pick someone else, take them out to her limo and screw them. I heard she did this all night long. Apparently, she liked to pick up gay men. Of course, they weren't going to turn her down. No one can prove it, but it sounds great to me.
Steve Suss, Embers owner: She's been in the building, but I do not recall her coming in during the filming of that movie.
Brunish: The only other story I have about Madonna is also hearsay, but I believe it. She was famous at the time for not doing autographs under any circumstances. So a makeup woman, who'd worked with her for a month or so, very shyly went up to her with a photo at the end of the shoot and said, "Excuse me, I'm sorry to bother you, I know you don't do autographs, but I was wondering if you might make an exception." Madonna takes the photo, takes the pen, signs it and walks away. This girl is thrilled. She looks at the signature, and it says "Fuck you."
Body of Evidence was released in January 1992, just barely missing an NC-17 rating.
Simon: We had a very interesting thing happen with this film. We start finishing the editing, and Madonna's Sex book came out. There was an enormous uproar about that book. The folks who ran MGM were very concerned about what it would do to the potential box office of the film. People's views of Madonna had changed radically because of the book. But the critics were waiting for it anyway. The book had nothing to do with it, and the film was really savaged by the critics.
Woolson: While the film was panned, as I used to say, we don't write the films, we just recruit them.
Simon: My wife had never seen Body of Evidence when we got married. She has always kidded me: "If I had seen it before we got married, I'm not sure I would've married you."
After Body of Evidence came and went, Stephen Simon moved to Ashland, and later co-founded the Spiritual Cinema Circle. He now lives in West Linn.
Simon: This is actually one of the reasons I got out of Hollywood, even though I really enjoyed making that movie. But that's not the kind of subject matter I wanted to be involved with. I have always been attracted to things that have a spiritual quotient in them, that can wind up being very uplifting. There was nothing spiritual or uplifting about Body of Evidence—except for the fact that Dino made the money he wanted and I did my job.
SEE IT: Madonna plays the Moda Center, 1 N Center Court St., on Saturday, Oct. 17. 8 pm. $40-$355. All ages.
Willamette Week
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Veteran Italian film producer Dino De Laurentiis died in Beverly Hills yesterday at the age of 91.
In a prolific career where he produced nearly 150 films and worked with a dazzling array of directors, including Ingmar Bergman, Federico Fellini, John Huston, Roberto Rossellini, Robert Altman, Sidney Lumet, David Cronenberg, Sidney Pollack and David Lynch.
After producing his first film L’ultimo Combattimento (1940) he formed his own company, the Dino de Laurentiis Cinematografica, in 1946.
The early part of his career was notable for the Fellini classics La Strada (1954) and Nights of Cabiria (1956), which he produced alongside fellow Italian Carlo Ponti.
But by the 1960s he had moved firmly into the commercial realm, setting up his own studio complex Dinocitta, as a rival to the established Cinecitta studio in Rome.
However, a slump in the Italian film industry saw De Laurentiis move to Hollywood, where he embarked on a mixture of acclaimed films and big budget schlock.
Amongst the best films of this era were Serpico (1973), Three Days of the Condor (1975), The Shootist (1976) and The Serpent’s Egg (1977).
Death Wish (1973) remains controversial, although it was a commercial success but the ill-advised remake of King Kong (1976) and the lamentable Jaws cash-in Orca (1977) were low points.
In the 1980s he continued to mix commercial projects such as Flash Gordon (1980), Conan the Barbarian (1982) and Dune (1984) with more acclaimed films like Ragtime (1981), Blue Velvet (1986) and Manhunter (1986).
Although early to the Hannibal Lecter franchise with Manhunter (1986), he missed out on the box office and Oscar success of The Silence of the Lambs (1991).
He didn’t want to repeat the mistake and subsequently bought the rights to Hannibal (2001), Red Dragon (2002) and Hannibal Rising (2007), although they were a classic example of the law of diminishing returns.
In 2001 he received the Irving G. Thalberg Memorial Award from the Academy of Motion Picture Arts and Sciences.
He was married to actress Silvana Mangano, with whom he had four children: Veronica, Raffaella, Federico and Francesca.
After divorcing in 1988, he later married movie producer Martha Schumacher in 1990, with whom he had two daughters, Carolyna and Dina.
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When was celebrity dino de laurentiis born ? Dino De Laurentiis was born on August 8, 1919. Learn more about laurentiis' dino personality What is the
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Dino De Laurentiis is an Italian film producer who rose to prominence for his visionary talent and entrepreneurial spirit. Born on August 8, 1919 in Torre Annunziata, Italy, De Laurentiis initially worked in the Italian film industry before moving to Hollywood in the 1950s. He quickly gained a reputation for his ability to spot talent promising and to produce daring and innovative films. His production company, the Dino De Laurentiis Company, produced iconic films such as “Barabbas” (1961), “Battle Beyond the Stars” (1977) and “Hannibal” (2001), to name a few. some. De Laurentiis won numerous awards during his career, including an Oscar for best foreign film for Federico Fellini’s “La Strada” (1954). His lasting impact on the film industry is undeniable, and his fame is a reflection of his talent and major contribution to the art of cinema.
Dino De Laurentiis (1919-2010) was a famous Italian film producer who left his mark on the film industry with his passion and talent. Born in Torre Annunziata, near Naples, De Laurentiis began his career in cinema at a young age working as an assistant director. Over the years he has managed to become one of the most influential producers in the history of Italian and international cinema. De Laurentiis has produced a wide range of successful films in different genres, from comedy to horror to drama. He is particularly known for producing films such as “La Strada” by Federico Fellini, which won the Oscar for best foreign film in 1957, and “Barabbas” with Anthony Quinn.
He also collaborated with famous directors like David Lynch for the cult film “Dune” and Sydney Pollack for “Out of Africa”, which won the Oscar for best film in 1986. Beyond his work in the industry cinematographer, De Laurentiis was also a successful businessman. He founded several production studios, including the famous “De Laurentiis Entertainment Group” and “Dino De Laurentiis Company”. His passion for cinema and his determination made him an emblematic figure of the seventh art, leaving behind an unforgettable cinematic legacy.
Dino De Laurentiis, full name Agostino De Laurentiis, was a famous Italian film producer. Born on August 8, 1919 in Torre Annunziata, Italy, De Laurentiis came from a family of butchers. Coming from a modest family, he began his career working in a family butcher’s shop before entering the world of cinema. His father Luigi was a butcher, and his mother, Cristina, was a housewife. Dino had two brothers, Luigi and Gualtiero, who also worked in the family butcher’s shop. His destiny, however, was influenced by his uncle, Luigi De Laurentiis, who was already in the film industry. Dino De Laurentiis’ journey was impressive.
After starting as a production assistant, he founded his own production company, Dino De Laurentiis Cinematografica, in 1946. He produced over 500 films during his career, collaborating with renowned directors and actors such as Federico Fellini , Roberto Rossellini, Sergio Leone, Sofia Loren and Anthony Quinn, to name a few. His work has earned him numerous awards and international recognition. Dino De Laurentiis also ventured into the American market and produced successful films such as “Conan the Barbarian” and “Hannibal”. He died on November 10, 2010 at the age of 91 in Beverly Hills, leaving behind an impressive cinematic legacy. Her family continues to carry on her legacy in the film industry, with her daughter, Raffaella De Laurentiis, also serving as a producer.
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Dino De Laurentiis
Agostino "Dino" De Laurentiis (Italian: [ˈdiːno de lauˈrɛnti.is]; 8 August 1919 – 10 November 2010) was an Italian film producer and businessman who held both Italian and American citizenship. Following a brief acting career in the late 1930s and early 1940s, he moved into film production; alongside Carlo Ponti, he brought Italian cinema to the international scene in the post-World War II period. He produced or co-produced over 500 films, with 38 of his Hollywood films receiving Academy Award nominations . Read more on Wikipedia
Since 2007, the English Wikipedia page of Dino De Laurentiis has received more than 2,672,233 page views. His biography is available in 42 different languages on Wikipedia (up from 40 in 2019) . Dino De Laurentiis is the 5th most popular producer (down from 4th in 2019), the 892nd most popular biography from Italy (up from 894th in 2019) and the 2nd most popular Italian Producer.
Dino De Laurentiis is most famous for his work in the film industry. He was a producer, director, and actor.
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https://www.britannica.com/biography/Dino-De-Laurentiis
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Dino De Laurentiis | Biography, Films, & Facts
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Dino De Laurentiis, Italian-born American film producer known for his prolific output of films ranging from the populist to the cerebral. In Italy he produced La Strada, and he was behind the American production of such films as Serpico, Ragtime, and Blue Velvet, among many others.
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en
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/biography/Dino-De-Laurentiis
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Dino De Laurentiis (born August 8, 1919, Torre Annunziata, Italy—died November 11, 2010, Beverly Hills, California, U.S.) was an Italian-born American film producer known for his prolific output of films ranging from the populist to the cerebral.
De Laurentiis—one of seven children—was raised near Naples. After leaving school at age 15, he briefly worked for his father, a pasta manufacturer, before attending the Centro Sperimentale di Cinematografia, a film school in Rome. He acted and performed odd jobs on film sets before producing his first film at age 20. He scored his first hit with Riso amaro (1949; Bitter Rice), a drama about Italian rice-field workers that was dominated by the sensuous presence of Silvana Mangano, his future wife.
Britannica Quiz
Oscar-Worthy Movie Trivia
De Laurentiis formed a joint production company with fellow producer Carlo Ponti and produced films such as Federico Fellini’s La strada (1954) and Le notti di Cabiria (1957; The Nights of Cabiria), both of which won Academy Awards for best foreign-language film. In 1964 he opened a studio, Dinocittà, where he made several epics; their lack of success, combined with increasingly stringent nationalist restrictions on film production, forced him to sell the studio in the early 1970s. By that time, he had established strong relations with American studios, particularly Paramount Pictures, which distributed Romeo and Juliet (1968) and Barbarella (1968).
De Laurentiis then moved to the United States, where he produced such popular films as the crime drama Serpico (1973)—the rights to which he acquired when the biography upon which it was based was only a 20-page draft—Death Wish (1974), Three Days of the Condor (1975), and King Kong (1976), as well as Ragtime (1981), a critically lauded adaptation of E.L. Doctorow’s novel. In 1984 he opened another film studio in Wilmington, North Carolina, and—after engineering the De Laurentiis Entertainment Group (DEG), an umbrella company—he opened production offices in Australia. DEG failed four years later, though it managed to release such classics as director David Lynch’s Blue Velvet (1986) and Bill and Ted’s Excellent Adventure (1989).
However, the production company he cofounded (1983) with his future wife, Martha Schumacher, survived to produce cult classics such as Army of Darkness (1992). De Laurentiis had also acquired the rights to Thomas Harris’s novels about serial killer Hannibal Lecter, and, though he was not involved with the production of The Silence of the Lambs (1991), he produced Manhunter (1986)—later remade as Red Dragon (2002)—Hannibal (2001), and Hannibal Rising (2007).
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https://www.independent.co.uk/news/obituaries/dino-de-laurentiis-film-producer-crucial-to-italys-cinematic-resurgence-who-also-enjoyed-hollywood-success-2131709.html
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Dino De Laurentiis: Film producer crucial to Italy's cinematic resurgence who also enjoyed Hollywood success
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2010-11-12T00:00:01+00:00
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Few producers in the history of cinema could stake a better claim to F Scott Fitzgerald's title of "the last tycoon" than Dino De Laurentiis, the Italian mogul whose career spanned more than 60 years and whose vast output of films made him a legendary figure both in Europe and America. Best known for his flamboyant production of War and Peace with AudreyHepburn, and the Biblical epics Barabbas (1961) with Anthony Quinn, and The Bible: In the Beginning (1966), directed by and starring John Huston, De Laurentiis was also an important figure in the Italian film industry's postwar renaissance, a fact acknowledged by Federico Fellini, who noted: "Paradoxically, Italian cinema was healthier during the period of the great adventurers, people like Peppino Amato, Dino De Laurentiis, Carlo Ponti and Angelo Rizzoli, who were successful at producing films in the grand style, which stood comparison with Hollywood productions."
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The Independent
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https://www.independent.co.uk/news/obituaries/dino-de-laurentiis-film-producer-crucial-to-italys-cinematic-resurgence-who-also-enjoyed-hollywood-success-2131709.html
|
Few producers in the history of cinema could stake a better claim to F Scott Fitzgerald's title of "the last tycoon" than Dino De Laurentiis, the Italian mogul whose career spanned more than 60 years and whose vast output of films made him a legendary figure both in Europe and America. Best known for his flamboyant production of War and Peace with AudreyHepburn, and the Biblical epics Barabbas (1961) with Anthony Quinn, and The Bible: In the Beginning (1966), directed by and starring John Huston, De Laurentiis was also an important figure in the Italian film industry's postwar renaissance, a fact acknowledged by Federico Fellini, who noted: "Paradoxically, Italian cinema was healthier during the period of the great adventurers, people like Peppino Amato, Dino De Laurentiis, Carlo Ponti and Angelo Rizzoli, who were successful at producing films in the grand style, which stood comparison with Hollywood productions."
Dino De Laurentiis was born in the small coastal town of Torre Annunziata, near Naples, the son of a pasta-maker. Following a brief spell as a truck driver, he moved to Rome in 1937 to study acting at the Centro Sperimentale di Cinematografia, Italy's leading film school. After brief spells as an extra, an actor – he appeared in a small role in Mario Camerini's Batticuore (Palpitations, 1938), an assistant director, and a production manager, De Laurentiis served notice of his ambition by founding his own production company, Cine Real, in 1941 at the age of 22, before joining Riccardo Gualino's Lux Film as an executive producer the following year, where he supervised a number of hits, including Alberto Lattuada's Il bandito (1946), and Camerini's La figlia del capitano (The Captain's Daughter, 1947).
In 1948, De Laurentiis enjoyed worldwide success with Giuseppe DeSantis's Riso amaro (Bitter Rice), a lurid blend of melodrama and neorealism which made much of the scantily clad charms of leading lady Silvana Mangano as a migrant worker desired by both Vittorio Gassman and RafVallone. That same year, De Laurentiis expanded his operations withthe acquisition of Safir Studios and the creation of a new company, Teatri della Farnesina.
Following his marriage to Mangano in 1949, De Laurentiis entered into partnership with Carlo Ponti, a lawyer and former colleague at Lux, to form Ponti-De Laurentiis Cinematografica in 1950. Over the next seven years, their company was at the forefront of the Italian film industry, backing nearly every type of movie, from the arthouse ventures of Roberto Rossellini and Federico Fellini (the latter's La strada, 1954, and Nights of Cabiria, 1957, both collected Academy Awards for best foreign film), to the enormously popular comedies of the Neapolitan comic Toto.
However, it was De Laurentiis's ability to attract American stars and investment that ensured his position as the leading Italian producer of his day. His films of Ulysses (1954), with Kirk Douglas, and War and Peace (1956) were long-cherished projects (De Laurentiis had determined to film both works after reading them on Capri in 1943 during his period of military service) which helped earn Cinecitta studios in Rome the unofficial title of "Hollywood on the Tiber", as American companies took advantage of the low costs and high-quality technical services to reinvest their Italian earnings in co-production deals. So greatly was De Laurentiis himself identified with this development, that a joke soon circulated in Hollywood to the effect that "a Dino De Laurentiis Production is a Hollywood team on location in Rome".
His higher profile, however, led to friction with Ponti, who in 1957 married Sophia Loren and departed for America. De Laurentiis, the morecreative of the pair, carried on in his accustomed manner, opening theDe Laurentiis Studios (quickly dubbed "Dinocitta") on the outskirts of Rome, and producing or co-producing films as varied as Eduardo De Filippo'sFortunella (1958), Mario Monicelli'sLa grande guerra (The Great War, 1959), Guy Hamilton's The Best of Enemies (1961) with David Niven, Carlo Lizzani's The Hills Run Red (1966), Mario Bava's Danger: Diabolik (1967), LuchinoVisconti's The Stranger (1967), Edward Dmytryk's The Battle For Anzio(1968) with Robert Mitchum, and Roger Vadim's Barbarella (1968). In addition, De Laurentiis oversaw virtually all of popular comic star Alberto Sordi's best films, made between 1960 and 1965.
In the early 1970s, following a number of reverses that included his gargantuan Italo-Russian co-production Waterloo (1970), with Rod Steiger as Napoleon, and faced with rising costs, De Laurentiis was forced to sell Dinocitta to the Italian government. In a typically audacious move, he relocated to Hollywood, where he was soon enjoying success as the executive producer of Sidney Lumet's Serpico (1973) with Al Pacino, Michael Winner's The Stone Killer (1973) and Death Wish (1974), both with Charles Bronson, and Don Siegel's The Shootist (1976), which was John Wayne's last film.
That same year, 1976, De Laurentiis set up a new company, the De Laurentiis Entertainment Group, based principally in North Carolina, for which he produced a typically hit-and-miss selection. Notorious financial fiascos such as his entirely superfluousremakes of King Kong (1976) and The Hurricane (1979), and David Lynch's sci-fi epic Dune (1984) were balanced to some extent by reasonably popular efforts like Mike Hodges' Flash Gordon (1980) and John Milius's Conan the Barbarian (1982), while critical plaudits were won for Milos Forman's Ragtime (1981), Lynch's Blue Velvet (1986), and Curtis Hanson's The Bedroom Window (1987). But by 1988, and in the wake of yet another simian disaster in the shape of King Kong Lives! (1986), the failures outstripped the successes to such an extent that De Laurentiis was forced to resign from DEG, which then filed for bankruptcy.
Undaunted, he returned to Hollywood, setting up offices in Universal Studios from where, fuelled by espresso (from his own imported machine) and three cigars a day, he presided over the Sylvester Stallone vehicles Assassins (1995) and Daylight (1996), as well as Ridley Scott's Hannibal (2001), the sequel to The Silence of the Lambs. In 2002, he oversaw Anthony Hopkins's final portrayal of Hannibal Lecter in Red Dragon before attempting to extend the series with the unsuccessful Hannibal Rising in 2007.
One of his last productions was an adaptation of Valerio Massimo Manfredi's The Last Legion, starring Colin Firth and Ben Kingsley. After more than six decades in the film business, De Laurentiis's evident delight in his chosen field remained undiminished: "Cinema", he once said, "is something you have to love with your guts. Otherwise, forget it. It demands 100 per cent of your attention. But it's the biggest toy that adults have, and that's why it will never die."
John Exshaw
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https://www.brookstonecreativegroup.com/stephen-simon-biography/
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Brookstone Creative Group
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http://www.brookstonecreativegroup.com/wp-content/uploads/2019/01/Stephen-Simon.jpg
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Stephen Simon - Biography - Brookstone Creative Group
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Brookstone Creative Group
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https://www.brookstonecreativegroup.com/stephen-simon-biography/
|
In over 40 years as a producer, director, and production executive, Stephen Simon has been involved in the production of over 20 films.
Stephen personally produced such acclaimed projects as the Academy Award® winning What Dreams May Come (starring Robin Williams and Cuba Gooding Jr.), Somewhere in Time (Christopher Reeve and Jane Seymour), and All The Right Moves (Tom Cruise).
Stephen was also co-executive producer on fan favorites Bill and Ted’s Excellent Adventure and Bill and Ted’s Bogus Journey (Keanu Reeves), produced She’s Out of Control (Tony Danza), executive produced Body of Evidence (Madonna), produced the first original film to premiere on the Internet (Quantum Project), starring John Cleese and Stephen Dorff, was an executive producer on Linda McCartney for CBS Television, and was nominated for an Emmy Award as one of the executive producers of Homeless to Harvard for Lifetime Television.
Stephen was the head of production of the film companies owned by legendary Hollywood producers Ray Stark (Funny Girl, The Goodbye Girl, The Way We Were) and Dino De Laurentiis (Serpico, La Strada, 3 Days of The Condor).
As an executive, Stephen supervised the development and/or production of films such as Smokey and The Bandit and The Electric Horseman.
Stephen also directed and produced Indigo and the film version of Conversations with God.
In 2004, Stephen co-founded The Spiritual Cinema Circle (www.spiritualcinemacircle.com), a monthly DVD distribution service that became an immediate international success. The Circle is now in its 16th year with subscribers in all fifty United States and dozens of other countries.
Stephen has been a voting member of the Academy of Motion Pictures Arts and Sciences since 1984.
Stephen’s first book, The Force is With You, was published by Hampton Roads in 2002 and his second book Bringing Back The Old Hollywood was published in 2011.
Stephen was born into a successful Hollywood family. His father, S. Sylvan Simon, was a producer/director who made films with stars such as Abbott and Costello, Lana Turner, and Red Skelton. He worked as both a producer and an executive at Columbia Pictures under the legendary Harry Cohn, producing films such as Born Yesterday, the 1950 film that garnered a Best Actress Oscar for star Judy Holliday.
Sylvan Simon died when Stephen was four years old, an event which compelled Frank Sinatra to become Stephen’s “godfather”.
Stephen’s mother Harriet remarried Armand Deutsch, a film producer at MGM who produced films with stars such as Robert Taylor, James Stewart, and Grace Kelly.
Armand Deutsch adopted Stephen, changing Stephen’s last name to Deutsch. In 1996, Stephen legally changed his name back to Simon.
Stephen earned his Bachelor of Arts Degree from UCLA in 1971 and a Law Degree from Loyola Law School in Los Angeles in 1974. After being admitted to the California Bar in 1974, he practiced law briefly before entering the film industry in 1976.
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https://letterboxd.com/executive-producer/dino-de-laurentiis/
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Films executive produced by Dino De Laurentiis
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Films executive produced by Dino De Laurentiis
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en
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https://letterboxd.com/executive-producer/dino-de-laurentiis/
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Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account—for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages (example), the ability to select (and filter by) your favorite streaming services, and no ads!
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Movies Produced by Dino De Laurentiis
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List of popular Dino De Laurentiis movies, listed here by prominence with movie trailers when available. Various bits of information about these films are ...
|
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|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/films-produced-by-dino-de-laurentiis-producer/reference
|
List of popular Dino De Laurentiis movies, listed here by prominence with movie trailers when available. Various bits of information about these films are included with each film, such as the actors that starred in them and who directed them. This list of famous films Dino De Laurentiis produced includes both blockbusters and independent movies. Use this list to find out what movies Dino De Laurentiis produced and how many movies Dino De Laurentiis produced. While this may not be a complete list of every movie Dino De Laurentiis produced, all well-known Dino De Laurentiis producer credits are included.
Films here include everything from Hannibal to Three Days of the Condor.
This list answers the questions, "What movies has Dino De Laurentiis produced?" and "What are the best Dino De Laurentiis movies?"
|
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202
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dbpedia
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1
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https://www.oldfloridabookshop.com/product/14635/Dino-The-Life-and-Films-of-Dino-de-Laurentiis-Signed
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Dino: The Life and Films of Dino de Laurentiis [Signed]
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Signed by Dino to half title. Black cloth over grey paper with accompanying dustjacket wrapped in mylar. Book Soup sticker to front cover indicating where it wa
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/assets/images/favicons/favicon.ico
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Virginia Book Shop
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Signed by Dino to half title. Black cloth over grey paper with accompanying dustjacket wrapped in mylar. Book Soup sticker to front cover indicating where it was signed at (see image), along with a Book Soup bookmark. A nice clean copy without previous owners' names or other markings. Dust jacket present. First Edition.
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202
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dbpedia
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1
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https://www.dailyrecord.co.uk/entertainment/celebrity/cult-movie-producer-dino-de-1075464
|
en
|
Cult movie producer Dino De Laurentiis dies aged 91
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[
"Celebrity News"
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[
"Rick Fulton",
"www.dailyrecord.co.uk",
"rick-fulton"
] |
2010-11-12T00:00:00+00:00
|
HOLLYWOOD legend Dino De Laurentiis, who produced cult films Flash Gordon and Dune, has died aged 91.
|
en
|
https://s2-prod.dailyrecord.co.uk/@trinitymirrordigital/chameleon-branding/publications/dailyrecord/img/favicon.013e9710c3385915.ico
|
Daily Record
|
https://www.dailyrecord.co.uk/entertainment/celebrity/cult-movie-producer-dino-de-1075464
|
Hollywood legend Dino De Laurentiis, who produced cult films Flash Gordon and Dune, has died aged 91.
He began his career in Italy working with Roberto Rossellini and won an Oscar for producing Federico Fellini's 1954 film La Strada.
After moving to the US in the 1970s, he oversaw Serpico, Death Wish and the 1976 remake of King Kong.
He also produced four films the serial killer Hannibal Lecter.
Rome International Film Festival founder Walter Veltroni said: "Cinema has lost one of its greats.
"The name of Dino De Laurentiis is tied to the history of cinema."
The son of pasta makers, De Laurentiis was born in Torre Annunziata, near Naples.
After serving in the Italian army during World War II, he founded Dino De Laurentiis Studios in 1947.
In the 1950s he began work on such epic films as Ulysses with Kirk Douglas and War And Peace with Audrey Hepburn.
He went on to build a studio in Rome called Dinocitta, hoping to rival the city's famous Cinecitta facility.
There he made a number of films, including Barbarella, but a string of flops prompted him to move to the US.
He swiftly made a name for himself as the purveyor of epic, slightly camp blockbustfeaturing ers like Flash Gordon and the much-derided King Kong.
The 1980s saw him make Conan The Barbarian with Arnold Schwarzenegger.
He also made Manhunter, the first film with Hannibal "The Cannibal", going on to produce a sequel (Hannibal), a remake (Red Dragon) and a prequel (Hannibal Rising).
He received the Irving Thalberg Memorial award at the 2001 Oscars.
He is survived by wife Martha, their two children and four kids from his first wife Silvana Mangano.
|
||||
202
|
dbpedia
|
3
| 33 |
https://variety.com/2010/film/markets-festivals/dino-de-laurentiis-dies-at-91-1118027321/
|
en
|
Dino De Laurentiis dies at 91
|
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[
"Richard Natale"
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2010-11-11T13:48:37+00:00
|
Dino De Laurentiis, who died Wednesday evening at his Beverly Hills home, leaves a legacy of showmanship and international financing innovations that will arguably be as long-lasting and influential as any of his films.
|
en
|
Variety
|
https://variety.com/2010/film/markets-festivals/dino-de-laurentiis-dies-at-91-1118027321/
|
Dino De Laurentiis, who died Wednesday evening at his Beverly Hills home, leaves a legacy of showmanship and international financing innovations that will arguably be as long-lasting and influential as any of his films.
De Laurentiis, who was 91, was one of the first producers to make an art of the foreign pre-sale in financing films and to supply the studios with international co-productions. The first of De Laurentiis’ epic films was the 1956 “War and Peace,” directed by King Vidor and starring Audrey Hepburn and Henry Fonda. A decade later, his international epics and his financing strategies flowered with titles like “The Bible” (1966), “Barbarella” (1968), “Flash Gordon” (1980), “Ragtime” (1981), “The Bounty” (1984), David Lynch’s $45 million “Dune” (1984) and perhaps most famously, his 1976 remake of “King Kong,” starring Jeff Bridges and a then-unknown Jessica Lange.
Though few of these were big box office performers, and critical reaction was mixed, he turned each of them into an “event” by wooing the press, throwing splashy events at international festivals such as Cannes, and relentlessly beating the PR drum.
He was so prolific his films were artistically all over the map, ranging from two Federico Fellini classics — “La Strada” (1954) and “Nights of Cabiria” (1957) — to “Death Wish” (1974) and “Serpico” (1973). Along the way, there were plenty of crime capers, gangster movies and exploitation pics with such titles as “Kiss the Girls and Make Them Die” and “Goliath and the Vampires.”
At the age of 22, he produced his first film, “L’amore canta” (1941), financed independently in Turin. He founded Real Cine in Turin that year and became exec producer of Lux Film in 1942.
He was one of the first producers of neo-realist films after the war, including 1945’s “La miserie del Signor Travet,” “Il bandito,” “La fighlia del capitano” and “Il brigante Musolino.” His first international success came in 1949 with “Bitter Rice,” a mixture of neo-realism and eroticism.
In a 2009 interview with Variety, De Laurentiis said the producer’s role is “to create a dream.” Talking about Italy’s post-war filmmaking scene, he said: “After the war, there was no industry. We lost the war. We had our whole city destroyed. No money. No studio. No film. No camera. No equipment. We would shoot in the street. We had no actors. Nothing. But we wanted to do movies. And we did the best movies in the world.”
In the early ’50s, he joined forces with Carlo Ponti on such films as “Anna,” and “Il lupo della sila.” Their 1954 “Ulysses” starring Kirk Douglas did nothing to bolster his international status.
But the 1954 Fellini production “La strada,” starring the helmer’s wife, Giulietta Masina, was a major event, winning the Grand Prize at the Venice Film Festival, the New York Film Critics Award and the Oscar for foreign-language film. De Laurentiis earned a second Oscar for Fellini’s “Nights of Cabiria” the following year, though he pulled out of producing “La Dolce Vita” (1960), Fellini’s biggest international success.
De Laurentiis also made gritty urban action films, including “Serpico,” “Three Days of the Condor” and “Death Wish,” which was a major success and spawned numerous sequels.
He was born Agostino De Laurentiis in Torre Annunziata, a small town near Naples. His family planned for him to take over its pasta manufacturing business, but the 17-year-old ran away to Rome and enrolled in the Cento Sperimentale di Cinematografia with plans to be an actor. His father cut off his allowance, but De Laurentiis persevered (he would eventually bring brothers Luigi and Alfredo into the business), working his way through school.
The budding thesp soon moved behind the scenes, working as an assistant director and unit production manager.
De Laurentiis was nothing if not visionary. He built Dinocitta, a $25 million state-of-the-art production facility outside Rome, in 1964, though it later went bankrupt.
In the mid-’90s he moved Stateside to make films and created De Laurentiis Entertainment. He bought the Embassy library and built production facilities in North Carolina. DEG went bankrupt by the end of the decade, plagued by costly failures. It was just one of many independent distribution entities that failed to compete effectively with the major studios.
But he never stopped working. De Laurentiis Communications was founded in 1990 and produced several not-so-successful films including 1993’s “Body of Evidence,” starring Madonna. He even reopened Dinocitta at one point.
Rarely using his own money and creating handsome terms for himself on his productions, De Laurentiis enjoyed a comfortable life. He married his “Bitter Rice” star Silvana Mangano in 1949. After they divorced 34 years later, he wed 33-year-old producer Martha Schumacher, who was president of his new production company, with daughter Rafaella De Laurentiis as head of production.
According to Martha De Laurentiis, “It’s not that he cares about the money least, but he cares about it last.”Dino De Laurentiis agreed. “To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.”
Of the hundreds of films he oversaw, some were terrible, many are forgotten, but the list of notable efforts also include Fellini’s “Casanova” (1976), Bergman’s “The Serpent’s Egg” (1977), Robert Altman’s “Buffalo Bill and the Indians” (1976) and David Lynch’s “Blue Velvet” (1986).
His work continued through “Hannibal Rising,” a 2007 prequel to the Hannibal Lecter saga.
That film resulted from a long and bitter suit that he waged against Universal over sequel rights to “Silence of the Lambs,” which eventually allowed him to produce another film giving U first right of refusal. He continued working on several film projects until his death.
At the ceremony for the 2000 Oscars, he was awarded the prestigious Irving Thalberg Award.
“My grandfather was a true inspiration. He was my biggest champion in life and a constant source for wisdom and advice,” said granddaughter Giada De Laurentiis, a Food Network host and author.
A son, Federico, died in 1981 in a mid-air plane collision in Alaska while shooting a wildlife documentary. Aside from his wife and daughter Raffaella, he is survived by four other daughters, three sisters, five grandchildren including Giada, and two great-grandchildren.
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Dino De Laurentiis Film buying, selling or collecting? Manage your Dino De Laurentiis collection in the catalogue on LastDodo.
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Legendary movie producer Dino De Laurentiis dies
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2010-11-12T00:00:00+05:00
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LOS ANGELES Oscar-winning Italian film producer Dino De Laurentiis, who brought 500 films to the big screen ...
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DAWN.COM
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http://beta.dawn.com/news/820130/legendary-movie-producer-dino-de-laurentiis-dies
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LOS ANGELES Oscar-winning Italian film producer Dino De Laurentiis, who brought 500 films to the big screen including “La Strada”, “Serpico” and “Three Days of the Condor”, died at age 91 on Wednesday night.
De Laurentiis, who produced several Italian classics such as Federico Fellini's “La Strada”, for which he won an Oscar in 1957, died at his Beverly Hills home.“Dino De Laurentiis, patriarch of the De Laurentiis family, Academy Award-winning producer and film legend, died on Nov 10 at his home in Beverly Hills, California, surrounded by family. He was 91,” his Hollywood producer daughter Raffaella De Laurentiis said in a statement.
The cause of death was not immediately known.
The filmmaker's granddaughter Giada, a chef who hosts a show on the US Food Network TV channel, called him a “true inspiration”.
“He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly,” Giada De Laurentiis said.—Reuters
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Film producer Dino De Laurentiis dies
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[
"CBC Arts"
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2010-11-11T17:02:00+00:00
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Dino De Laurentiis, the Italian film producer who became a legend with movies such as Serpico, Death Wish and Hannibal, has died. He was 91.
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/a/apple-touch-icon.png
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CBC
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https://www.cbc.ca/news/entertainment/film-producer-dino-de-laurentiis-dies-1.960678
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Dino De Laurentiis, the Italian film producer who became a legend with movies such as Serpico, Death Wish and Hannibal, has died. He was 91.
De Laurentiis died Wednesday in Los Angeles surrounded by family, according to his daughter, Raffaella De Laurentiis. No cause of death has been released.
He won an Oscar for producing Federico Fellini's film La Strada in 1957 and was awarded the Irving G. Thalberg Memorial award for lifetime achievement by the Academy of Motion Picture Arts and Sciences in 2001.
"Cinema has lost one of its greats," said Walter Veltroni, former mayor of Rome and a founder of the International Rome Film Festival.
"The name of Dino De Laurentiis is tied to the history of cinema," he told the AFP news agency.
De Laurentiis began his career at age 20 in Italy, working with Carlo Ponti and Roberto Rossellini. He hit it big with Riso Amaro (Bitter Rice) in 1949.
In the 1950s, he saw the potential of reaching an international market and worked on epic films such as Ulysses with Kirk Douglas and War and Peace with Audrey Hepburn. Simultaneously, he was working with New Wave Italian directors such as Fellini.
He went on to build a studio in Rome called Dinocitta, hoping to rival the city's famous Cinecitta facility. He produced successes such as Barbarella and Kiss the Girls and Make Them Die, but also suffered a string of flops that resulted in financial difficulties.
In the 1970s, he moved to the U.S., where he formed the Di Laurentiis Entertainment Group in North Carolina. The studio made films such as Conan the Barbarian, Three Days of the Condor, Ragtime and Blue Velvet.
De Laurentiis is associated with adaptations of Stephen King novels, such as The Dead Zone and Silver Bullet, as well as four of the Hannibal Lecter films, including Manhunter, Hannibal and Red Dragon.
He produced more than 160 films in a career that stretched from the 1940s to 2007 and became known for huge spectacle films. He particularly like backing film adaptations of popular novels, such as the sci-fi series Dune and Barabbas.
Ever the entrepreneur, he took huge risks with some of his projects and was forced to sell DEG Studios because of economic conditions in 1989.
He is survived by his wife, Martha, their two children and three daughters from his first marriage to actor Silvana Mangano. He lost his son, Federico, in a 1981 plane crash.
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https://www.eastbaytimes.com/2010/11/11/producer-dino-de-laurentiis-dies-at-age-91/
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Producer Dino De Laurentiis dies at age 91
|
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"Bay Area News Group"
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2010-11-11T00:00:00
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Producer Dino De Laurentiis dies at age 91
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East Bay Times
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https://www.eastbaytimes.com/2010/11/11/producer-dino-de-laurentiis-dies-at-age-91/
|
LOS ANGELES — Dino De Laurentiis, one of the last great, intrepid film producers who with unmatched showmanship shepherded movies as varied as “La Strada” and “Barbarella,” has died. He was 91.
De Laurentiis helped build the Italian film industry during the heyday of its “new wave,” oversaw seminal American films such as “Serpico” and “Blue Velvet,” and pursued blockbusters in flops like “Dune” and critical fiascos such as the 1976 remake of “King Kong,” which nearly ended the career of a young Jessica Lange.
In producing more than 500 wide-ranging films over six decades, he presided over an incredible mix of high and low. That the same filmmaker could be involved with Federico Fellini’s “Nights of Cabiria” and Arnold Schwarzenegger’s “Conan the Barbarian” would seem to contradict normal understanding of taste. Instead, he was irrevocably drawn to the spectacle of the movies.
An entrepreneur, De Laurentiis pioneered the way films were sold internationally — and he did it all in grand style. The sprawling studio complex he built on the outskirts of Rome he dubbed Dinocitta (Dino City).
“The extraordinary thing that Dino taught all of us is the true figure of the independent producer,” De Laurentiis’ nephew, Aurelio De Laurentiis, a noted Italian film producer, said Thursday. “He always behaved in the U.S. as a major studio, even though he was a one-man show.”
Raffaella De Laurentiis, the producer’s daughter, said her father died Wednesday night at his home in Beverly Hills.
“He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly,” granddaughter Giada De Laurentiis, a star chef and host on Food Network, said Thursday.
Raised outside of Naples and born into his father’s pasta-making business, De Laurentiis quickly realized that his destiny was in moviemaking. He was central to the rise of his native country’s film industry, which in the 1950s rose to international prominence as the Italian New Wave.
One of six children, he was born in Torre Annunziata on the Bay of Naples on Aug. 8, 1919. When he was 16, he went to Rome to study acting and produced his first film when he was 18. A few years later, he started his own production company in Turin. The serious success began after World War II, starting with “Bitter Rice,” in 1948, which launched the career of his first wife, Silvana Mangano.
In 1950, De Laurentiis went into business with another rising director, Carlo Ponti. They soon dominated the Italian movie business, monopolizing top stars such as Mangano, Sophia Loren (who later married Ponti) and Marcello Mastroianni. Their first international production was the epic “War and Peace” (Henry Fonda, Audrey Hepburn, Mel Ferrer) in 1955.
With the lure of huge salaries, he often imported international movie stars to boost a film’s prospects. For Fellini’s “La Strada,” which won the Academy Award for foreign language film in 1957, he persuaded Anthony Quinn to come to Rome. De Laurentiis also produced Fellini’s “Nights of Cabiria,” which won the foreign film Oscar a year later.
At Dinocitta, he married Hollywood stars with spectacle: “Barrabas” (Quinn), “The Bible” (George C. Scott, Ava Gardner), “Anzio” (Robert Mitchum), “Waterloo” (Rod Steiger). He also made more offbeat fare, such as Roger Vadim’s sex romp, “Barbarella” (Jane Fonda).
Paolo Baratta, head of the Venice Film Festival, which gave De Laurentiis a lifetime achievement award in 2003, called De Laurentiis “one of the most important producers in the history of film worldwide,” and said that film has lost “one of its great protagonists.” The Academy of Motion Picture Arts and Sciences gave him the Irving G. Thalberg Memorial Award in 2001.
De Laurentiis was one of the first producers to understand the box-office potential of foreign audiences, and helped invent international co-productions, raising money by pre-selling distribution rights outside North America.
Throughout his career, he alternated lavish, big-budget productions with less commercial films by directors such as Robert Altman, Ingmar Bergman and David Lynch, and he often packaged the blockbusters with art films to secure distribution for the smaller films.
His began to move away from his base in Italy in the 1960s and he eventually closed Dinocitta in 1972, relocating the studio in Wilmington, N.C. He dubbed his production company the De Laurentiis Entertainment Group.
He moved to New York and became an American citizen in 1986, but he never lost his thick Italian accent and tried to spend a month in Capri and Rome each year.
The Oscar-winning “Serpico,” in 1973 with Al Pacino, was De Laurentiis’ Hollywood debut. Charles Bronson’s “Death Wish,” Robert Redford’s “Three Days on the Condor” and John Wayne’s last film, “The Shootist,” followed.
So did notable failures, including “King Kong” and later “King Kong Lives.” “Hurricane,” in 1979, was not only an expensive failure but generated another one: a hotel on its Bora Bora location.
Personal tragedy also took its toll. In 1981, his son Federico was killed in a plane crash. The strain of the loss helped end De Laurentiis’ marriage to Mangano. They were divorced in 1988, the same year De Laurentiis Entertainment Group went into bankruptcy, finished off by the flop of “King Kong Lives.”
Yet De Laurentiis, close to 70, was undaunted and started over. Within two years, he had a new wife, 29-year-old Martha Schumacher, formed a new company and started producing moneymakers again. In his 80s, he snapped up the movie rights to “Hannibal,” novelist Thomas Harris’ sequel to hit “The Silence of the Lambs” (Anthony Hopkins, Jodie Foster).
“My philosophy is very simple,” De Laurentiis once said. “To feel young, you must work as long as you can.”
Survivors include three daughters with Mangano — Rafaela, Francesca and Veronica — and two with Schumacher: Carolina and Dina. Funeral arrangements have not yet been determined.
——
Associated Press writer Nicole Winfield in Rome, Colleen Barry in Milan, AP Television Writer Frazier Moore in New York and former AP writer Candice Hughes contributed to this report.
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Dino De Laurentiis
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Check out Dino De Laurentiis's movies list, family details, net worth, age, height, filmography, biography, upcoming movies, photos, awards, songs, videos and Latest News only on Filmibeat.
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Film producer Dino De Laurentiis dies
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2010-11-11T00:00:00
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The prolific Italian movie producer whose name was synonymous with grandiose spectacle, if questionable taste, has died aged 91
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en
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the Guardian
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https://www.theguardian.com/film/2010/nov/11/dino-de-laurentiius-dies
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The age of the producer extraordinaire, whose name on the opening credits was a guarantee of operatic emotions and grandiose spectacle, looked one step closer to the end today, with the announcement that Dino De Laurentiis has died aged 91.
A man whose diminutive stature (he was 5ft 4in) was no obstacle to his enormous ambition or prodigious output (more than 500 films), De Laurentiis started his career selling his family's pasta. After serving in the Italian army in the second world war, he established himself as a film producer, and swiftly became famous for the 1949 classic Bitter Rice, directed by Giuseppe De Santis, and then a handful of neo-realist hits made in collaboration with Carlo Ponti, including Federico Fellini's La Strada in 1954 and Nights of Cabiria in 1957.
De Laurentiis went solo, and produced a string of films that belied both his eagerness for commercial success and his joie de vivre, among them James Bond spoof Kiss the Girls and Make Them Die, a spaghetti western, Anzio (1968) and Barbarella (also 1968). But the film business in Italy wasn't as thriving as a decade before and he left the country for the US in the early 1970s, where he set up his own studio in North Carolina. This became a powerhouse of what even at the time were recognised as classics (cult or otherwise), including Sidney Lumet's Serpico (1973), Michael Winner's Death Wish (1974), Sydney Pollack's Three Days of the Condor (1975), John Wayne's final western, The Shootist (1976), Ingmar Bergman's The Serpent's Egg (1977) and Arnold Schwarzenegger's breakthrough film, Conan the Barbarian (1982). He also worked fruitfully with David Lynch – making Dune in 1984, and Blue Velvet, two years later. These films – and others, such as Ragtime in 1981 – were testimony to De Laurentiis's talents not just as an old-school movie mogul, prepared to lavish cash on whatever genre he fancied, but also a producer with the guts to take a punt and the ability spot a serious talent.
Yet his name became, for a while, synonymous with a particular type of costly endeavour that, were it not a turkey, certainty pushed the boundaries of taste. Movies such as the legendary King Kong remake (1976), killer whale film Orca (1977), disaster movie Hurricane (1979), Flash Gordon remake (1980), Halloween II (the 1981 sequel to John Carpenter's 1978 classic horror film) and King Kong Lives (1986) led to his being dubbed "Dino De Horrendous" by critics Harry and Michael Medved in 1980.
Most recently, De Laurentiis was the driving force between the big-screen transfers of Thomas Harris's Hannibal Lecter novels, beginning with Manhunter in 1986, skipping 1991's The Silence of the Lambs, and picking the series up again for Hannibal (2001), Red Dragon (2002) and Hannibal Rising – one of an astonishing three titles he oversaw as recently as 2007. De Laurentiis picked up an Oscar for La Strada in 1954, and was honoured by the Academy in 2001 with Irving G Thalberg Memorial award.
De Laurentiis was married twice and is survived by six of his seven daughters. His only son, Federico, died at 26 in a plane crash.
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https://www.independent.co.uk/news/obituaries/dino-de-laurentiis-film-producer-crucial-to-italys-cinematic-resurgence-who-also-enjoyed-hollywood-success-2131709.html
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en
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Dino De Laurentiis: Film producer crucial to Italy's cinematic resurgence who also enjoyed Hollywood success
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"The Independent"
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2010-11-12T00:00:01+00:00
|
Few producers in the history of cinema could stake a better claim to F Scott Fitzgerald's title of "the last tycoon" than Dino De Laurentiis, the Italian mogul whose career spanned more than 60 years and whose vast output of films made him a legendary figure both in Europe and America. Best known for his flamboyant production of War and Peace with AudreyHepburn, and the Biblical epics Barabbas (1961) with Anthony Quinn, and The Bible: In the Beginning (1966), directed by and starring John Huston, De Laurentiis was also an important figure in the Italian film industry's postwar renaissance, a fact acknowledged by Federico Fellini, who noted: "Paradoxically, Italian cinema was healthier during the period of the great adventurers, people like Peppino Amato, Dino De Laurentiis, Carlo Ponti and Angelo Rizzoli, who were successful at producing films in the grand style, which stood comparison with Hollywood productions."
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/img/shortcut-icons/favicon.ico
|
The Independent
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https://www.independent.co.uk/news/obituaries/dino-de-laurentiis-film-producer-crucial-to-italys-cinematic-resurgence-who-also-enjoyed-hollywood-success-2131709.html
|
Few producers in the history of cinema could stake a better claim to F Scott Fitzgerald's title of "the last tycoon" than Dino De Laurentiis, the Italian mogul whose career spanned more than 60 years and whose vast output of films made him a legendary figure both in Europe and America. Best known for his flamboyant production of War and Peace with AudreyHepburn, and the Biblical epics Barabbas (1961) with Anthony Quinn, and The Bible: In the Beginning (1966), directed by and starring John Huston, De Laurentiis was also an important figure in the Italian film industry's postwar renaissance, a fact acknowledged by Federico Fellini, who noted: "Paradoxically, Italian cinema was healthier during the period of the great adventurers, people like Peppino Amato, Dino De Laurentiis, Carlo Ponti and Angelo Rizzoli, who were successful at producing films in the grand style, which stood comparison with Hollywood productions."
Dino De Laurentiis was born in the small coastal town of Torre Annunziata, near Naples, the son of a pasta-maker. Following a brief spell as a truck driver, he moved to Rome in 1937 to study acting at the Centro Sperimentale di Cinematografia, Italy's leading film school. After brief spells as an extra, an actor – he appeared in a small role in Mario Camerini's Batticuore (Palpitations, 1938), an assistant director, and a production manager, De Laurentiis served notice of his ambition by founding his own production company, Cine Real, in 1941 at the age of 22, before joining Riccardo Gualino's Lux Film as an executive producer the following year, where he supervised a number of hits, including Alberto Lattuada's Il bandito (1946), and Camerini's La figlia del capitano (The Captain's Daughter, 1947).
In 1948, De Laurentiis enjoyed worldwide success with Giuseppe DeSantis's Riso amaro (Bitter Rice), a lurid blend of melodrama and neorealism which made much of the scantily clad charms of leading lady Silvana Mangano as a migrant worker desired by both Vittorio Gassman and RafVallone. That same year, De Laurentiis expanded his operations withthe acquisition of Safir Studios and the creation of a new company, Teatri della Farnesina.
Following his marriage to Mangano in 1949, De Laurentiis entered into partnership with Carlo Ponti, a lawyer and former colleague at Lux, to form Ponti-De Laurentiis Cinematografica in 1950. Over the next seven years, their company was at the forefront of the Italian film industry, backing nearly every type of movie, from the arthouse ventures of Roberto Rossellini and Federico Fellini (the latter's La strada, 1954, and Nights of Cabiria, 1957, both collected Academy Awards for best foreign film), to the enormously popular comedies of the Neapolitan comic Toto.
However, it was De Laurentiis's ability to attract American stars and investment that ensured his position as the leading Italian producer of his day. His films of Ulysses (1954), with Kirk Douglas, and War and Peace (1956) were long-cherished projects (De Laurentiis had determined to film both works after reading them on Capri in 1943 during his period of military service) which helped earn Cinecitta studios in Rome the unofficial title of "Hollywood on the Tiber", as American companies took advantage of the low costs and high-quality technical services to reinvest their Italian earnings in co-production deals. So greatly was De Laurentiis himself identified with this development, that a joke soon circulated in Hollywood to the effect that "a Dino De Laurentiis Production is a Hollywood team on location in Rome".
His higher profile, however, led to friction with Ponti, who in 1957 married Sophia Loren and departed for America. De Laurentiis, the morecreative of the pair, carried on in his accustomed manner, opening theDe Laurentiis Studios (quickly dubbed "Dinocitta") on the outskirts of Rome, and producing or co-producing films as varied as Eduardo De Filippo'sFortunella (1958), Mario Monicelli'sLa grande guerra (The Great War, 1959), Guy Hamilton's The Best of Enemies (1961) with David Niven, Carlo Lizzani's The Hills Run Red (1966), Mario Bava's Danger: Diabolik (1967), LuchinoVisconti's The Stranger (1967), Edward Dmytryk's The Battle For Anzio(1968) with Robert Mitchum, and Roger Vadim's Barbarella (1968). In addition, De Laurentiis oversaw virtually all of popular comic star Alberto Sordi's best films, made between 1960 and 1965.
In the early 1970s, following a number of reverses that included his gargantuan Italo-Russian co-production Waterloo (1970), with Rod Steiger as Napoleon, and faced with rising costs, De Laurentiis was forced to sell Dinocitta to the Italian government. In a typically audacious move, he relocated to Hollywood, where he was soon enjoying success as the executive producer of Sidney Lumet's Serpico (1973) with Al Pacino, Michael Winner's The Stone Killer (1973) and Death Wish (1974), both with Charles Bronson, and Don Siegel's The Shootist (1976), which was John Wayne's last film.
That same year, 1976, De Laurentiis set up a new company, the De Laurentiis Entertainment Group, based principally in North Carolina, for which he produced a typically hit-and-miss selection. Notorious financial fiascos such as his entirely superfluousremakes of King Kong (1976) and The Hurricane (1979), and David Lynch's sci-fi epic Dune (1984) were balanced to some extent by reasonably popular efforts like Mike Hodges' Flash Gordon (1980) and John Milius's Conan the Barbarian (1982), while critical plaudits were won for Milos Forman's Ragtime (1981), Lynch's Blue Velvet (1986), and Curtis Hanson's The Bedroom Window (1987). But by 1988, and in the wake of yet another simian disaster in the shape of King Kong Lives! (1986), the failures outstripped the successes to such an extent that De Laurentiis was forced to resign from DEG, which then filed for bankruptcy.
Undaunted, he returned to Hollywood, setting up offices in Universal Studios from where, fuelled by espresso (from his own imported machine) and three cigars a day, he presided over the Sylvester Stallone vehicles Assassins (1995) and Daylight (1996), as well as Ridley Scott's Hannibal (2001), the sequel to The Silence of the Lambs. In 2002, he oversaw Anthony Hopkins's final portrayal of Hannibal Lecter in Red Dragon before attempting to extend the series with the unsuccessful Hannibal Rising in 2007.
One of his last productions was an adaptation of Valerio Massimo Manfredi's The Last Legion, starring Colin Firth and Ben Kingsley. After more than six decades in the film business, De Laurentiis's evident delight in his chosen field remained undiminished: "Cinema", he once said, "is something you have to love with your guts. Otherwise, forget it. It demands 100 per cent of your attention. But it's the biggest toy that adults have, and that's why it will never die."
John Exshaw
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https://ew.com/article/2010/11/11/dino-de-laurentiis-producer-legacy/
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Dino De Laurentiis: Remembering the ever-impolitic movie producer
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[
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[
"Benjamin Svetkey",
"www.facebook.com"
] |
2010-11-11T00:00:00
|
Dino De Laurentiis: Remembering the ever-impolitic movie producer
|
en
|
/favicon.ico
|
EW.com
|
https://ew.com/article/2010/11/11/dino-de-laurentiis-producer-legacy/
|
Image Credit: Keith Hamshere/Getty ImagesYou don’t make nearly 150 films over seven decades without ruffling a few feathers. And Dino De Laurentiis, who died last night at age 91 in his home in Beverly Hills, ruffled enough to stuff a king-sized mattress. Years ago, during auditions for Jessica Lange’s part in his 1976 remake of King Kong, he called Meryl Streep “a pig.” At least the producer had the courtesy to do it in Italian, even though it turned out Steep spoke the language fluently (“I’m very sorry that I disappoint you,” she shot back). When Jodie Foster declined to do a Silence of the Lambs sequel, De Laurentiis famously dismissed the actress who had won an Oscar playing Clarice Sterling as “not sexy” enough for the role. In 2006, this reporter personally witnessed De Laurentiis’ motivational techniques on the set of Hannibal Rising. The small old man with the big booming Italiano accent wobbled into the soundstage in the middle of a scene, banged his cane on a table, and shouted at the crew, “Film-a faster!”
Whatever works. And whatever else you can say about De Laurentiis, he produced some great movies, starting with Fellini’s early work in Italy in the 1950s, and moving on to iconic Hollywood productions like Barbarella in the 1960s and Death Wish and Serpico in the 1970s. He also made some not so great movies, like David Lynch’s 1984 adaptation of Dune, and Madonna’s 1993 thriller Body of Evidence. But De Laurentiis was always amusing, even if the films he made sometimes weren’t. “Submarina movies, they always make-a de money,” he said in 2000, right before the release of U-571, a submarine movie that didn’t. He was, in many ways, the prototype for the flamboyant, bombastic producer—without him, Harvey Weinstein and Joel Silver might not have been possible.
“Film-a faster!” would be a fitting epitaph on his tombstone.
Read more:
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202
|
dbpedia
|
2
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https://www.ranker.com/list/films-produced-by-dino-de-laurentiis-producer/reference
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en
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Movies Produced by Dino De Laurentiis
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[
"Reference"
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2010-06-09T00:00:00
|
List of popular Dino De Laurentiis movies, listed here by prominence with movie trailers when available. Various bits of information about these films are ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/films-produced-by-dino-de-laurentiis-producer/reference
|
List of popular Dino De Laurentiis movies, listed here by prominence with movie trailers when available. Various bits of information about these films are included with each film, such as the actors that starred in them and who directed them. This list of famous films Dino De Laurentiis produced includes both blockbusters and independent movies. Use this list to find out what movies Dino De Laurentiis produced and how many movies Dino De Laurentiis produced. While this may not be a complete list of every movie Dino De Laurentiis produced, all well-known Dino De Laurentiis producer credits are included.
Films here include everything from Hannibal to Three Days of the Condor.
This list answers the questions, "What movies has Dino De Laurentiis produced?" and "What are the best Dino De Laurentiis movies?"
|
||
202
|
dbpedia
|
2
| 19 |
https://www.italyonthisday.com/2016/08/dino-de-laurentiis-film-producer-la-strada.html
|
en
|
Dino De Laurentiis – film producer
|
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https://www.italyonthisday.com/favicon.ico
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https://www.italyonthisday.com/2016/08/dino-de-laurentiis-film-producer-la-strada.html
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Fascinating stories from each day of the year about the people and events that have shaped the culture and history of Italy
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202
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dbpedia
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3
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https://www.bbc.com/news/entertainment-arts-11734039
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en
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Dino De Laurentiis, film producer, dies aged 91
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[
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[
"BBC News",
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] |
2010-11-11T14:51:54+00:00
|
Dino De Laurentiis, the Italian-born producer of movies including Flash Gordon and Dune, dies in Los Angeles at the age of 91, his family has said.
|
en
|
BBC News
|
https://www.bbc.com/news/entertainment-arts-11734039
|
Dino De Laurentiis, legendary producer of such cult films as Flash Gordon and Dune, has died in Los Angeles aged 91, his family has said.
He began his career in Italy working with Roberto Rossellini and Federico Fellini, winning an Oscar for producing the latter's 1954 film La Strada.
After moving to the US in the 1970s, he oversaw films such as Serpico, Death Wish and the 1976 remake of King Kong.
He also produced four films featuring the serial killer Hannibal Lecter.
His daughter Raffaella De Laurentiis said in a statement her father was surrounded by family when he died on Wednesday night at his home in Beverly Hills. She did not give a cause of death.
"Cinema has lost one of its greats," said Walter Veltroni, former mayor of Rome and a founder of the International Rome Film Festival.
"The name of Dino De Laurentiis is tied to the history of cinema," he told the AFP news agency.
The son of pasta makers, De Laurentiis was born on 8 August 1919 in Torre Annunziata, near Naples.
|
|||||
202
|
dbpedia
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0
| 41 |
https://www.latimes.com/entertainment/la-xpm-2012-mar-26-la-et-classic-hollywood-20120326-story.html
|
en
|
Classic Hollywood: Dino De Laurentiis’ big dreams
|
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[] |
[] |
[
""
] | null |
[
"Susan King",
"Los Angeles Times",
"www.latimes.com"
] |
2012-03-26T00:00:00
|
Classic Hollywood: Dino De Laurentiis' big dreams
|
en
|
/apple-touch-icon.png
|
Los Angeles Times
|
https://www.latimes.com/entertainment/la-xpm-2012-mar-26-la-et-classic-hollywood-20120326-story.html
|
Someone once asked the late, award-winning film producer Dino De Laurentiis to describe his job.
The answer, he told them, was simple: “to create a dream.”
And for some seven decades, De Laurentiis, who died in November 2010, at 91, created countless dreams — including Federico Fellini’s 1954 Oscar-winner “La Strada,” which he co-produced with his then-partner Carlo Ponti; Sidney Lumet’s 1973 police drama “Serpico”; David Lynch’s 1986 surreal thriller, “Blue Velvet,” through his production company; and Jonathan Mostow’s 2000 World War II thriller “U-571.”
USC’s School of Cinematic Arts is commemorating his legacy Friday through Sunday on campus at the Norris Cinema Theatre at Frank Sinatra Hall. The event will include screenings of “Serpico,” “Blue Velvet,” “U-571,” the 1949 neo-realist classic “Bitter Rice,” 1974’s “Death Wish” with Charles Bronson, 1968’s “Barbarella: Queen of the Galaxy,” 1982’s “Conan the Barbarian” and Michael Mann’s 1986 “Manhunter,” based on Thomas Harris’ “Red Dragon,” which introduced the world to one of cinema’s greatest villains, Hannibal Lecter.
The screenings are open to the public. A panel discussion Sunday with his widow, producer Martha De Laurentiis; his daughter, producer Raffaella De Laurentiis; Mann, Mostow and cinematographer Dante Spinotti is available only to USC students and alumni.
“Part of what made him wonderful is that he was willing to do a lot of different things,” said Elizabeth Daley, dean of USC’s School of Cinematic Arts. “He was a very hands-on producer who loved stories, and filmmakers loved him. I think people were truly honored that he was so hands-on. I had one director tell me that no matter what time he showed up on set, Dino was standing there waiting for him.”
De Laurentiis was also a savvy showman. Martha De Laurentiis said no distributor in Italy wanted to touch “La Strada,” a downbeat, lyrical drama set in a rundown traveling carnival.
“Dino said, ‘No worries, Fellini,”’ De Laurentiis recalled. “He went to Paris. He rented the cinema and did the marketing campaign. He said it was the most amazing thing. On the opening day, there was a line around the block. It started out in France and snowballed and then opened up in Italy.”
Taking chances was her husband’s modus operandi, she said. “Every single film was a risk because we always developed with our own funds,” De Laurentiis said. “To make it happen you had to believe in it enough so you could get others excited about it and invest in it…. Your partners were your film distributors around the world. A lot of times the pictures didn’t perform, and collections were tough.”
But even when his productions flopped — such as 1986’s “Tai-Pan,” 1993’s “Body of Evidence” with Madonna or the 2007 Hannibal Lecter prequel, “Hannibal Rising” — De Laurentiis was “always going forward,” his widow said. “You didn’t think about what you did two days ago.”
He also nurtured young filmmakers such as Lynch and Mostow.
“He really understood that ultimately it is a filmmaker’s medium,” Mostow said, “and that the producer’s job is to give the director the support that he needs, give him the tools that he needs and then really root for his success. He had a great saying: ‘If a movie is a success, the glory goes to the director. If a movie’s a failure, the blame goes to the producer.’ He really believed that. I think the proof is, look at all the filmmakers that came back to do multiple movies with him.”
De Laurentiis also knew how to charm his way out of an argument.
“If we were on opposite sides of some issue, he’d go, ‘I will do the same for you as I did with Fellini,’” recalled Mostow. “Even though it wasn’t the answer you wanted, you’d walk away saying, ‘I am getting the same thing Fellini wanted.’ You couldn’t help but chuckle to yourself and say, ‘That’s amazingly cool.’”
For information on the tribute, go to https://cinema.usc.edu/dino.
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202
|
dbpedia
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3
| 43 |
https://www.heraldtribune.com/story/news/2010/11/12/de-laurentiis-last-of-the-movie-moguls-dies/28978308007/
|
en
|
De Laurentiis, last of the movie moguls, dies
|
[
"https://www.gannett-cdn.com/authoring/2010/11/12/NSHT/ghows-LK-fedcf44c-f91d-4ba1-92e1-2947ef57ee7d-11ed82a1.jpeg?crop=2997,2255,x0,y84?width=320&height=240"
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[] |
[] |
[
""
] | null |
[
"HILLEL ITALIE National , Sarasota Herald-Tribune"
] |
2010-11-12T00:00:00
|
He was a small man who dreamed big, hit the highest heights and failed like few others. \n Dino De Laurentiis was born to be a movie producer. \n The Academy Award-winning legend of the Italian New Wav…
|
en
|
Sarasota Herald-Tribune
|
https://www.heraldtribune.com/story/news/2010/11/12/de-laurentiis-last-of-the-movie-moguls-dies/28978308007/
|
He was a small man who dreamed big, hit the highest heights and failed like few others.
Dino De Laurentiis was born to be a movie producer.
The Academy Award-winning legend of the Italian New Wave and producer of "Serpico" and "Barbarella" who helped revolutionize the way movies are bankrolled and helped personify the no-limits life of a cinematic king, died Wednesday night at the age of 91 in Beverly Hills.
His dozens of credits included the art-house classics "La Strada" and "Nights of Cabiria," the cult favorite "Blue Velvet," the Hollywood epics "War and Peace" and "The Bible," and such mainstream hits as "Three Days of the Condor." He backed horror films ("Halloween 2"), police drama ("Serpico") and the most far-out science fiction fused with sex and sexuality ("Barbarella").
And when he bombed, he really bombed: "Dune," about which director David Lynch complained he was denied creative control; the Madonna vehicle "Body of Evidence"; the 1976 remake of "King, Kong," which nearly finished off the career of Jessica Lange before it really started.
Not all his movies had big budgets, but De Laurentiis didn't think a film was real without real money. "Night of Earth" director Jim Jarmusch has spoken of meeting with the producer at his office, where De Laurentiis' desk was big as Jarmusch's apartment. He spoke to Jarmusch about the director's low-cost productions.
"He asked me, 'Why do you make amateur films instead of professional ones?'" Jarmusch once recalled. "I asked what made a film amateur or professional. He said any film that costs more than $5 million is professional."
De Laurentiis was one of the first producers to understand the box-office potential of foreign audiences, and helped invent international co-productions, raising money by pre-selling distribution rights outside North America.
He was tiny, but tough, a veritable Napoleon on the set and utterly tireless. "Such a little lion," was how his second wife, producer Martha De Laurentiis, put it when he turned 80.
Throughout his career, he alternated lavish, big-budget productions with less commercial films by directors such as Robert Altman, Ingmar Bergman and Lynch, and he often packaged the blockbusters with art films to secure distribution for the smaller films.
"The extraordinary thing that Dino taught all of us is the true figure of the independent producer," De Laurentiis' nephew, Aurelio De Laurentiis, a noted Italian film producer, said Thursday. "He always behaved in the U.S. as a major studio, even though he was a one-man show."
"He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly," granddaughter Giada De Laurentiis, a star chef and host on Food Network, said.
Raised outside of Naples and one of six children born into the family's pasta-making business, De Laurentiis quickly realized that his destiny was in moviemaking.
He was central to the rise of Italy's film industry, which in the 1950s rose to international prominence as the Italian New Wave.
De Laurentiis' initial success began after World War II, starting with "Bitter Rice," in 1948, which launched the career of his first wife, Silvana Mangano.
In 1950, he went into business with another rising director, Carlo Ponti. They soon dominated the Italian movie business, monopolizing top stars such as Mangano, Sophia Loren (who later married Ponti) and Marcello Mastroianni. Their first international production was the epic "War and Peace" (Henry Fonda, Audrey Hepburn, Mel Ferrer) in 1955.
With the lure of huge salaries, he often imported international movie stars to boost a film's prospects. For Fellini's "La Strada," which won the Academy Award for foreign language film in 1957, he persuaded Anthony Quinn to come to Rome. De Laurentiis also produced Fellini's "Nights of Cabiria," which won the foreign film Oscar a year later.
At Dinocitta, De Laurentiis married Hollywood stars with spectacle: "Barrabas" (Quinn); "The Bible" (George C. Scott, Ava Gardner); "Anzio" (Robert Mitchum); "Waterloo" (Rod Steiger). He also made more offbeat fare, such as Roger Vadim's sex romp, "Barbarella" (Jane Fonda).
De Laurentiis was one of the first producers to understand the box-office potential of foreign audiences, and helped invent international co-productions, raising money by pre-selling distribution rights outside North America.
He began to move away from his base in Italy in the 1960s when the government changed the rules to mandate totally Italian productions to qualify for subsidies. He sold Dinocitta to the government in 1972. He relocated the studio in Wilmington, N.C., and dubbed his production company the De Laurentiis Entertainment Group.
The Oscar-winning "Serpico," in 1973 with Al Pacino, was De Laurentiis' Hollywood debut. Charles Bronson's "Death Wish," Robert Redford's "Three Days of the Condor" and John Wayne's last film, "The Shootist," followed.
He often stayed loyal to young, talented directors, even though the results weren't always strong. He made "Buffalo Bill and the Indians" with Robert Altman. Even after Michael Cimino's huge flop "Heaven's Gate," De Laurentiis made "Year of the Dragon" and "Desperate Hours" with him. Despite the failure of "Dune," he stuck with David Lynch and two years later produced the acclaimed "Blue Velvet."
De Laurentis also continued to be a small factory for tackiness. Though he had earlier worked with revered filmmakers such as Victorio De Sica, Roberto Rossellini and Ingmar Bergman, some of his schlock included the plantation drama "Mandingo," the horror film "Amityville II," the cult comedy "Army of Darkness" and Madonna's "Body of Evidence."
Though flops like "King Kong" and "Hurricane" could be shaken off, personal tragedy took its toll. In 1981, his son Federico was killed in a plane crash. Mangano, his wife of more than four decades, died in 1989.
De Laurentiis, close to 70, was undaunted and started over. Within two years, he had a new wife, 29-year-old Martha Schumacher, formed a new company and started producing moneymakers again.
"My philosophy is very simple," he once said. "To feel young, you must work as long as you can."
___
Associated Press writer Nicole Winfield in Rome, Colleen Barry in Milan, Entertainment Writer Jake Coyle and Television Writer Frazier Moore in New York, and former AP writer Candice Hughes contributed to this report.
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Dino De Laurentiis: Remembering the ever-impolitic movie producer
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[
""
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[
"Benjamin Svetkey",
"www.facebook.com"
] |
2010-11-11T00:00:00
|
Dino De Laurentiis: Remembering the ever-impolitic movie producer
|
en
|
/favicon.ico
|
EW.com
|
https://ew.com/article/2010/11/11/dino-de-laurentiis-producer-legacy/
|
Image Credit: Keith Hamshere/Getty ImagesYou don’t make nearly 150 films over seven decades without ruffling a few feathers. And Dino De Laurentiis, who died last night at age 91 in his home in Beverly Hills, ruffled enough to stuff a king-sized mattress. Years ago, during auditions for Jessica Lange’s part in his 1976 remake of King Kong, he called Meryl Streep “a pig.” At least the producer had the courtesy to do it in Italian, even though it turned out Steep spoke the language fluently (“I’m very sorry that I disappoint you,” she shot back). When Jodie Foster declined to do a Silence of the Lambs sequel, De Laurentiis famously dismissed the actress who had won an Oscar playing Clarice Sterling as “not sexy” enough for the role. In 2006, this reporter personally witnessed De Laurentiis’ motivational techniques on the set of Hannibal Rising. The small old man with the big booming Italiano accent wobbled into the soundstage in the middle of a scene, banged his cane on a table, and shouted at the crew, “Film-a faster!”
Whatever works. And whatever else you can say about De Laurentiis, he produced some great movies, starting with Fellini’s early work in Italy in the 1950s, and moving on to iconic Hollywood productions like Barbarella in the 1960s and Death Wish and Serpico in the 1970s. He also made some not so great movies, like David Lynch’s 1984 adaptation of Dune, and Madonna’s 1993 thriller Body of Evidence. But De Laurentiis was always amusing, even if the films he made sometimes weren’t. “Submarina movies, they always make-a de money,” he said in 2000, right before the release of U-571, a submarine movie that didn’t. He was, in many ways, the prototype for the flamboyant, bombastic producer—without him, Harvey Weinstein and Joel Silver might not have been possible.
“Film-a faster!” would be a fitting epitaph on his tombstone.
Read more:
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https://www.today.com/news/italian-film-producer-dino-de-laurentiis-dies-wbna40129983
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en
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Italian film producer Dino De Laurentiis dies
|
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[
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] | null |
[
"JAKE COYLE"
] |
2010-11-11T14:37:42+00:00
|
The Oscar winner brought to the big screen nearly 500 films including "Serpico," "Three Days of the Condor" and "King Kong."
|
en
|
https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/today/all-other-sizes-PNG.ico/favicon.ico
|
TODAY.com
|
https://www.today.com/news/italian-film-producer-dino-de-laurentiis-dies-wbna40129983
|
Dino De Laurentiis, one of the last great, intrepid film producers who with unmatched showmanship shepherded movies as varied as "La Strada" and "Barbarella," has died. He was 91.
De Laurentiis helped build the Italian film industry during the heyday of its "new wave," oversaw seminal American films such as "Serpico" and "Blue Velvet," and pursued blockbusters in flops like "Dune" and critical fiascos such as the 1976 remake of "King Kong," which nearly ended the career of a young Jessica Lange.
In producing more than 500 wide-ranging films over six decades, he presided over an incredible mix of high and low. That the same filmmaker could be involved with Federico Fellini's "Nights of Cabiria" and Arnold Schwarzenegger's "Conan the Barbarian" would seem to contradict normal understanding of taste. Instead, he was irrevocably drawn to the spectacle of the movies.
An entrepreneur, De Laurentiis pioneered the way films were sold internationally — and he did it all in grand style. The sprawling studio complex he built on the outskirts of Rome he dubbed Dinocitta (Dino City).
"The extraordinary thing that Dino taught all of us is the true figure of the independent producer," De Laurentiis' nephew, Aurelio De Laurentiis, a noted Italian film producer, said Thursday. "He always behaved in the U.S. as a major studio, even though he was a one-man show."
Raffaella De Laurentiis, the producer's daughter, said her father died Wednesday night at his home in Beverly Hills.
"He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly," granddaughter Giada De Laurentiis, a star chef and host on Food Network, said Thursday.
Raised outside of Naples and born into his father's pasta-making business, De Laurentiis quickly realized that his destiny was in moviemaking. He was central to the rise of his native country's film industry, which in the 1950s rose to international prominence as the Italian New Wave.
One of six children, he was born in Torre Annunziata on the Bay of Naples on Aug. 8, 1919. When he was 16, he went to Rome to study acting and produced his first film when he was 18. A few years later, he started his own production company in Turin. The serious success began after World War II, starting with "Bitter Rice," in 1948, which launched the career of his first wife, Silvana Mangano.
In 1950, De Laurentiis went into business with another rising director, Carlo Ponti. They soon dominated the Italian movie business, monopolizing top stars such as Mangano, Sophia Loren (who later married Ponti) and Marcello Mastroianni. Their first international production was the epic "War and Peace" (Henry Fonda, Audrey Hepburn, Mel Ferrer) in 1955.
With the lure of huge salaries, he often imported international movie stars to boost a film's prospects. For Fellini's "La Strada," which won the Academy Award for foreign language film in 1957, he persuaded Anthony Quinn to come to Rome. De Laurentiis also produced Fellini's "Nights of Cabiria," which won the foreign film Oscar a year later.
At Dinocitta, he married Hollywood stars with spectacle: "Barrabas" (Quinn), "The Bible" (George C. Scott, Ava Gardner), "Anzio" (Robert Mitchum), "Waterloo" (Rod Steiger). He also made more offbeat fare, such as Roger Vadim's sex romp, "Barbarella" (Jane Fonda).
Paolo Baratta, head of the Venice Film Festival, which gave De Laurentiis a lifetime achievement award in 2003, called De Laurentiis "one of the most important producers in the history of film worldwide," and said that film has lost "one of its great protagonists." The Academy of Motion Picture Arts and Sciences gave him the Irving G. Thalberg Memorial Award in 2001.
De Laurentiis was one of the first producers to understand the box-office potential of foreign audiences, and helped invent international co-productions, raising money by pre-selling distribution rights outside North America.
Throughout his career, he alternated lavish, big-budget productions with less commercial films by directors such as Robert Altman, Ingmar Bergman and David Lynch, and he often packaged the blockbusters with art films to secure distribution for the smaller films.
His began to move away from his base in Italy in the 1960s and he eventually closed Dinocitta in 1972, relocating the studio in Wilmington, North Carolina. He dubbed his production company the De Laurentiis Entertainment Group.
He moved to New York and became an American citizen in 1986, but he never lost his thick Italian accent and tried to spend a month in Capri and Rome each year.
The Oscar-winning "Serpico," in 1973 with Al Pacino, was De Laurentiis' Hollywood debut. Charles Bronson's "Death Wish," Robert Redford's "Three Days on the Condor" and John Wayne's last film, "The Shootist," followed.
So did notable failures, including "King Kong" and later "King Kong Lives." "Hurricane," in 1979, was not only an expensive failure but generated another one: a hotel on its Bora Bora location.
Personal tragedy also took its toll. In 1981, his son Federico was killed in a plane crash. The strain of the loss helped end De Laurentiis' marriage to Mangano. They were divorced in 1988, the same year De Laurentiis Entertainment Group went into bankruptcy, finished off by the flop of "King Kong Lives."
Yet De Laurentiis, close to 70, was undaunted and started over. Within two years, he had a new wife, 29-year-old Martha Schumacher, formed a new company and started producing moneymakers again. In his 80s, he snapped up the movie rights to "Hannibal," novelist Thomas Harris' sequel to hit "The Silence of the Lambs" (Anthony Hopkins, Jodie Foster).
"My philosophy is very simple," De Laurentiis once said. "To feel young, you must work as long as you can."
Survivors include three daughters with Mangano — Rafaela, Francesca and Veronica — and two with Schumacher: Carolina and Dina. Funeral arrangements have not yet been determined.
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https://www.flavorwire.com/129652/required-viewing-10-films-produced-by-dino-de-laurentiis
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|
Required Viewing: 10 Films Produced by Dino De Laurentiis
|
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2010-11-11T17:45:56+00:00
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Today brings sad news for art-film snobs and B-movie fanboys alike: prolific producer Dino De Laurentiis has died. The 91-year-old Italian â who Food Network viewers may also know as Giadaâs grandpa â worked with some of 20th-century cinemaâs mostâ¦
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Flavorwire
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https://www.flavorwire.com/129652/required-viewing-10-films-produced-by-dino-de-laurentiis
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Today brings sad news for art-film snobs and B-movie fanboys alike: prolific producer Dino De Laurentiis has died. The 91-year-old Italian â who Food Network viewers may also know as Giadaâs grandpa â worked with some of 20th-century cinemaâs most important filmmakers, including Federico Fellini, Sidney Lumet, and David Lynch. But De Laurentiis was also game for fun trash, financing everything from Barbarella to Sam Raimiâs early horror flicks. After the jump, we celebrate both sides of the producer, in a list of 10 De Laurentiis films everyone should see.
Bitter Rice (1949)
De Laurentiis originally made his name as a producer of Italian neorealist films. His best, and an international success, was director Giuseppe de Santisâ Bitter Rice. The sexy flick follows a beautiful peasant rice harvester (played by Silvana Magnano) who falls in with a pair of miscreants and finds herself won over by their dangerous ways.
La Strada (1954)
Eventually, De Laurentiis fell in with Federico Fellini, who also began his career as a neorealist. Felliniâs wife Giulietta Masina starred in the directorâs first classic film, about a young woman whose mother sells her to a gypsy. Although it doesnât quite break the neorealist style, La Strada, with its musical and circus elements, certainly contained hints of Felliniâs later preoccupations.
The Nights of Cabiria (1957)
When no one else would finance Felliniâs movie about a prostitute, De Laurentiis took the risk. Masina stars again, as a streetwalker named Cabiria Ceccarelli, who struggles to stay positive despite her depressing circumstances. Fun fact: The Nights of Cabiriaâs script was co-written with that grittiest of Italian filmmakers, Pier Paolo Pasolini.
Barbarella (1968)
De Laurentiis also collaborated on some English-language films before moving to the U.S. in the â70s. His work on Roger Vadimâs 1968 cult classic Barbarella â starring intergalactic superhero Jane Fonda â is the best example of De Laurentiisâ soft spot for pulp. And if you havenât seen this midnight movie staple yet, well, what are you waiting for?
Serpico (1973)
In Sidney Lumetâs 1973 crime drama, Al Pacino stars as the real-life hippie cop Frank Serpico, who took on New York Cityâs corrupt police force. His 1975 Pacino collaboration, Dog Day Afternoon, may get more critical love, but Serpico is essential viewing for anyone who enjoyed that film. The role has been widely hailed as one of Pacinoâs best â and thatâs certainly saying a lot.
Three Days of the Condor (1975)
Another New York story â hey, they were popular in the â70s, and for good reason â Sidney Pollackâs Three Days of the Condor is a political thriller, starring Robert Redford as a C.I.A. employee who becomes caught in a web of government conspiracy.
Conan the Barbarian (1982)
More classic De Laurentiis-enabled cheese: Californiaâs gubernator stars as Conan the Barbarian â a loving, fighting, generally shirtless brute who worships steel or something. Based on a comic book, the film is basically the male equivalent of Barbarella.
Dune (1984)
Critics hated Dune, and director David Lynch wasnât thrilled with it, either. But the sci-fi epic â which De Laurentiis hired Lynch to make â has certainly earned a cult audience over the years. Itâs worth watching, if only for the appropriately ridiculous score, by Toto (the folks who brought us âAfricaâ).
Blue Velvet (1986)
Directly after finishing Dune, Lynch went on to make the film that defined his career â and, as with The Nights of Cabiria, De Laurentiis was the only producer who would pay for such a strange project. Chances are, you know the rest: Dennis Hopper. Isabella Rossellinni. Kyle Mclachlan. Laura Dern. Gas masks. Sex crimes. Surreal musical performances. If you havenât seen it yet, see it now in Dinoâs honor.
Evil Dead 2 (1987)
Yes, Dino De Laurentiis is even partially responsible for Sam Raimiâs fanboy favorite. Widely held to be better than its predecessor, Evil Dead 2 kicks off with your classic horror clichés â a guy, a girl, an abandoned cabin with a supernatural past â and ends up, well, very funny, if you have a gross sense of humor. De Laurentiis Entertainment Group also bankrolled the final film in the trilogy, Army of Darkness.
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Dino De Laurentiis
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2017-02-07T23:17:11-05:00
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Dino De Laurentiisfilm producerBorn: 8/8/1918Birthplace: Torre Annunziata, Italy Having produced several widely acclaimed Italian films in the 1950s, including Fellini's La Strada (1954) and Nights of Cabiria (1956), he later became known for his large-scale international productions.
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Current Events
View captivating images and news briefs about critical government decisions, medical discoveries, technology breakthroughs, and more. From this page, you'll see news events organized chronologically by month and separated into four categories: World News, U.S. News, Disaster News, and Science & Technology News.
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2010-11-12T00:00:00
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Oscar-winning film producer Dino De Laurentiis, who brought larger-than-life characters to the big screen, has died aged 91.
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https://www.abc.net.au/news/2010-11-12/italian-cinema-legend-de-laurentiis-dies/2333770
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Italy's Oscar-winning film producer Dino De Laurentiis, famed for bringing larger-than-life characters ranging from King Kong to Hannibal Lecter to the big screen, has died aged 91.
De Laurentiis, who worked with some of Italy's best-known directors such as Federico Fellini and Roberto Rossellini before breaking into Hollywood, died in Los Angeles after being gravely ill for several weeks.
De Laurentiis's nephew Aurelio, also a well-known producer, confirmed his uncle's death as he spoke to reporters in Rome ahead of his departure for the funeral in the United States.
"Cinema has lost one of its greats," said Walter Veltroni, an Italian politician and former mayor of Rome who founded the Rome Film Festival.
"The name of Dino De Laurentiis is tied to the history of cinema," he said.
De Laurentiis produced more than 500 films over his career, working with some of the biggest names in European film as well as Hollywood.
He started out in film aged just 20 and became one of the leading producers of Italy's post-war cinema boom and the neo-realist genre.
One of the first films he produced was Riso Amaro (Bitter Rice) by Giuseppe De Santis - a 1949 classic and one of the best examples of neo-realism.
He won an Oscar in 1956 for Fellini's La Strada and went on to be nominated another 38 times.
In 2001, he received the Irving G Thalberg Memorial Award at the Oscars for demonstrating "a consistently high quality of motion picture production".
In the 1960s De Laurentiis built a film studio near Rome known as Dinocitta - after the famous Cinecitta - that was inaugurated by US director John Huston.
His work became increasingly in demand in Hollywood and he enjoyed box office success with Serpico with Al Pacino in 1973, Three Days Of The Condor with Robert Redford and Faye Dunaway in 1975, King Kong in 1976 and Ridley Scott's Hannibal in 2001.
However not all of his movies were hits.
His 1984 science-fiction film Dune, written and directed by David Lynch, was a commercial flop and was slammed by critics.
De Laurentiis was born on August 8, 1919 in Torre Annunziata near Naples and moved to the United States in the early 1970s. His parents were pasta makers.
He married Silvana Mangano, the star of Riso Amaro and one of the beauties of her day. They had four children together before divorcing.
In 1981, his son died in an plane accident in Alaska.
De Laurentiis's nephew Aurelio is also a well-known producer in Italy and his granddaughter, Giada, is a US chef and host of a program on the Food Network.
In 2003, he won a lifetime achievement award at the Venice Film Festival.
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2004-01-10T11:57:58+00:00
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https://en.wikipedia.org/wiki/Dino_De_Laurentiis
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Italian-American film producer (1919–2010)
Agostino "Dino" De Laurentiis (Italian: [ˈdiːno de lauˈrɛnti.is]; 8 August 1919 – 10 November 2010) was an Italian film producer and businessman who held both Italian and American citizenship. Following a brief acting career in the late 1930s and early 1940s, he moved into film production; alongside Carlo Ponti, he brought Italian cinema to the international scene in the post-World War II period. He produced or co-produced over 500 films, with 38 of his Hollywood films receiving Academy Award nominations. He was also the creator and operator of DDL Foodshow, a chain of Italian specialty foods stores.
Early life
[edit]
Agostino De Laurentiis was born in Torre Annunziata, Kingdom of Italy, on 8 August 1919. He grew up selling spaghetti made by his father's pasta factory. His older brother, Luigi De Laurentiis (1917–1992), later followed him into film production. He studied at the Centro Sperimentale di Cinematografia in 1937 and 1938, but his studies were interrupted by the outbreak of World War II.[1]
Career
[edit]
Film production
[edit]
De Laurentiis produced his first film, L'ultimo Combattimento, in 1941. His company, the Dino de Laurentiis Cinematografica, moved into film production in 1946. In the early years, De Laurentiis produced Italian neorealist films such as Bitter Rice (1949) and the early Fellini works La Strada (1954) and Nights of Cabiria (1956), often in collaboration with producer Carlo Ponti.
In the 1960s, De Laurentiis built his own studio facilities. He produced such films as Barabbas (1961), a Christian religious epic; The Bible: In the Beginning... (1966); Kiss the Girls and Make Them Die, an imitation James Bond film; Navajo Joe (1966), a spaghetti Western; Anzio (1968), a World War II film; Barbarella (1968) and Danger: Diabolik (1968), both successful comic book adaptations; and The Valachi Papers (1972), released before its originally scheduled date in order to capitalize on the popularity of The Godfather.[citation needed]
In 1973, De Laurentiis relocated his headquarters to New York and he was reportedly considering to produce an American television series.[2] His studio financially collapsed during the 1970s.[citation needed] In the 1980s, he had his own studio: De Laurentiis Entertainment Group (DEG) based in Wilmington, North Carolina. The studio made Wilmington an unexpected center of film and television production.[3] In 1990, he obtained backing from an Italian friend and formed another company: Dino De Laurentiis Communications in Beverly Hills.
De Laurentiis produced a number of successful films, including The Scientific Cardplayer (1972), Serpico (1973), Death Wish (1974), Mandingo (1975), Three Days of the Condor (1975), The Shootist (1976), Drum (1976), Ingmar Bergman's The Serpent's Egg (1977), Ragtime (1981), Conan the Barbarian (1982), Blue Velvet (1986) and Breakdown (1997). De Laurentiis' name became well known through the 1976 King Kong remake, which was a commercial hit; Lipstick (1976), a rape and revenge drama; Orca (1977), a killer whale film; The White Buffalo (1977), a western; the disaster movie Hurricane (1979); the remake of Flash Gordon (1980); David Lynch's Dune (1984); The Bounty (1984); and King Kong Lives (1986).
De Laurentiis produced several adaptations of Stephen King works, including The Dead Zone (1983), Cat's Eye (1985), Silver Bullet (1985), and Maximum Overdrive (1986). De Laurentiis' company was involved with the horror sequels Halloween II (1981), Evil Dead II (1987), and Army of Darkness (1992). De Laurentiis also produced the first Hannibal Lecter film, Manhunter (1986), an adaptation of the Thomas Harris novel Red Dragon. He passed on adapting the novels' sequel, The Silence of the Lambs (1991),[citation needed] but produced the two follow-ups, Hannibal (2001) and Red Dragon (2002), a re-adaptation of the novel. He also produced the prequel Hannibal Rising (2007), which tells the story of how Hannibal becomes a serial killer.
DDL Foodshow
[edit]
DDL Foodshow was an Italian specialty foods store with three locations: two in New York City and one in Beverly Hills. They were opened in the mid-1980s, and were owned and operated by De Laurentiis.[4]
The first store was opened in the restored palm court in the ornate lobby of the historic Endicott Hotel, now a co-op on Manhattan's Upper West Side, near the existing Zabar's food emporium on Broadway.[5] The first NYC store opened in November 1982, and it was reported that the store "opened to crowds of 30,000 over the Thanksgiving weekend, when de Laurentiis himself greeted customers at the door". The store's assistant manager said that "it was like the premiere of a movie".[6]
The food critic Gael Greene wrote a scathing review on the opening in New York.[5] In an interview with the Chicago Tribune a month later, she admitted that the store was "probably the most stunningly handsome grocery in the world, certainly in New York", but "the pricing was insane. They hadn't paid enough attention to the competition." She reported that she'd talked to De Laurentiis: "Dino's reaction was that I'm full of it. And we're meeting over a bowl of pasta to discuss it."[7] A review in The San Francisco Examiner said that it was "worth a peek and a purchase".[8][9]
DDL Foodshow was later considered to be a forebear of the new Italian specialty goods food-store restaurant dining attraction Eataly.[10]
Personal life
[edit]
De Laurentiis' brief first marriage in Italy was annulled.[11]
In 1949, De Laurentiis married Italian-British actress Silvana Mangano, with whom he had four children: Veronica, an author and actress; Raffaella, a fellow film producer; Federico, also a film producer who died in a plane crash in 1981; and Francesca. His granddaughter through Veronica is chef Giada De Laurentiis, while his nephew through his brother Luigi is fellow film producer Aurelio De Laurentiis. He and Mangano divorced in 1988,[12] and she died of lung cancer the following year.
Having lived in the U.S. since 1976,[13] De Laurentiis became an American citizen in 1986.[14]
In 1990, De Laurentiis married American producer Martha Schumacher, who had produced many of his films since 1985. They had two daughters named Carolyna and Dina and remained married until his death in 2010. Schumacher died of cancer in 2021.
Death
[edit]
On 10 November 2010, at the age of 91, De Laurentiis died at his home in Beverly Hills, California.[15][16][17][18]
Awards and recognitions
[edit]
In 1958, De Laurentiis won the Academy Award for Best Foreign Film for producing La Strada. It was the only time where individuals could win the award instead of the country it was made in and in the case of the first Foreign Film Oscar, he and his fellow producer won the Academy Award, as opposed to the director of the film Federico Fellini.
In 2001, De Laurentiis received the Irving G. Thalberg Memorial Award from the Academy of Motion Picture Arts and Sciences.[19]
In 2012, De Laurentiis posthumously received the America Award of the Italy–USA Foundation.[citation needed]
Filmography
[edit]
Films produced
Year Title Director Notes 1946 Black Eagle Riccardo Freda The Bandit Alberto Lattuada 1947 The Captain's Daughter Mario Camerini Bullet for Stefano Duilio Coletti 1948 Bitter Rice Giuseppe De Santis The Street Has Many Dreams Mario Camerini 1949 The Wolf of the Sila Duilio Coletti 1951 Anna Alberto Lattuada 1952 Europe '51 Roberto Rossellini Lieutenant Giorgio Raffaello Matarazzo Toto in Color Steno 1953 Funniest Show on Earth Mario Mattoli The Unfaithfuls Mario Monicelli Man, Beast and Virtue Steno 1954 La Strada Federico Fellini Attila Pietro Francisci Woman of Rome Luigi Zampa The Gold of Naples Vittorio De Sica Poverty and Nobility Mario Mattoli Where Is Freedom? Roberto Rossellini A Slice of Life Alessandro Blasetti, Paul Paviot An American in Rome Steno Ulysses Mario Camerini 1955 The River Girl Mario Soldati Mambo Robert Rossen The Miller's Beautiful Wife Mario Camerini 1956 War and Peace King Vidor Nights of Cabiria Federico Fellini 1958 This Angry Age René Clément Tempest Alberto Lattuada 1959 The Great War Mario Monicelli 1960 Everybody Go Home Luigi Comencini Five Branded Women Martin Ritt Under Ten Flags Duilio Coletti Crimen Mario Camerini The Hunchback of Rome Carlo Lizzani 1961 The Last Judgment Vittorio De Sica A Difficult Life Dino Risi The Fascist Luciano Salce The Best of Enemies Guy Hamilton Black City Duilio Coletti 1962 Mafioso Alberto Lattuada The Italian Brigands Mario Camerini 1963 Il Boom Vittorio De Sica The Verona Trial Carlo Lizzani 1964 My Wife Luigi Comencini, Mauro Bolognini, Tinto Brass 1965 Battle of the Bulge [citation needed] Ken Annakin Uncredited 1966 The Bible: In the Beginning John Huston Kiss the Girls and Make Them Die Henry Levin Navajo Joe Sergio Corbucci The Hills Run Red Carlo Lizzani 1967 The Stranger Luchino Visconti Matchless Alberto Lattuada The Witches Luchino Visconti, Mauro Bolognini, Pier Paolo Pasolini, Franco Rossi, Vittorio De Sica 1968 Danger: Diabolik Mario Bava Barbarella Roger Vadim Anzio Edward Dmytryk, Duilio Coletti Bandits in Milan Carlo Lizzani Caprice Italian Style Mauro Bolognini, Mario Monicelli, Pier Paolo Pasolini, Steno 1969 Fräulein Doktor Alberto Lattuada Brief Season Renato Castellani The Bandit Carlo Lizzani 1970 A Man Called Sledge Vic Morrow Waterloo Sergei Bondarchuk The Deserter Burt Kennedy 1972 The Valachi Papers Terence Young The Assassin of Rome Damiano Damiani The Most Wonderful Evening of My Life Ettore Scola 1973 Serpico Sidney Lumet Chino John Sturges Mean Frank and Crazy Tony Michele Lupo 1974 Death Wish Michael Winner Two Missionaries Franco Rossi Crazy Joe Carlo Lizzani Three Tough Guys Duccio Tessari 1975 Mandingo Richard Fleischer 1976 King Kong John Guillermin Buffalo Bill and the Indians, or Sitting Bull's History Lesson Robert Altman Drum Steve Carver The Serpent's Egg Ingmar Bergman The Shootist Don Siegel 1977 Orca Michael Anderson 1978 The Brink's Job William Friedkin King of the Gypsies Frank Pierson 1979 Hurricane Jan Troell 1980 Flash Gordon Mike Hodges 1981 Beyond the Reef Frank C. Clarke Halloween II Rick Rosenthal Ragtime Miloš Forman 1982 Fighting Back Lewis Teague Conan the Barbarian John Milius Amityville II: The Possession Damiano Damiani Halloween III: Season of the Witch Tommy Lee Wallace 1983 Amityville 3-D Richard Fleischer Dead Zone David Cronenberg 1984 The Bounty Roger Donaldson Firestarter Mark L. Lester Conan the Destroyer Richard Fleischer Dune David Lynch 1985 Maximum Overdrive Stephen King Marie Roger Donaldson Silver Bullet Daniel Attias Cat's Eye Lewis Teague Year of the Dragon Michael Cimino Red Sonja Richard Fleischer 1986 Crimes of the Heart Bruce Beresford Raw Deal John Irvin Blue Velvet David Lynch Trick or Treat Charles Martin Smith Tai-Pan Daryl Duke Manhunter Michael Mann King Kong Lives John Guillermin 1987 Million Dollar Mystery Richard Fleischer Hiding Out Bob Giraldi Evil Dead II Sam Raimi The Bedroom Window Curtis Hanson From the Hip Bob Clark 1989 Collision Course Lewis Teague 1990 Sometimes They Come Back Tom McLoughlin Desperate Hours Michael Cimino 1992 Once Upon a Crime Eugene Levy Kuffs Bruce A. Evans Army of Darkness Sam Raimi Body of Evidence Uli Edel 1995 Solomon & Sheba Robert Young Slave of Dreams Rumpelstiltskin Mark Jones Assassins Richard Donner 1996 Unforgettable John Dahl Bound The Wachowskis 1997 Breakdown Jonathan Mostow 2000 U-571 2001 Hannibal Ridley Scott 2002 Red Dragon Brett Ratner 2006 The Last Legion Doug Lefler 2007 Hannibal Rising Peter Webber Virgin Territory David Leland
References
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https://www.theatlantic.com/entertainment/archive/2010/11/legendary-film-producer-dino-de-laurentiis-dies-at-91-life-photos/66476/
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Legendary Film Producer Dino de Laurentiis Dies at 91: LIFE Photos
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[
"Kevin Fallon",
"former"
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2010-11-11T17:10:12-05:00
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Remembering the film mogul, who counts 'La Strada,' 'Blue Velvet,' and a granddaughter on the Food Network among his successes
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https://cdn.theatlantic.com/tng/static/theatlantic/img/lacroix/favicon.fb04af6390eb.ico
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The Atlantic
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https://www.theatlantic.com/entertainment/archive/2010/11/legendary-film-producer-dino-de-laurentiis-dies-at-91-life-photos/66476/
|
Dino de Laurentiis died Wednesday at age 91. One of the first European producers to see the advantage of international co-production, de Laurentiis' successes include Federico Fellini's La Strada, Sidney Lumet's Serpico, and David Lynch's Blue Velvet. His marriage to former Miss Rome Silvana Mangano lasted 40 years, until her death in 1989, and his granddaughter, Giada de Laurentiis, is a major Food Network star. LIFE magazine produced a photo gallery in remembrance of the producer's life.
See the full gallery at LIFE.com.
We want to hear what you think about this article. Submit a letter to the editor or write to letters@theatlantic.com.
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https://www.ctvnews.ca/serpico-producer-dino-de-laurentiis-dies-at-91-1.573482
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'Serpico' producer Dino de Laurentiis dies at 91
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https://www.ctvnews.ca/polopoly_fs/1.104796.1337370618!/httpImage/image._gen/derivatives/landscape_620/image.
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https://www.ctvnews.ca/polopoly_fs/1.104796.1337370618!/httpImage/image._gen/derivatives/landscape_620/image.
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2010-11-11T12:07:33-05:00
|
Dino De Laurentiis, an Academy Award-winning film impresario and producer of "Serpico" and "Barbarella" who helped revolutionize the way movies are bankrolled and sold, has died. He was 91.
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en
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CTVNews
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https://www.ctvnews.ca/serpico-producer-dino-de-laurentiis-dies-at-91-1.573482
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LOS ANGELES - Dino De Laurentiis, an Academy Award-winning film impresario and producer of "Serpico" and "Barbarella," who helped revolutionize the way movies are bankrolled and sold, has died. He was 91.
The producer's daughter said her father was surrounded by family when he died Wednesday night at his home in Beverly Hills. The statement from Raffaella De Laurentiis did not give a cause of death.
"My grandfather was a true inspiration. He was my biggest champion in life and a constant source for wisdom and advice. I will miss him dearly," granddaughter Giada De Laurentiis, a star chef and host on Food Network, said Thursday.
De Laurentiis was a legend of Italian New Wave filmmaking. His works also included "Bitter Rice," "La Strada" and "Death Wish."
He was tiny, but tough, a veritable Napoleon on the set and utterly tireless. "Such a little lion," was how his second wife, producer Martha De Laurentiis, put it when he turned 80.
Like any larger-than-life movie figure, De Laurentiis went through boom times and busts. But he always bounced back and his passion for movies never dimmed.
His career spanned hundreds of films, including several Oscar winners and he worked with some of the biggest stars and best directors in the business. His credits include box office and/or critical successes such as "U-571," "War and Peace," "Ragtime," "Three Days of the Condor" and "Blue Velvet."
A pivotal figure in postwar Italian New Wave cinema, De Laurentiis moved to the United States in the 1970s, becoming a citizen in 1986. But this son of a Neapolitan pasta maker never lost his thick Italian accent and tried to spend a month in Capri and Rome each year.
The Oscar-winning "Serpico," in 1973 with Al Pacino, was De Laurentiis' Hollywood debut. But by then, he already had two Italian-made Oscar-winners: Federico Fellini's "La Strada" and "Nights of Cabiria" to his credit.
De Laurentiis was one of the first producers to understand the box-office potential of foreign audiences, and helped invent international co-productions, raising money by pre-selling distribution rights outside North America.
Throughout his career, he alternated lavish, big-budget productions with less commercial films by directors such as Robert Altman, Ingmar Bergman and David Lynch, and he often packaged the blockbusters with art films to secure distribution for the smaller films.
De Laurentiis was capable of bold, brilliant strokes and audacious risks. In his 80s, he could still pull off a major coup by snapping up the movie rights to "Hannibal," novelist Thomas Harris' sequel to hit "The Silence of the Lambs" (Anthony Hopkins, Jodie Foster).
One of six children, he was born in Torre Annunziata on the Bay of Naples on Aug. 8, 1919. When he was 16, he headed for Rome to study acting. When he was 18, he produced his first film. A few years later, he started his own production company in Turin.
The serious success began after World War II, starting with "Bitter Rice," in 1948, which launched the career of his first wife, Silvana Mangano.
In 1950, De Laurentiis went into business with another rising director, Carlo Ponti. They soon dominated the Italian movie business, monopolizing top stars such as Mangano, Sophia Loren (who later married Ponti) and Marcello Mastroianni. Their first international production was the epic "War and Peace" (Henry Fonda, Audrey Hepburn, Mel Ferrer) in 1955.
He also teamed up with acclaimed New Wave directors. One of his most successful partnerships was with the legendary Federico Fellini. Together they made "La Strada" and "Nights of Cabiria," Oscar winners for best foreign film in 1957 and 1958.
De Laurentiis built a huge new studio on the outskirts of Rome, called it Dinocitta (Dino city), and began producing spectacles with Hollywood stars: "Barrabas" (Anthony Quinn), "The Bible" (George C. Scott, Ava Gardner), "Anzio" (Robert Mitchum), "Waterloo" (Rod Steiger). He also made more offbeat fare, such as Roger Vadim's sex romp, "Barbarella" (Jane Fonda).
The studio folded in 1972, the victim of rising costs and De Laurentiis left for United States, where he produced his formula of alternating grandiose spectacle with more sophisticated fare.
He got off to a strong start in the United States with "Serpico," then followed it up with another success, "Three Days of the Condor," a spy thriller starring Robert Redford.
But he was also battered by flops, including the infamous "Dune," in 1984 and a truly awful "King Kong" sequel.
Personal tragedy also took its toll. In 1981, his son Federico was killed in a plane crash. "My father still to this day can't speak of him. ... He told me that every morning he wakes up and thinks of him," De Laurentiis' daughter Veronica said nearly 20 years after Federico's death.
The strain of the loss helped end his marriage to Mangano. They were divorced in 1988, the same year De Laurentiis Entertainment Group went into bankruptcy, finished off by the flop of "King Kong Lives."
Yet De Laurentiis, close to 70 years old, was undaunted and started over.
Within two years, he had a new wife, 29-year-old Martha Schumacher, formed a new company and started producing moneymakers again.
"My philosophy is very simple," De Laurentiis once said. "To feel young, you must work as long as you can."
Survivors include three daughters with Mangano -- Rafaela, Francesca and Veronica -- and two with Schumacher: Carolina and Dina. Funeral arrangements have not yet been determined.
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https://setthetape.com/2023/01/13/body-of-evidence-throwback-30/
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Body of Evidence – Throwback 30
|
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"Leslie Byron Pitt"
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2023-01-13T00:00:00
|
You can see why, at first glance, Body of Evidence seemed like a good idea. The Erotic Thriller sub-genre was reaching its peak. A spate of illicit noirs and/or yuppies in peril features littered t…
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Set The Tape
|
https://setthetape.com/2023/01/13/body-of-evidence-throwback-30/
|
You can see why, at first glance, Body of Evidence seemed like a good idea. The Erotic Thriller sub-genre was reaching its peak. A spate of illicit noirs and/or yuppies in peril features littered the box office with varying results. However, Dino De Laurentiis, a producer not afraid of the odd lurid feature, looked to wade into the waters of the sexy thriller business. At the time, he looked to be holding a not-so-covert secret weapon: Madonna. The widely dubbed “queen of pop” was going through one of her most polarising eras. Late in 1992, Madonna simultaneously released the erotic coffee table book Sex, and her fifth studio album Erotica. Negative reaction to the book hampered Erotica‘s commercial prospects, with the album being her lowest selling at the time. De Laurentiis allegedly pleaded with Madonna to delay the box release to give Body of Evidence a chance to breathe. But seriously, who’s going tell the Material Girl what to do?
The overload of a sexually suggestive book, an album and a film had many critics question Madonna’s antics. De Laurentiis pointed to the sexual saturation as the reason why Body of Evidence flopped at the box office. However, the film’s 60% drop during its second week suggests that word of mouth had some sway in public opinion. Quite simply: some people saw it, disliked it, and informed their friends to stay clear. Madonna, ever the reinventor, shed the aggressive sexual image and moved on to the more introspective Bedtime Stories album in 1994. Maybe the OTT sexuality was too much for folk in general. Possibly. But it doesn’t help that Body of Evidence, even 30 years on, is a stinker.
READ MORE: Godzilla: Monsters & Protectors – All Hail The King #4 – Comic Review
When the elderly and wealthy Andrew Marsh dies from a heart attack after some sexual activity, his lover Rebecca Carlson (Madonna) is framed as the lead suspect. Lawyer Frank Dulaney (Willem Defoe) is hired to defend Rebecca, and from first impressions duly believes her innocence. As the trail begins to loom, more details are revealed about Rebecca’s relationship with Marsh. That his will was changed to leave Rebecca with $8 Million after he dies. It’s also discovered that Marsh had a dicky ticker. Rebecca appears unaware of these facts, much to Dulaney’s confusion. It doesn’t help, however, that he’s beginning to fall for her, complicating matters.
Body of Evidence began shooting two weeks after Paul Verhoeven’s Basic Instinct (1992) was released. This an unfortunate occurrence, as the coincidental similarities found in both features only help to highlight how Body of Evidence pales in comparison. Basic Instinct doesn’t just have the jump on Body of Evidence by being completed and released first. It excels in detail, performance, and direction. Paul Verhoeven’s grip on the sensationalised nonsense is far stronger than Body’s director Uli Edel. Both films open similarly with Body of Evidence coincidently aping Basic Instinct’s initial crime scene sequence. But it’s clear from the dialogue and blocking that Edel just doesn’t have the same flair that makes Basic Instinct tick.
Much like in Basic Instinct, the detectives crack wise with the District Attorney (Joe Mantegna) over the “stiff” and the sex games he may or may not have played. But the scene is merely an infodump of exposition, lacking the gleeful characterisation instilled by Verhoeven and screenwriter Joe Eszterhas. Just one instance of how similar scenes can play out differently. Make no mistake: both Body of Evidence and Basic Instinct are trash thrillers. However, only one of the films grasps how to operate within the silliness.
More frustrating than anything is that Madonna, a regular agent provocateur, particularly at that time, doesn’t have the same zest that Sharon Stone managed to harbour to make Catherine Tramell come alive. Madonna has been hyper-critical of Body of Evidence since the film’s failure, highlighting dissatisfaction at its ending, suggesting that misogyny had a hand in altering its original ending, and pondering why she got the blame for everything when she wasn’t the only one involved.
READ MORE: DmC: Devil May Cry – Throwback 10
She’s not wrong. Body of Evidence was positioned as the Madonna movie, and when the criticism came, it came for her. Media megastars with a wattage such as Madge’s will always have the vultures circling. You don’t need to think hard about the kind of female-orientated, cringey critique the singer obtained here, let alone most of her career. Furthermore, it doesn’t help that Body of Evidence frames, and lights her poorly while giving her character appalling lines of dialogue to try and make it sound sexy. No matter which way you shape some lines, they just don’t sound tantalising. It’s bad enough that Madonna looks like she’s filmed under a parasol for most of the movies. She’s also asked to say things like “Don’t look so hurt, Alan. I fucked you; I fucked Andrew, I fucked Frank. That’s what I do; I fuck. And it made me 8 million dollars!” We don’t go to the erotic thriller for Tolstoy, but hearing these words being uttered robotically by a superstar stirs no loins.
However, it doesn’t feel like the “Bad Girl” really helped matters. It is claimed that Madonna’s acting coach said toodle pip just before production began, stating that “she thinks she knows everything”. Combine this with the pop star’s middling filmography and picture forms. Former A.V. Club writer Nathan Rabin quite succulently sums up Madonna’s acting career in his write-up of Body of Evidence: “…she’s actually racked up a few modest hits: Desperately Seeking Susan, A League of Her Own, and Dick Tracy. Alas, those films are generally considered successful films in which Madonna just happened to appear while her ginormous bombs Swept Away, Shanghai Surprise, and Who’s That Girl? are all considered Madonna movies.”
READ MORE: Blade Runner 2039 #2 – Comic Review
Here in Body of Evidence, Madonna is weighed down by a poor, undetailed screenplay, and cumbersome direction. But Madge has never been a particularly remarkable actress. And this is the kind of film that highlights a weakness in a performer. It’s of little surprise that co-stars Willem Defoe, Joe Mantegna, Julianne Moore, Anne Archer, and Frank Langella managed to slink away from the wreck of the movie. The cast is stacked with seasoned pros who managed to put in half a performance and get away scot-free. In revisiting Body of Evidence, no one puts in their best work. Julianne Moore has little to do other than be another naked body at one point. Joe Mantegna sleepwalks through his district attorney role. Willem Defoe is never fully convincing as a good lawyer that gets corrupted. However, the barnstorming performances they’ve supplied audiences with after this stumble is evident. Less so with Madonna.
Where Sharon Stone had a scene-stealing energy which lasted in Basic Instinct long past the infamous flashing sequence, Madonna struggles to infuse Rebecca with similar zest. Body of Evidence‘s sexual moments are infamous for allegedly lacking any body doubles, yet they miss the type of sexual fission needed beforehand to be alluring. For all of Madonna’s sexual posturing, when placed at the forefront of the film, all the gestures reside superficially. Body of Evidence seems to suggest that a naked Madonna doing vaguely transgressive acts is all that is needed. But what’s missing is the heat that lies between the lines. The likes of Kathleen Turner (Body Heat), Sharon Stone (Basic Instinct) and Linda Fiorentino (The Last Seduction) are exceptionally seductive in their well-known features despite their sexual scenes. Madonna’s Rebecca is achingly short of the scene ownership of other more infamous characters. Granted, as an actress, Madonna has never had a film which could ignite such a spark.
Despite this article’s word count saying otherwise, Madonna isn’t wholly to blame for Body of Evidence’s shortcomings. The film’s pedestrian manner can be seen in what it considers transgressive. The infamous wax scene still feels tame in comparison to the sexual mind games which inhabit the likes of 9 ½ Weeks (1986). A sexual tryst in a public car park fails to truly establish just why anybody would find such a pursuit exciting. Plot strands and ideas are picked up with one line and then dropped by the next scene. Madonna’s star power was a handy distraction to the fact that Uli Edel can’t make Brad Mirman’s spotty screenplay work.
With stronger work put into the film itself, Body of Evidence could easily have become more than simply “The Madonna Movie”. If the film gave depth to characters played by Joe Mantegna and Frank Langella, two men whose ‘sexual digressions’ of BDSM and bisexuality are distributed as mere set dressing, then the film could have possibly juggled some intriguing dynamics. Furthermore, for all the talk of Rebecca being the “Body of Evidence”, this is also true of Frank, who by the midpoint of the film holds several sexual injuries which point him out to be a guilty party. He is in literal terms a figure of testimony. And while such a metaphor seems obvious, at least it’s trying to say something.
READ MORE: Carmilla: The First Vampire – Graphic Novel Review
The large problem is even if Body of Evidence didn’t mean to liberally borrow from Basic Instinct, the proximity of the two films’ releases allows easy comparison and only one winner. The saddest thing is Basic Instinct knows and understands the sandbox it’s playing in, and in doing so gives us a problematic yet titillating blockbuster. The beauty of Basic Instinct lies in the fact that Catherine Tramell always feels like the smartest person in the room. She’s a woman who makes the hilarious fuck line by Rebecca feel believable. It’s not that Madonna couldn’t do that.
Unfortunately, she was never placed in roles to truly let us believe that she could do that. However, when you’re a pop music meal ticket, flung into a movie without the right mix of ingredients, it’s difficult to feel satisfied with the mediocre buffet served up. “It’s not a crime to be a great lay” Frank quips about Rebecca’s case, early on. It’s also not a crime to flog a dead horse. Yet it is more than a little frustrating. Body of Evidence is a good reminder that if you’re able to go out and have great sex, you should do it rather than spend two hours watching this tepid erotic thriller. It’s much more fun.
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https://www.claireheffer.com/blog/film-2088-body-of-evidence1992
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FILM 2088: BODY OF EVIDENCE (1992) — CLAIRE HEFFER DESIGN
|
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[] |
[
""
] | null |
[
"Claire Heffer"
] |
2021-06-01T11:55:15+01:00
|
FILM 2088: BODY OF EVIDENCE (1992) TRIVIA: Madonna personally selected Willem Dafoe as her co-star. Madonna's acting coach quit just before production began, claiming that "she thinks she knows everything." Neither Madonna or Willem Dafoe had a body double for any o
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en
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CLAIRE HEFFER DESIGN
|
https://www.claireheffer.com/blog/film-2088-body-of-evidence1992
|
FILM 2088: BODY OF EVIDENCE (1992)
TRIVIA: Madonna personally selected Willem Dafoe as her co-star.
Madonna's acting coach quit just before production began, claiming that "she thinks she knows everything."
Neither Madonna or Willem Dafoe had a body double for any of the sex scenes.
In interviews, Madonna stated that she found filming the sex scenes "scientific, not sexy at all", but co-star Willem Dafoe admitted that he was "turned on despite himself" while filming the scenes.
Producer Dino De Laurentiis stated in interviews after this movie's release that he begged Madonna to delay the publication of her 'sex book' by a few months, so that the public would not think that this was just 'the sex book movie', but that she refused. De Laurentiis maintained that this contributed strongly to the film's poor box office performance.
In an interview on youtube, Michael Forest states that he initially turned down the role of Andrew Marsh, because it was presented to him as "they were doing him a big favor" because he would be filming sex scenes with Madonna. In order to dissuade the producers from trying to cast him, Forest had his agent make an outrageous financial demand. To Forest's surprise, they agreed to pay what he asked, and he was left with no choice but to accept the role.
Madonna's salary for this movie was higher than all the other actor's combined.
The black briefs worn by Madonna in the 'hot wax and champagne' scene were on display for a number of years in a strip club in Aberdeen, Scotland, until the owner decided to sell them at an online auction.
The 'hot wax and champagne' scene was included in UK Channel 4's list of the '100 sexiest movie moments'.
John Wilson's "The Official Razzie Movie Guide" lists this film as one of "The Ten Best Bad Films ever made."
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https://elcinema.com/en/person/2065679/
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Producer Filmography، photos، Video
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Dino De Laurentiis - Producer Filmography، photos، Video
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elCinema.com
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https://elcinema.com/en/person/2065679/
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An Italian producer, born in Torre Annunziata, Italy, to a father who owned a small pasta factory. He served in the Italian Army during World War II, and later on, he built his own...Read more studio facilities. He began his work in the field of film production in the 1950s in epic films such as Ulysses, starring Kirk Douglas, and War and Peace, starring Audrey Hepburn. In the 1980s, De Laurentiis helped actor Arnold Schwarzenegger achieve fame through the movie Conan the Barbarian. He won an Oscar for his well-known Italian film La Strada, starring the famous star Anthony Quinn. During his long cinematic career, which spanned more than 70 years, Dino De Laurentiis was famous for producing more than 160 films, including well-known cinematic works, such as Barbarella (1968), King Kong (1976), and Serpico (1973). Laurentiis was also the grandfather of the famous cooking show presenter Giada De Laurentiis. He died on November 10, 2010, at the age of 91 in Los Angeles, USA.
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https://www.infoplease.com/people/d/dino-de-laurentiis
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Dino De Laurentiis Biography
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[
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[
"Infoplease"
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2017-02-07T23:17:11-05:00
|
Dino De Laurentiisfilm producerBorn: 8/8/1918Birthplace: Torre Annunziata, Italy Having produced several widely acclaimed Italian films in the 1950s, including Fellini's La Strada (1954) and Nights of Cabiria (1956), he later became known for his large-scale international productions.
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/themes/ip/favicon.ico
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InfoPlease
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https://www.infoplease.com/people/d/dino-de-laurentiis
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Current Events
View captivating images and news briefs about critical government decisions, medical discoveries, technology breakthroughs, and more. From this page, you'll see news events organized chronologically by month and separated into four categories: World News, U.S. News, Disaster News, and Science & Technology News.
We also collect a summary of each week's events, from one Friday to the next, so make sure you check back every week for fascinating updates on the world around to help keep you updated on the latest happenings from across the globe!
Current Events 2023
Check out the November News and Events Here:
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Dino De Laurentiis, storied movie producer, dies at 91
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"Dino De Laurentiis"
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[
"Dennis McLellan, Los Angeles Times",
"Dennis McLellan",
"Los Angeles Times"
] |
2010-11-12T08:00:00+00:00
|
Dino De Laurentiis, the flamboyant Italian movie producer who helped resurrect his nation's film industry after World War II and for more than six decades produced films as diverse as the 1954 Federico Fellini classic "La Strada" and the 1976 remake of "King Kong," has died. He was 91.
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en
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/apple-touch-icon.png
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Los Angeles Times
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https://www.latimes.com/local/obituaries/la-me-dino-delaurentiis-20101112-story.html
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Dino De Laurentiis, the flamboyant Italian movie producer who helped resurrect his nation’s film industry after World War II and for more than six decades produced films as diverse as the 1954 Federico Fellini classic “La Strada” and the 1976 remake of “King Kong,” has died. He was 91.
De Laurentiis, who moved to the United States in the 1970s and continued to produce films until 2007, died Wednesday night at his Beverly Hills home, his daughter Raffaella De Laurentiis, said in a statement Thursday. The cause was not given.
A consummate showman whose epic career belongs to a bygone era of Hollywood grandeur, De Laurentiis produced more than 160 films.
“I don’t think anyone will ever top Dino,” David Lynch, who directed “Blue Velvet” for De Laurentiis, said Thursday. “Ask anybody — he just never let up. He always had fun. He loved the cinema world. He was always thinking of the next thing.”
“The world lost a great entrepreneur, genius and salesman with the passing of Dino De Laurentiis,” California Gov. Arnold Schwarzenegger, who starred in the producer’s “Conan the Barbarian,” said in a statement. “Dino always treated me like a son and gave me my first big break in the movie business.”
De Laurentiis launched his long career as a producer in Italy in the 1940s and in the next decade produced two Oscar-winning best foreign films — Fellini’s “La Strada” (with then-partner Carlo Ponti) and Fellini’s “Nights of Cabiria” (1957).
During the De Laurentiis-Ponti partnership in the ‘50s, they launched into foreign film production in Italy, producing director Mario Camerini’s “Ulysses,” starring Kirk Douglas, Silvana Mangano and Anthony Quinn; and King Vidor’s “War and Peace,” starring Audrey Hepburn, Henry Fonda and Mel Ferrer.
As film producers in Italy after World War II, “De Laurentiis and Ponti in particular took the function of producer, which had never been highly regarded in European cinema before this, and raised it to a higher level,” said USC film professor Rick Jewell.
De Laurentiis, Jewell told The Times in 2007, “was involved with some very important films at that time. Those films didn’t just help resurrect the Italian film industry but brought attention to the Italian film industry that it had never done before.”
While mentioning De Laurentiis-produced films by Italian directors such as Fellini, Vittorio De Sica and Roberto Rossellini, Jewell said De Laurentiis also “got involved in foreign productions in Italy at a time when Hollywood in particular was looking to make films overseas for various reasons, and he jumped on that with films like ‘War and Peace’ and ‘Ulysses.’ ”
In 1962, the prolific producer began building a sprawling studio complex on the outskirts of Rome that he called Dinocitta — Dino City.
During the 1960s — he is credited with pioneering the now-common practice of financing films by pre-selling the distribution rights in foreign countries — De Laurentiis produced films such as director Richard Fleischer’s “Barabbas,” starring Anthony Quinn; John Huston’s star-studded “The Bible”; and Roger Vadim’s “Barbarella,” starring Jane Fonda.
His company also produced Franco Zeffirelli’s adaptation of “Romeo and Juliet.”
After selling his studio and moving to the United States in the 1970s, De Laurentiis produced films such as “Serpico,” “Death Wish,” “Three Days of the Condor,” “The Serpent’s Egg,” “Ragtime” and “Conan the Barbarian.”
But his name also became synonymous with expensive box-office failures such as “Dune,” “Tai-Pan” and “King Kong Lives.”
Veteran Associated Press Hollywood reporter Bob Thomas once summed up De Laurentiis’ varied output as “high-brow and low-brow, huge moneymakers and expensive flops.”
Hit or miss, in an industry in which directors are deified, De Laurentiis had no doubt as to where he stood in the cinematic scheme of things.
“If no producer, no movie,” he growled in a 2002 interview with Canada’s the Globe and Mail.
By 1985, De Laurentiis was running a 32-acre movie studio in Wilmington, N.C. The same year, he acquired Embassy Pictures and formed the De Laurentiis Entertainment Group, a distribution and production company.
Among the films produced under the DEG banner was Lynch’s “Blue Velvet,” which was a critical hit but a disappointment at the box office.
After producing what one analyst called “too many high-priced films, which had minimal commercial value,” De Laurentiis stepped down as chairman in February 1988, and six months later his company was forced to file for bankruptcy.
But in 1990, the producer obtained backing from an Italian friend and formed another company, Dino De Laurentiis Communications.
“De Laurentiis has that quality that all great producers have, which is — I suppose momentum is the best word I can think of,” Jewell said. “This is a guy that always had that forward momentum. It was basically self-generated, but you have to have it” as a successful producer.
In 2001, De Laurentiis received the prestigious Irving G. Thalberg Memorial Award, which is given by the Academy of Motion Picture Arts and Sciences Board of Governors in recognition of “creative producers whose bodies of work reflect a consistent high quality of motion picture production.”
De Laurentiis, who became a U.S. citizen in the mid-1980s, also received the Producers Guild of America’s 2004 David O. Selznick Award for his “historic contributions to motion pictures as the champion of many of our industry’s greatest talents and as a true visionary of international cinema.”
One Italian observer of the movie scene told The Times’ Rome bureau chief in 1976: “Dino has made virtues out of his faults. He is crude, rude and capricious. He treats people as buttons to be pushed. I’m not even sure he cares that much about movies. It is the deals that he loves, the wheeling and dealing. And he’s a genius for publicity. He has a childlike quality, and most people can’t help being charmed by him — even if they live to regret it.”
As a producer, De Laurentiis was known as a man who never took no for an answer.
When Kurt Russell initially turned down the starring role in the 1997 action-thriller “Breakdown” — it was to be shot in the Utah and Arizona desert, and Russell had just made two films on location and wanted to stay home in Pacific Palisades with his family — De Laurentiis came up with a way for the actor to sleep at home each night.
He instructed director Jonathan Mostow to find desert locations near airfields that could accommodate small jets: Russell was picked up at home each morning, driven to Van Nuys Airport and flown to the desert airstrips in a Lear jet. He was then helicoptered next to his trailer at the location.
“I’d get Kurt for one shot before lunch, then we’d shoot till 5 p.m., when we’d hear the helicopter coming in, like ‘MASH,’ signaling that it was time for him to go,” Mostow told The Times in 2001. “It was crazy, but like a lot of Dino’s ideas, it worked.”
Of course, De Laurentiis didn’t always get what he wanted.
When Jodie Foster, director Jonathan Demme and screenwriter Ted Talley all turned down making “Hannibal,” the 2001 sequel to the hit crime thriller “The Silence of the Lambs” (which De Laurentiis had not produced), he simply forged ahead with another female star, director and screenwriter.
As he put it: “The pope dies, you get another pope.”
The son of a pasta manufacturer, he was born Agostino De Laurentiis on Aug. 8, 1919, in Torre Annunziata, near Naples.
One of seven children, he dropped out of school at 15 and traveled as a salesman for his father’s pasta factory. But he wasn’t enamored of the family business.
In 1937, the movie-struck teenager was accepted to the first-year acting course at a new film school in Rome, Centro Sperimentale di Cinematografia.
At the end of the year, De Laurentiis realized he didn’t have the makings of a successful actor and realized he’d rather be behind the camera — as a producer.
He worked for a time as an extra, stagehand, electrician and director’s assistant before changing his first name from Agostino to Dino and launching a production company.
After producing two short films, he bought the remake rights to a Swedish film and produced his first feature movie, “L’amore Canta” (“Love Sings”), which was released in September 1941 when he was 22.
A remake of a German film followed, and that led to his receiving a one-year contract as a producer at the Lux studios in Rome.
His budding producing career was finally interrupted by World War II while he served for a time in the Italian army organizing shows to entertain troops.
After the war, he returned to producing at Lux studios and scored his first international success with Giuseppe De Santis’ “Bitter Rice,” a 1949 drama set among women working in the rice fields of the Po Valley in northern Italy.
The film’s cast included Silvana Mangano, whom De Laurentiis married in 1949 and with whom he had four children: Veronica, Raffaella, Federico and Francesca. The couple divorced in 1989. Federico, 26, died in an airplane crash while making a documentary in Alaska in 1981.
In 1990, De Laurentiis married producer-colleague Martha Schumacher, with whom he had two daughters, Carolyna and Dina.
Besides his wife and five daughters, De Laurentiis also leaves five grandchildren, including Food Network host Giada De Laurentiis; three sisters; and two great-grandchildren.
Funeral arrangements are pending.
dennis.mclellan@latimes.com
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[
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[] | null |
Films produced by Dino De Laurentiis
|
en
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https://letterboxd.com/producer/dino-de-laurentiis/
|
Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account—for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages (example), the ability to select (and filter by) your favorite streaming services, and no ads!
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https://www.theguardian.com/film/2010/nov/11/dino-de-laurentiis-obituary
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Dino De Laurentiis obituary
|
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[] |
[] |
[
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[
"John Francis Lane",
"www.theguardian.com",
"john-francis-lane"
] |
2010-11-11T00:00:00
|
<p>Italian movie tycoon whose list of credits featured as many disasters as hits</p>
|
en
|
the Guardian
|
https://www.theguardian.com/film/2010/nov/11/dino-de-laurentiis-obituary
|
The Italian-born film producer Dino De Laurentiis, who has died aged 91, will perhaps go down in movie history as the last "transatlantic" tycoon. Over a career spanning more than 60 years, producing films on both sides of the ocean, he had as many flops as hits. But De Laurentiis almost always succeeded in staying afloat.
In Rome, he produced Federico Fellini's Oscar-winning La Strada (1954) and the grandiose spectacular War and Peace (1956), but also made The Bible: In the Beginning (1966) and Waterloo (1970), which never recovered their costs. Relocating to the US, he enjoyed success with Serpico (1973), Death Wish (1974), Three Days of the Condor (1975) and Conan the Barbarian (1982), but had financial disasters including Year of the Dragon (1985) and a failed food emporium, which he opened in New York. De Laurentiis was also a starmaker, both in Italy, where he launched the career of the actor Silvana Mangano, who became his wife, and in the US, where he boosted Al Pacino's career.
Born in Torre Annunziata, in the province of Naples, De Laurentiis was the son of a pasta manufacturer for whom he worked as a travelling salesman in his teens. While selling pasta in Rome in the mid-30s, he decided on an impulse to enrol at the city's film school, the Centro Sperimentale di Cinematografia, as an actor. He soon realised that his flair was more for production. He was able to gain experience in most sectors of the industry before producing his first film, L'Amore Canta (Love Song, 1941), at the age of 22.
After serving in the army during the second world war, De Laurentiis became an executive producer at one of Rome's most important emerging film companies, Lux. Among the films he produced for Lux was Riso Amaro (Bitter Rice, 1949), directed by Giuseppe De Santis. The film starred Mangano, whom he married in July that year, after the annulment of his first marriage, to Bianca de Paolis, a banker's daughter. A product of what was then becoming known as neorealism, and reflecting the director's leftist political views, Riso Amaro achieved a phenomenal box-office success at home and abroad – an early indication of the producer's intuition. Neorealism was all very well but, as the film proved, sex and melodrama were what sold tickets.
So did Italian comedy – in the domestic market at least. As a Neapolitan, De Laurentiis was proud to have made the film Napoli Milionaria (Naples Millionaire, 1950), which the great actor and dramatist Eduardo De Filippo adapted from his stage hit, presenting a slice of life in Naples during and after the second world war. De Filippo resumed his original role in the film, but it was De Laurentiis's inspired idea that his character's best scene (in which, during a police inspection, he pretends to be dead to hide the blackmarket goods hidden under the bed by his wife) be given to another character, played by the comic star Totò.
In 1950 De Laurentiis and another of the Lux team, Carlo Ponti, broke away and formed their own company, Ponti-De Laurentiis Cinematografica, producing films including Europa 51 (No Greater Love, 1952), directed by Roberto Rossellini. Ponti and De Laurentiis had a critical and commercial hit with Fellini's La Strada, which starred Anthony Quinn as a strongman and Giulietta Masina as his timid assistant. The film won the Oscar for best foreign-language feature in 1957.
Many years later, the director Jean-Luc Godard, in a speech paying tribute to film producers, said at the Venice film festival: "Without Ponti and De Laurentiis, La Strada would never have been made." Fellini, who was present, shouted sarcastically: "La Strada was made in spite of Ponti and De Laurentiis!" His later film Le Notti di Cabiria (Nights of Cabiria, 1957) was also produced by De Laurentiis, who had by then split with Ponti.
In the meantime, De Laurentiis had begun his attempted Americanisation of the Italian cinema with his first historical spectacular, Ulisse (Ulysses, 1954). The film was made with the familiar Italian gusto for the genre, but with a big American star, Kirk Douglas. It was to have been directed by Georg Wilhelm Pabst, but he quit at the last minute and the film was directed instead by a respected craftsman, Mario Camerini, best known for his sophisticated comedies.
Having encouraged the tradition of signing up big Hollywood stars for Italian-produced films, De Laurentiis never looked back. In 1955 he decided to bring King Vidor to Rome to direct War and Peace. Another producer, Michael Todd, also planned to film Leo Tolstoy's novel, and both wanted Audrey Hepburn for the role of Natasha. De Laurentiis let it be known he was negotiating with Jean Simmons and Stewart Granger for the lead characters and secretly went to Switzerland, where he got a commitment from Hepburn and Mel Ferrer.
He already saw himself as a Hollywood tycoon and was also an expert player of the Italian political game. In order to obtain public finance for the costly studios he was to build in the early 1960s on a sprawling site south of Rome, De Laurentiis somehow succeeded in pushing its boundaries southwards so that it could qualify for the government's Cassa per il Mezzogiorno (Fund for the South).
Like the state-owned Cinecittà studios, built by Mussolini in the 1930s, the new studio complex was in open countryside. Its stages were impressively modern, but the promised production facilities were never fully to materialise. It was there that John Huston shot The Bible: In the Beginning, which ran absurdly over-budget, and where Sergei Bondarchuk made the mammoth Italian-Soviet co-production Waterloo, for which the only cost savings came on location in Moscow, where they got thousands of Soviet Army soldiers as extras free of charge.
By the end of the 1960s, the studios, dubbed "Dinocittà", were in dire financial straits. A costly project never realised was Fellini's Il Viaggio di G Mastorna (G Mastorna's Journey), for which they built a main square and cathedral that remained on the backlot for years after the studios had been abandoned. De Laurentiis had hoped to make up for having missed out on La Dolce Vita (1960), the biggest commercial and artistic hit of the Italian cinema of those times. He had refused to take on the project because he wanted Paul Newman rather than Marcello Mastroianni in the lead role. De Laurentiis had consoled himself in 1959 with the inspired idea of teaming Italy's two most popular stars, Vittorio Gassman and Alberto Sordi, as two seedy first world war soldiers in Mario Monicelli's La Grande Guerra (The Great War), which won the Golden Lion at the Venice film festival.
His mania for signing up big names induced De Laurentiis to hire Richard Fleischer to direct the biblical epic Barabbas (1961), with an incongruous cast of mixed nationalities. He later brought Roger Vadim and Jane Fonda to Dinocittà to make an enjoyable and erotic Barbarella (1968), adapted from Jean-Claude Forest's comic, but he came a cropper with another comic-strip movie, Diabolik (1968), directed by the cult horror guru Mario Bava. He later directed another film based on a popular comics character, Flash Gordon (1980), directed by Mike Hodges.
De Laurentiis finally abandoned Italy in the mid-70s amid a financial scandal surrounding his attempts to rescue Dinocittà. It was an undignified exit, but he landed on his feet in the US, even if one of his first films there, a 1976 remake of King Kong, was ridiculed by many.
During the making of the mafia drama The Valachi Papers (1972), directed by Terence Young and starring Charles Bronson as the Cosa Nostra's Joseph Valachi, De Laurentiis said he had received threats. He arranged a meeting with a boss in Miami, after which he had no more trouble. He made another crime drama, Serpico, the following year. It was directed by Sidney Lumet and starred Pacino, whom De Laurentiis had seen in a play off-Broadway. He was impressed by the actor's resemblance to the real detective.
De Laurentiis also produced Conan the Barbarian, which helped to launch the career of Arnold Schwarzenegger. Both Milos Forman and David Lynch were able to survive two exorbitant flops with De Laurentiis, Ragtime (1981) and Dune (1984) respectively.
He became an American citizen in 1986 but continued to return to Italy, where he made the submarine drama U-571 (2000) at Cinecittà and shot locations for Hannibal (2001) in Florence. He first met the author Thomas Harris when he produced Manhunter (1986), an adaptation of Harris's novel Red Dragon, about the serial killer Hannibal Lecter, played in the film by Brian Cox.
Having missed out on directing the sequel, The Silence of the Lambs (1991), starring Anthony Hopkins as Lecter, De Laurentiis paid Harris $10m for the rights to the third novel about the serial killer. The result was Hannibal (2001), directed by Ridley Scott and starring Hopkins. The following year, he produced a remake of Red Dragon, again with Hopkins, who presented De Laurentiis with the Irving G Thalberg Memorial award at the Oscars in 2001.
De Laurentiis dedicated the award to the six women in his life, all of whom survive him. These include his three daughters by Mangano: Raffaella and Francesca, who are both film producers, and Veronica, who is an actor. De Laurentiis's and Mangano's only son, Federico, was killed in a plane crash in 1981, after which Mangano left the US and returned to Europe, settling in Madrid. She and De Laurentiis divorced shortly before her death in 1989. The other three women in De Laurentiis's life were Martha Schumacher, whom he met in New York during the filming of Dune and married in 1990, and their daughters, Carolyna and Dina.
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https://www.themoviedb.org/person/5398-dino-de-laurentiis%3Flanguage%3Den-US
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Dino De Laurentiis
|
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[
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"Actresses",
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"User Ratings",
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[] | null |
Agostino "Dino" De Laurentiis was an Italian film producer best known for producing science fiction, fantasy, and horror films.
|
de
|
/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png
|
The Movie Database
|
https://www.themoviedb.org/person/5398-dino-de-laurentiis
|
You need to be logged in to continue. Click here to login or here to sign up.
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https://en.wikipedia.org/wiki/Dino_De_Laurentiis
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en
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Dino De Laurentiis
|
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https://en.wikipedia.org/wiki/Dino_De_Laurentiis
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Italian-American film producer (1919–2010)
Agostino "Dino" De Laurentiis (Italian: [ˈdiːno de lauˈrɛnti.is]; 8 August 1919 – 10 November 2010) was an Italian film producer and businessman who held both Italian and American citizenship. Following a brief acting career in the late 1930s and early 1940s, he moved into film production; alongside Carlo Ponti, he brought Italian cinema to the international scene in the post-World War II period. He produced or co-produced over 500 films, with 38 of his Hollywood films receiving Academy Award nominations. He was also the creator and operator of DDL Foodshow, a chain of Italian specialty foods stores.
Early life
[edit]
Agostino De Laurentiis was born in Torre Annunziata, Kingdom of Italy, on 8 August 1919. He grew up selling spaghetti made by his father's pasta factory. His older brother, Luigi De Laurentiis (1917–1992), later followed him into film production. He studied at the Centro Sperimentale di Cinematografia in 1937 and 1938, but his studies were interrupted by the outbreak of World War II.[1]
Career
[edit]
Film production
[edit]
De Laurentiis produced his first film, L'ultimo Combattimento, in 1941. His company, the Dino de Laurentiis Cinematografica, moved into film production in 1946. In the early years, De Laurentiis produced Italian neorealist films such as Bitter Rice (1949) and the early Fellini works La Strada (1954) and Nights of Cabiria (1956), often in collaboration with producer Carlo Ponti.
In the 1960s, De Laurentiis built his own studio facilities. He produced such films as Barabbas (1961), a Christian religious epic; The Bible: In the Beginning... (1966); Kiss the Girls and Make Them Die, an imitation James Bond film; Navajo Joe (1966), a spaghetti Western; Anzio (1968), a World War II film; Barbarella (1968) and Danger: Diabolik (1968), both successful comic book adaptations; and The Valachi Papers (1972), released before its originally scheduled date in order to capitalize on the popularity of The Godfather.[citation needed]
In 1973, De Laurentiis relocated his headquarters to New York and he was reportedly considering to produce an American television series.[2] His studio financially collapsed during the 1970s.[citation needed] In the 1980s, he had his own studio: De Laurentiis Entertainment Group (DEG) based in Wilmington, North Carolina. The studio made Wilmington an unexpected center of film and television production.[3] In 1990, he obtained backing from an Italian friend and formed another company: Dino De Laurentiis Communications in Beverly Hills.
De Laurentiis produced a number of successful films, including The Scientific Cardplayer (1972), Serpico (1973), Death Wish (1974), Mandingo (1975), Three Days of the Condor (1975), The Shootist (1976), Drum (1976), Ingmar Bergman's The Serpent's Egg (1977), Ragtime (1981), Conan the Barbarian (1982), Blue Velvet (1986) and Breakdown (1997). De Laurentiis' name became well known through the 1976 King Kong remake, which was a commercial hit; Lipstick (1976), a rape and revenge drama; Orca (1977), a killer whale film; The White Buffalo (1977), a western; the disaster movie Hurricane (1979); the remake of Flash Gordon (1980); David Lynch's Dune (1984); The Bounty (1984); and King Kong Lives (1986).
De Laurentiis produced several adaptations of Stephen King works, including The Dead Zone (1983), Cat's Eye (1985), Silver Bullet (1985), and Maximum Overdrive (1986). De Laurentiis' company was involved with the horror sequels Halloween II (1981), Evil Dead II (1987), and Army of Darkness (1992). De Laurentiis also produced the first Hannibal Lecter film, Manhunter (1986), an adaptation of the Thomas Harris novel Red Dragon. He passed on adapting the novels' sequel, The Silence of the Lambs (1991),[citation needed] but produced the two follow-ups, Hannibal (2001) and Red Dragon (2002), a re-adaptation of the novel. He also produced the prequel Hannibal Rising (2007), which tells the story of how Hannibal becomes a serial killer.
DDL Foodshow
[edit]
DDL Foodshow was an Italian specialty foods store with three locations: two in New York City and one in Beverly Hills. They were opened in the mid-1980s, and were owned and operated by De Laurentiis.[4]
The first store was opened in the restored palm court in the ornate lobby of the historic Endicott Hotel, now a co-op on Manhattan's Upper West Side, near the existing Zabar's food emporium on Broadway.[5] The first NYC store opened in November 1982, and it was reported that the store "opened to crowds of 30,000 over the Thanksgiving weekend, when de Laurentiis himself greeted customers at the door". The store's assistant manager said that "it was like the premiere of a movie".[6]
The food critic Gael Greene wrote a scathing review on the opening in New York.[5] In an interview with the Chicago Tribune a month later, she admitted that the store was "probably the most stunningly handsome grocery in the world, certainly in New York", but "the pricing was insane. They hadn't paid enough attention to the competition." She reported that she'd talked to De Laurentiis: "Dino's reaction was that I'm full of it. And we're meeting over a bowl of pasta to discuss it."[7] A review in The San Francisco Examiner said that it was "worth a peek and a purchase".[8][9]
DDL Foodshow was later considered to be a forebear of the new Italian specialty goods food-store restaurant dining attraction Eataly.[10]
Personal life
[edit]
De Laurentiis' brief first marriage in Italy was annulled.[11]
In 1949, De Laurentiis married Italian-British actress Silvana Mangano, with whom he had four children: Veronica, an author and actress; Raffaella, a fellow film producer; Federico, also a film producer who died in a plane crash in 1981; and Francesca. His granddaughter through Veronica is chef Giada De Laurentiis, while his nephew through his brother Luigi is fellow film producer Aurelio De Laurentiis. He and Mangano divorced in 1988,[12] and she died of lung cancer the following year.
Having lived in the U.S. since 1976,[13] De Laurentiis became an American citizen in 1986.[14]
In 1990, De Laurentiis married American producer Martha Schumacher, who had produced many of his films since 1985. They had two daughters named Carolyna and Dina and remained married until his death in 2010. Schumacher died of cancer in 2021.
Death
[edit]
On 10 November 2010, at the age of 91, De Laurentiis died at his home in Beverly Hills, California.[15][16][17][18]
Awards and recognitions
[edit]
In 1958, De Laurentiis won the Academy Award for Best Foreign Film for producing La Strada. It was the only time where individuals could win the award instead of the country it was made in and in the case of the first Foreign Film Oscar, he and his fellow producer won the Academy Award, as opposed to the director of the film Federico Fellini.
In 2001, De Laurentiis received the Irving G. Thalberg Memorial Award from the Academy of Motion Picture Arts and Sciences.[19]
In 2012, De Laurentiis posthumously received the America Award of the Italy–USA Foundation.[citation needed]
Filmography
[edit]
Films produced
Year Title Director Notes 1946 Black Eagle Riccardo Freda The Bandit Alberto Lattuada 1947 The Captain's Daughter Mario Camerini Bullet for Stefano Duilio Coletti 1948 Bitter Rice Giuseppe De Santis The Street Has Many Dreams Mario Camerini 1949 The Wolf of the Sila Duilio Coletti 1951 Anna Alberto Lattuada 1952 Europe '51 Roberto Rossellini Lieutenant Giorgio Raffaello Matarazzo Toto in Color Steno 1953 Funniest Show on Earth Mario Mattoli The Unfaithfuls Mario Monicelli Man, Beast and Virtue Steno 1954 La Strada Federico Fellini Attila Pietro Francisci Woman of Rome Luigi Zampa The Gold of Naples Vittorio De Sica Poverty and Nobility Mario Mattoli Where Is Freedom? Roberto Rossellini A Slice of Life Alessandro Blasetti, Paul Paviot An American in Rome Steno Ulysses Mario Camerini 1955 The River Girl Mario Soldati Mambo Robert Rossen The Miller's Beautiful Wife Mario Camerini 1956 War and Peace King Vidor Nights of Cabiria Federico Fellini 1958 This Angry Age René Clément Tempest Alberto Lattuada 1959 The Great War Mario Monicelli 1960 Everybody Go Home Luigi Comencini Five Branded Women Martin Ritt Under Ten Flags Duilio Coletti Crimen Mario Camerini The Hunchback of Rome Carlo Lizzani 1961 The Last Judgment Vittorio De Sica A Difficult Life Dino Risi The Fascist Luciano Salce The Best of Enemies Guy Hamilton Black City Duilio Coletti 1962 Mafioso Alberto Lattuada The Italian Brigands Mario Camerini 1963 Il Boom Vittorio De Sica The Verona Trial Carlo Lizzani 1964 My Wife Luigi Comencini, Mauro Bolognini, Tinto Brass 1965 Battle of the Bulge [citation needed] Ken Annakin Uncredited 1966 The Bible: In the Beginning John Huston Kiss the Girls and Make Them Die Henry Levin Navajo Joe Sergio Corbucci The Hills Run Red Carlo Lizzani 1967 The Stranger Luchino Visconti Matchless Alberto Lattuada The Witches Luchino Visconti, Mauro Bolognini, Pier Paolo Pasolini, Franco Rossi, Vittorio De Sica 1968 Danger: Diabolik Mario Bava Barbarella Roger Vadim Anzio Edward Dmytryk, Duilio Coletti Bandits in Milan Carlo Lizzani Caprice Italian Style Mauro Bolognini, Mario Monicelli, Pier Paolo Pasolini, Steno 1969 Fräulein Doktor Alberto Lattuada Brief Season Renato Castellani The Bandit Carlo Lizzani 1970 A Man Called Sledge Vic Morrow Waterloo Sergei Bondarchuk The Deserter Burt Kennedy 1972 The Valachi Papers Terence Young The Assassin of Rome Damiano Damiani The Most Wonderful Evening of My Life Ettore Scola 1973 Serpico Sidney Lumet Chino John Sturges Mean Frank and Crazy Tony Michele Lupo 1974 Death Wish Michael Winner Two Missionaries Franco Rossi Crazy Joe Carlo Lizzani Three Tough Guys Duccio Tessari 1975 Mandingo Richard Fleischer 1976 King Kong John Guillermin Buffalo Bill and the Indians, or Sitting Bull's History Lesson Robert Altman Drum Steve Carver The Serpent's Egg Ingmar Bergman The Shootist Don Siegel 1977 Orca Michael Anderson 1978 The Brink's Job William Friedkin King of the Gypsies Frank Pierson 1979 Hurricane Jan Troell 1980 Flash Gordon Mike Hodges 1981 Beyond the Reef Frank C. Clarke Halloween II Rick Rosenthal Ragtime Miloš Forman 1982 Fighting Back Lewis Teague Conan the Barbarian John Milius Amityville II: The Possession Damiano Damiani Halloween III: Season of the Witch Tommy Lee Wallace 1983 Amityville 3-D Richard Fleischer Dead Zone David Cronenberg 1984 The Bounty Roger Donaldson Firestarter Mark L. Lester Conan the Destroyer Richard Fleischer Dune David Lynch 1985 Maximum Overdrive Stephen King Marie Roger Donaldson Silver Bullet Daniel Attias Cat's Eye Lewis Teague Year of the Dragon Michael Cimino Red Sonja Richard Fleischer 1986 Crimes of the Heart Bruce Beresford Raw Deal John Irvin Blue Velvet David Lynch Trick or Treat Charles Martin Smith Tai-Pan Daryl Duke Manhunter Michael Mann King Kong Lives John Guillermin 1987 Million Dollar Mystery Richard Fleischer Hiding Out Bob Giraldi Evil Dead II Sam Raimi The Bedroom Window Curtis Hanson From the Hip Bob Clark 1989 Collision Course Lewis Teague 1990 Sometimes They Come Back Tom McLoughlin Desperate Hours Michael Cimino 1992 Once Upon a Crime Eugene Levy Kuffs Bruce A. Evans Army of Darkness Sam Raimi Body of Evidence Uli Edel 1995 Solomon & Sheba Robert Young Slave of Dreams Rumpelstiltskin Mark Jones Assassins Richard Donner 1996 Unforgettable John Dahl Bound The Wachowskis 1997 Breakdown Jonathan Mostow 2000 U-571 2001 Hannibal Ridley Scott 2002 Red Dragon Brett Ratner 2006 The Last Legion Doug Lefler 2007 Hannibal Rising Peter Webber Virgin Territory David Leland
References
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Dino De Laurentiis
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film producer
Born:
Birthplace: Torre Annunziata, Italy
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Dino De Laurentiis, producer of some of Italy's best-known films including works by Federico Fellini and Roberto Rossellini, has died in Los Angeles aged 91
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the Guardian
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Dino De Laurentiis, producer of some of Italy's best-known films including works by Federico Fellini and Roberto Rossellini, has died in Los Angeles aged 91
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Dino De Laurentiis. Producer: Die Nächte der Cabiria. Dino De Laurentiis left home at age 17 to enrol in film school, supporting himself as an actor, extra, propman, or any other job he could get in the film industry. His persistence paid off, and by the time he reached his 20th birthday he already had one produced film under his belt. After serving in the Italian army during World War...
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en
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IMDb
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https://www.imdb.com/name/nm0209569/bio/
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Dino De Laurentiis left home at age 17 to enrol in film school, supporting himself as an actor, extra, propman, or any other job he could get in the film industry. His persistence paid off, and by the time he reached his 20th birthday he already had one produced film under his belt. After serving in the Italian army during World War II, De Laurentiis went back into film production, and in 1946 scored a critical and commercial international hit with Bitterer Reis (1949) ("Bitter Rice"). He later married its star, Silvana Mangano. De Laurentiis eventually formed a partnership with producer Carlo Ponti, and the team had a string of hits, including several by director Federico Fellini. After the partnership dissolved, De Laurentiis embarked on a plan to build his own studio facilities, which would enable him to make the kind of massive spectacles he wanted to make. The studio complex, called Dinocitta', eventually was forced to close down due to a combination of hard times in the Italian film industry and a string of flops by De Laurentiis himself. De Laurentiis eventually sold the property to the Italian government and moved his base of production to the United States. He again opened up a film production complex in Wilmington, North Carolina, called DEG Studios, but was eventually forced by economic conditions to sell that, too. De Laurentiis has had some critical successes since his move to the U.S. (Ragtime (1981)), but most of his U.S. productions have been critically lambasted, although several have been commercial successes.
Agostino "Dino" De Laurentiis was born on August 8, 1919 in Torre Annunziata, Campania, Italy. He spent his childhood selling spaghetti that his father made. But he caught his interest on one big thing: making movies.
De Laurentiis left his home at the age of 17 to enroll for film studies at the Centro Sperimentale di Cinematografia. He bounced around any job he could get in the film industry, which in turn paid off. Even though he was ready to launch a career with his first film, L'ultimo Combattimento (1940), Dino got drafted to serve in the army during World War II. After that, Dino went back into film production to make neorealist films at his newly opened Dino de Laurentiis Cinematografica.
Although his output was lukewarm, one film earned him critical and financial success; Bitter Rice (1949). Things went from good to great when Dino formed a partnership with producer Carlo Ponti, scoring a bunch of hits. While the partnership dissolved in the late 1950's, Dino set out to make massive eye spectacles by setting up his own studio facilities. Thus, his Dinocitta' Studios was formed in Rome.
But as Dino was heading to new heights, the Italian film industry was facing a new low. During the early 1970's, De Laurentiis undoubtedly released a string of financial flops which dissolved chances on making spectacles. Finally, Dinocitta was forced to close and he sold the property to the Italian government.
In 1976, Dino De Laurentiis relocated to the USA, taking his Cinematografica with him. His studio found a new home in Wilmington, North Carolina and soon he was on the right track with some financially successful films. But his spectacles dreams grew more bigger and one of them was certain to be masterful. As Dino himself said, "When Jaws dies, nobody cries. When Kong dies, we all cry".
De Laurentiis unleashed a big budget remake of King Kong (1976). It turned out to be a worldwide hit, but it was lambasted by critics. He spent the rest of the 1970's and the 1980's with an unbalanced output of art films and ridiculous looking "spectacles" that earned him the name "Dino Di Horrendous", whether it was a success or not.
Around the early 1980's, Dino De Laurentiis embarked on his most ambitious project yet, an adaptation of Frank Herbert's sci-fi masterpiece, Dune. Bringing in a clueless David Lynch as director, this adaptation was finally released in 1984. To the shock of Dino (and to no surprise at Lynch), it was a critical and commercial disaster. The spectacle dreams were once again closing in on Dino.
In 1986, De Laurentiis bought the theatrical unit of Embassy Pictures and renamed it the De Laurentiis Entertainment Group. Dino was now able to distribute the films he produced. Unfortunatly, the division released a string of flops and was forced to shut down in 1989.
But even those hardships didn't stop Dino from producing films. He kept his career rolling in the 1990's with some hits during the time. Dino was finally able to make his dream spectacles in the 21st century, with U-571 (2000) and the two Hannibal Lecter films, Hannibal (2001) and Red Dragon (2002). They were his biggest hits both domestically and internationally.
But in 2007, Dino's producing career came to an abrupt end, thanks to the unsatisfied performance of Hannibal Rising and the disaster of The Last Legion. It is dubious that his last film was the chick flick, Virgin Teritory. He planned to do at least four more films in his latter years, but they got stuck in development hell.
Dino De Laurentiis died peacefully on November 10, 2010 at his residence in Beverly Hills, California.
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https://letterboxd.com/executive-producer/dino-de-laurentiis/
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en
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Films executive produced by Dino De Laurentiis
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Films executive produced by Dino De Laurentiis
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en
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https://letterboxd.com/executive-producer/dino-de-laurentiis/
|
Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account—for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages (example), the ability to select (and filter by) your favorite streaming services, and no ads!
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https://www.hollywoodreporter.com/movies/movie-news/dino-de-laurentiis-defied-moviemaking-44643/
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en
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How Dino De Laurentiis Defied Moviemaking Convention
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"Kirk Honeycutt"
] |
2010-11-12T05:01:12+00:00
|
THR's Kirk Honeycutt explains how the late producer became an auteur -- a label usually reserved for directors.
|
en
|
The Hollywood Reporter
|
https://www.hollywoodreporter.com/movies/movie-news/dino-de-laurentiis-defied-moviemaking-44643/
|
RELATED: THR’s Chief Film Critic Todd McCarthy on Why De Laurentiis Was One of a Kind
Early reaction to the news about Oscar-winning producer Dino De Laurentiis, who died Thursday in Beverly Hills at age 91, showed a confused reaction to his actual legacy. Since he produced nearly 500 films, that was only natural.
But what perplexed obituary writers and essayists was not only the range of films but also the range of collaborators and of productions, good, bad and ugly.
His filmography includes many key titles from the Italian neo-realist movement of the 1950s, among them Bitter Rice, La strada and Night of Cabiria. Then, as one of the first producers to understand the global nature of filmmaking, he expanded into European films that hired famous American directors — such as King Vidor and actors such as Henry Fonda and Audrey Hepburn for War and Peace — and finally into American films themselves.
Thus, if nothing else, De Laurentiis produced films by an astonishing range of directorial personalities as no producer before or, it can be safely predicted, ever will. The list begins with Fellini, Bergman, Rossellini, De Sica and Visconti, then moves to Huston, Vidor, Lumet, Altman, Pollack, Friedkin and Cronenberg, to name but a few.
Then there’s this: De Laurentiis just as cheerfully produced films directed by impersonal though reliable directors such as John Guillerman, Steve Carver, J. Lee Thompson and Michael Anderson. Nor did he have any qualms about a production slate that balanced arty risks with exploitation and middle-of-the-road entertainments, some quite idiotic such as Orca or The White Buffalo.
What explains this dichotomy? If we pay attention to the auteur theory, first promulgated by French film critics in the Cahiers du Cinema and then exported to this country by its most famous proponent, critic Andrew Sarris, the director is the most forceful personality in filmmaking. So the study of directors, as opposed to writers, actors or, yes, producers, is the most useful way to rank films and analyze film history, according to this theory.
This goes out the window with De Laurentiis. His films belonged as much to him as the famous auteurs he produced. He worked with the strongest directors — and the most compliant. And he was always a force to be reckoned with on a set.
He fired Robert Altman off his Ragtime project and clashed with many other strong directors. Fellini reportedly once proclaimed that La strada was made “in spite of De Laurentiis!”
When a friend of mine, the late Daryl Duke, made Tai-Pan for De Laurentiis in China in 1986, he wisely had his wife learn Italian so she could understand and relay to him what was being said on the set by Dino and his producer-daughter Raffaella, which they didn’t want Duke to understand.
There are certainly strong producers today; Jerry Bruckheimer and Scott Rudin come to mind. But you can more or less associate a kind of movie with each. Bruckheimer will nearly always look for action and spectacle, while Rudin’s instincts are literary. De Laurentiis shares both those instincts … and many more.
You have to look at De Laurentiis’ background and nationality to understand what drove him to produce the kind of films he did. He was born in Torre Annunziata, Italy, in 1919 to parents who ran a pasta factory.
“If you lived in a provincial town like Torre Annunziata, where there was nothing to do in the evening but go to the movies with your friends, the cinema was a world of fantasy. I had always been in love with it,” he said in interviews for the 2004 book Dino: The Life and Times of Dino De Laurentiis.
The Italian tradition of small-town entertainment stretches back to commedia dell’arte, an outdoors theater of the 16th century that used exaggerated “types” and improvised performances. Commedia troupes traveled through the countryside to perform their sketches in temporary venues. Their subjects included love, lust, jealousy and adultery.
So his birthplace and national heritage made De Laurentiis prone to broad entertainments, to a world of fantasy, whether that fantasy belonged to Tolstoy or to Merian C. Cooper and Ernest B. Schoedsack, whose King Kong De Laurentiis would remake.
He liked epics and spectacles that played to an audience in Torre Annunziata. It just so happened there exists a world market for such spectacles. He raised money all over the world to make event films for a global audience that could respond to the spectacle, just as villagers responded to a commedia troupe.
His ability at promotion and publicity was that of a master showman, a bit of Cecil B. DeMille mixed with P.T. Barnum and maybe even Billy Sunday. Any other producer proclaiming King Kong as “the greatest love story of all time” would have done so with tongue-in-cheek. De Laurentiis no doubt believed it.
|
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| 76 |
https://www.myreviewer.com/DVD/70685/Body-of-Evidence-UK/70702/Review-by-Mark-Oates
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en
|
Review of Body of Evidence
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Widely held to be the worst courtroom drama ever made, Body Of Evidence was probably the highest-profile miscalculation of Madonna`s early movie ...
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https://globalnews.ca/news/101700/award-winning-producer-dino-de-laurentiis-dies-at-91/
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Award-winning producer Dino De Laurentiis dies at 91
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[] |
2010-11-11T19:41:10-05:00
|
Oscar-winning Italian film producer Dino De Laurentiis, who brought to the big screen nearly 500 films including "Serpico," "Three Days of the Condor" and "King Kong," died in Los Angeles aged 91, Italian media said on Thursday.
|
en
|
https://secure.gravatar.com/blavatar/134ef81f5668dc78080f6bd19ca2310b?s=32
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Global News
|
https://globalnews.ca/news/101700/award-winning-producer-dino-de-laurentiis-dies-at-91/
|
ROME – Oscar-winning Italian film producer Dino De Laurentiis, who brought to the big screen nearly 500 films including "Serpico," "Three Days of the Condor" and "King Kong," died in Los Angeles aged 91, Italian media said on Thursday.
De Laurentiis produced several Italian classics in collaboration, including Federico Fellini’s "La Strada," for which he won an Oscar in 1957.
He moved to the United States in the 1970s after the failure of his film studios in Rome, and turned to a string of big international productions, including a few flops.
He was behind the legendary King Kong remake of 1976, the killer whale film "Orca," several adaptations of Stephen King’s novels, and most recently "Hannibal," the sequel to "The Silence of the Lambs."
Here are some facts on film producer Dino De Laurentiis, who has been making movies for nearly 70 years and who died on Thursday. He was 91.
Dino de Laurentiis was born, the son of a pasta manufacturer, in Torre Annunziata in Campania, Italy in Aug. 1919. He enrolled in film school around 1936, supporting himself as an actor, extra, propman, or any other job he could get in the film industry.
His persistence paid off, and by the time he was 20, he already had produced one film. After serving in the Italian army during World War Two, De Laurentiis went back into film production, and scored a critical and commercial international hit with Riso Amaro (1949) ("Bitter Rice"). He later married its star, Silvana Mangano.
MAJOR FILMS IN ITALY:
– De Laurentiis eventually formed a partnership with producer Carlo Ponti, and the team had a string of hits, including several by director Federico Fellini, including "La Strada" (1954) and "The Nights of Cabiria" (1956) – both winners of best foreign film Oscars.
– After the partnership dissolved, De Laurentiis embarked in 1957 on a plan to build his own studio facilities, which would enable him to make the kind of massive spectacles he wanted to make. The studio complex, called Dinocitta’, eventually was forced to close down due to a combination of hard times in the Italian film industry and a string of flops by De Laurentiis himself.
– He opened up a film production complex in Wilmington, North Carolina, called DEG Studios, but again in 1988 was eventually forced by economic conditions to sell that, too after the company filed for bankruptcy.
– In 2005 De Laurentiis and Rome’s famed Cinecitta Studios teamed up to create CLA Studios in Morocco, which stretched over 150 hectares (371 acres) with two shooting stages of 1,800 sq metres each.
LATER WORK:
– The man responsible for "Flash Gordon" also oversaw "Serpico," "Casanova" and "Death Wish" as well as the "King Kong" remake – "Barbarella" with Jane Fonda and the successful "Blue Velvet" and the box office hit "Hannibal."
LIFE DETAILS:
– Silvana Mangano sued De Laurentiis for a divorce in 1988, a day after his entertainment company sought protection from its creditors under the bankruptcy code.
– She said she and De Laurentiis, who became a U.S. citizen, married in July 1949 and separated in September 1983. Two years before their separation, their only son, Federico, was killed in a plane crash in Alaska. The couple also had three daughters.
– In 2001 he was given the Irving G. Thalberg Memorial Award, an honour typically reserved for purveyors of serious, thoughtful and provocative films.
– In 2003 the Venice Film Festival awarded him a Golden Lion for a lifetime of achievement.
(Writing by David Cutler, London Editorial Reference Unit;)
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https://tv.apple.com/lb/person/dino-de-laurentiis/umc.cpc.3apocjshl8a31wwrbs01p1p73
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Dino De Laurentiis Films and Shows â Apple TV (LB)
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Learn about Dino De Laurentiis on Apple TV. Browse shows and movies that include Dino De Laurentiis, such as BODY OF EVIDENCE, Blue Velvet and more.
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https://tv.apple.com/lb/person/dino-de-laurentiis/umc.cpc.3apocjshl8a31wwrbs01p1p73
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Born in Torre Annunciata, Italy, a small city in the province of Naples, De Laurentiis was raised by his father, Rosario, a pasta maker, and his mother, Giusppina. Though he entered his father's pasta business while still a teenager, De Laurentiis found the idea of selling spaghetti unappealing and instead moved to Rome, where he enrolled in the Centro Sperimentale di Cinematografia. De Laurentiis supported himself with acting roles and behind the scenes work until he decided to become a producer in 1939, making his producing debut with "Troppo tardi t'ho conosciuta." But it took another nine years before he enjoyed a real international success with the neo-realistic "Riso Amaro" ("Bitter Rice") (1948), one of the landmark films in the Italian neorealist movement that emerged after World War II. The film starred a buxom Silvana Mangano, whom De Laurentiis married in July 1949, as a rice field worker wooed by two men; one respectable (Raf Vallone) and the other a fugitive (Vittorio Gassman). The couple collaborated in several more ensuing films, including "Il Lupo della Sila" ("The Lure of Sila") (1949), "Il Brigante Musolino" ("Outlaw Girl") (1950) and "Anna" (1951). In the 1950s, De Laurentiis joined with Sophia Loren's husband Carlo Ponti to form a production company that oversaw several prestigious Italian films, including Federico Fellini's Oscar-winning melodrama set in the seedy world of a travelling carnival, "La Strada" (1954). They went on to make "Attila" (1955), "The Miller's Wife" (1955) and "Guendalina" (1957) before dissolving their partnership. By that time, De Laurentiis had branched out on his own, overseeing the epic "War and Peace" (1956), directed by King Vidor and starring Audrey Hepburn and Henry Fonda, while reuniting with Fellini on the Oscar-winning "The Nights of Cabiria" (1957). In 1959, De Laurentiis oversaw his third Academy Award-nominated foreign language motion picture, "The Great War." Meanwhile, as the 1960s unfolded, De Laurentiis built his own studio, Dino Citta, and began teaming with some of the European cinema's finest filmmakers like Vittorio De Sica on "The Last Judgment" (1962), Jean-Luc Godard on "Pierre le fou" (1965) and Claude Chabrol on "An Orchid for the Tiger" (1965). He also worked the Hollywood scene with films like the religious-themed dramas "Barrabas" (1962) and the John Huston-directed "The Bible" (1966). This combination of art house and commercial fare reached absurd heights in 1968 with the odd combination of Francois Truffaut's "The Bride Wore Black" and Roger Vadim's "Barbarella."When Dino Citta failed, De Laurentiis relocated to the United States in the early 1970s and initiated a run of films that proved popular at the box office. He was producer of "The Valachi Papers" (1972), which was based on fact and purported to tell the real story of the Italian Mafia that a film like "The Godfather" was unable to do. Meanwhile, "Serpico" (1973) garnered praise for its true-life tale of police corruption as well as for Al Pacino's magnificent portrayal as an idealistic young cop in jeopardy for not taking bribes. He followed with "Death Wish" (1974), which perhaps tapped most into the zeitgeist, serving up a revenge tale that spawned several sequels starring Charles Bronson and countless imitations. While the spy thriller "Three Days of the Condor" (1975) combined the elements of pulp entertainment with highbrow aspirations embodied in star Robert Redford and director Sydney Pollack, De Laurentiis waded in the muck with lowbrow entertainment like the dreadful "Mandingo" (1975) and the more noisome sequel "Drum" (1976). Perhaps the producer's greatest act of hubris was undertaking the remake of the 1933 classic "King Kong" (1976), which he hoped would rival "Jaws" (1975) in terms of box office take. Famously declaring that "When Jaws dies, nobody cries. When Kong dies, they all cry," De Laurentiis instead delivered a campy, low-brow effort full off cheesy dialogue and over-the-top performances from Jessica Lange, Jeff Bridges and Charles Grodin. Not losing his flair for the high-brow, De Laurentiis reteamed with Fellini one last time for "Fellini's Casanova" (1976), the director's ill-fated biopic of the great lover (Donald Sutherland). After producing Ingmar Bergman's venture into English-language filmmaking, "The Serpent's Egg" (1978), he produced "The Great Train Robbery" (1979) and "Flash Gordon" (1980) while delivering an intriguing adaptation of E.L. Doctorow's historical novel, "Ragtime" (1981), directed by Milos Forman. Meanwhile, he helped introduce the world to Arnold Schwarzenegger by producing "Conan the Barbarian" (1982), which later spawned a sequel "Conant the Destroyer" (1984) and an off-shoot, "Red Sonja" (1985). Amid much fanfare in 1983, De Laurentiis announced the formation of the De Laurentiis Entertainment Group (DEG), which included a state-of-the-art film studio in Wilmington, NC. Serving as chairman and CEO, he oversaw an ambitious slate of films, most of which proved to be box office disappointments. Despite the presence of stars Anthony Hopkins and Mel Gibson, "The Bounty" (1984), a retelling of the famous mutiny, failed to find an audience. Most disappointing of all was "Dune" (1984), director David Lynch's wildly ambitious and overly muddled distillation of Frank Herbert's classic sci-fi novel, which proved to be both an expensive failure and a frustrating mess for audiences. After the failures of projects like "Year of the Dragon" (1985) and "Tai Pan" (1986), De Laurentiis ceded defeat and resigned from DEG in 1988, while the following year, he lost his wife, Silvana Mangano, to lung cancer. Perhaps a lesser figure would have been driven from the industry, but the formidable De Laurentiis formed Dino De Laurentiis Communications and produced the remake of "The Desperate Hours" (1990). Following his first foray into American television, "Stephen King's 'Sometime They Come Back'" (CBS, 1991), he returned to features as the executive producer of "Kuffs" (1992) while signing Madonna to star in "Body of Evidence" (1993), a "Basic Instinct"-inspired knockoff.Returning to the small screen, De Laurentiis returned to the biblically-inspired films of the 1960s and oversaw a remake of "Solomon and Sheba" (Showtime, 1995) which starred Jimmy Smits as the biblical ruler of Israel and Halle Berry as the Queen of Sheba. Also that year, he steered the television movie depicting the biblical Joseph (Adrian Pasdar) and his rise out of slavery to become the chief minister to the Pharaoh of Egypt (Orso Maria Guerrini) in the oddly-titled "Slave of Dreams" (Showtime, 1995). Although the Ray Liotta thriller "Unforgettable" (1996) was anything but, De Laurentiis enjoyed a critical hit with "Breakdown" (1997), a taut thriller starring Kurt Russell as a husband looking for his wife's kidnapper after a breakdown in the middle of Nowhere, New Mexico. As the years piled on, De Laurentiis slowed down his output, though he did remain active while receiving the Irving G. Thalberg Award from the Academy of Motion Picture Arts and Sciences in 2001. Following the underwhelming World War II yarn "U-571" (2000), De Laurentiis brought "Hannibal" (2001) - the long-awaited sequel to "The Silence of the Lambs" (1991) - to the screen. Previously, his company held the rights to Thomas Harris' novels and was behind the Michael Mann-helmed "Manhunter" (1986). But the financial wreckage left behind from that box office failure forced the company to pass on "Lambs," only to see Orion Pictures make a huge hit that won multiple Oscars. Determined to not let such an opportunity pass him by again, De Laurentiis at long last managed to convince Anthony Hopkins to reprise Dr. Hannibal Lecter despite "Lambs" star Jodie Foster and director Jonathan Demme declining to participate. With Julianne Moore as Clarice Starling and Ridley Scott in the director's chair, De Laurentiis finally brought the picture to screen. Though a huge box office hit - the film earned $58 million its opening weekend - "Hannibal" received mix reviews at best and zero Oscar nominations. De Laurentiis went back to the well with "Red Dragon" (2002), a remake of "Manhunter" starring Hopkins and Edward Norton. Several years later, he produced "Hannibal Rising" (2007), a prequel that saw the rise of Hannibal Lecter (Gaspard Ulliel) as a notorious serial killer. The film was savaged by critics on its way to becoming a box office dud. Although his final project was not a major success, De Laurentiis left behind a sweeping legacy of producing quality films, as well as sharing his unrequited love of the art form itself with the rest of the world. De Laurentiis passed away on Nov. 10, 2010 in his Beverly Hills home, surrounded by loved ones. He was 91 years old.
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Dino De Laurentiis
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[
"Dino De Laurentiis"
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[
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Dino De Laurentiis. Producer: Die Nächte der Cabiria. Dino De Laurentiis left home at age 17 to enrol in film school, supporting himself as an actor, extra, propman, or any other job he could get in the film industry. His persistence paid off, and by the time he reached his 20th birthday he already had one produced film under his belt. After serving in the Italian army during World War...
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en
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IMDb
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https://www.imdb.com/name/nm0209569/
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Dino De Laurentiis left home at age 17 to enrol in film school, supporting himself as an actor, extra, propman, or any other job he could get in the film industry. His persistence paid off, and by the time he reached his 20th birthday he already had one produced film under his belt. After serving in the Italian army during World War II, De Laurentiis went back into film production, and in 1946 scored a critical and commercial international hit with Bitterer Reis (1949) ("Bitter Rice"). He later married its star, Silvana Mangano. De Laurentiis eventually formed a partnership with producer Carlo Ponti, and the team had a string of hits, including several by director Federico Fellini. After the partnership dissolved, De Laurentiis embarked on a plan to build his own studio facilities, which would enable him to make the kind of massive spectacles he wanted to make. The studio complex, called Dinocitta', eventually was forced to close down due to a combination of hard times in the Italian film industry and a string of flops by De Laurentiis himself. De Laurentiis eventually sold the property to the Italian government and moved his base of production to the United States. He again opened up a film production complex in Wilmington, North Carolina, called DEG Studios, but was eventually forced by economic conditions to sell that, too. De Laurentiis has had some critical successes since his move to the U.S. (Ragtime (1981)), but most of his U.S. productions have been critically lambasted, although several have been commercial successes.
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https://chud.com/26365/dino-de-laurentiis-dead-as-disco-and-dinosaurs/
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DINO DE LAURENTIIS DEAD AS DISCO AND DINOSAURS
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https://chud.com/26365/dino-de-laurentiis-dead-as-disco-and-dinosaurs/
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There are some filmmakers whose careers are Hollywood history lessons in and of themselves, Roger Corman comes to mind, David O. Selznick… the kind of mega-producers that traditionally get lumped in with the different “golden ages” of cinema. Dino De Laurentiis is one such producer whose career spans an even wider range of time, and includes a much greater latitude of quality across his 500 films.
Associated with everything from Neo-Realist films in the 40s, European copycat films in the 60’s, and then some of the biggest American tentpoles from the 70s onward, no one had a weirder resume than De Laurentiis. He worked with filmmakers like Fellini, Rossellini, Bergman, Lumet, Lynch, Milius, and Raimi, author’s like Stephen King and Thomas Harris, and accumulated 35 Oscar nominations.
While his career started illustriously, it was filled with plenty of box office bombs, and smash-hits of dubious quality. One of De Laurentiis’ most famous pieces was the 70s remake of King Kong, which was actually as controversial and combative a production as there has ever been. A massive fight over the rights broke out as Universal and Paramount set-up dueling productions, and then when De Laurentiis and Paramount won and made their film, it was done with such a huge budget that it was questioned if the thing could even break even, much less be a success. The blockbuster producer made the right call on that project, even if he would not be so lucky with others.
Ironically enough, after producing the 1986 Harris-adaptation Manhunter, Some of De Laurentiis’ final work was pulling together the multiple Silence of the Lambs sequels and prequels, which Laurentiis jumped onto after having passed on the 1992 Best Picture winner. De Laurentiis was active in Hollywood up until just a few years ago, and was 91 when he passed yesterday in California with his family, including his daughter and Food Network host Giada De Laurentiis,
If you’d like to go way back, you can read the Feb 1976 NY Magazine article below from which the above pictures was taken- it tells a story of an old-school, scrappy producer tackling a big studio in search of a hit. You’ll certainly be able to read dozens of other profiles and retrospectives over the next week as well, as Dino De Laurentiis was a true legend.
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https://tremblesighwonder.com/2021/09/26/worth-37-5-cents-the-enduring-legacy-of-a-great-and-crazy-studio-de-laurentiis-entertainment-group/
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Worth 37.5 cents?: The Enduring Legacy of a Great and Crazy Studio, De Laurentiis Entertainment Group.
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2021-09-26T00:00:00
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I will convince you D.E.G. was an interesting movie studio where multiple artists made masterpieces, new directors got a chance, and solid veterans got their final gigs.
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Tremble...Sigh...Wonder...
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https://tremblesighwonder.com/2021/09/26/worth-37-5-cents-the-enduring-legacy-of-a-great-and-crazy-studio-de-laurentiis-entertainment-group/
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By James Kenney
I have come here to praise, not bury the De Laurentiis Entertainment Group, and so should any film lover. Akin to television’s Stephen J. Cannell company, it was one of the last studios run by a colorful leader who answered to no one.
D.E.G. has been defined in history by its failures: excessive budgets, capricious management practices, impulsive choices that led to box-office disaster. As explained in an August 1989 Spy magazine expose, “no movie company can stay in business if it makes movies so bad nobody will pay to see them.” The author details how the studio squandered hundreds of millions in just a few years making some of the “most dreadful movies imaginable,” movies “other studios wouldn’t touch, with stars no one wanted to see.” And he provides an impressive list of all-time apparent stinkers: Maximum Overdrive, Tai-Pan, King Kong Lives, Million Dollar Mystery, From the Hip, and Date With an Angel. An unnamed studio executive discussed how DeLaurentiis “would never really believe in market research.”
Hail, hero!
The article reports that when a release such as King Kong Lives, flopped, Dino refused to despair. The next picture would be the one to turn it around. “Domani”! Dino would say, as “Dino had an inhuman resilience to bad news and could revive himself quicker than anybody I’ve ever seen.” As an investor I might have been troubled, sure, but this character trait is a lot more endearing than currently witnessing the Marvel corporation employ bots on Twitter to attack actor Stephen Dorff because he dares to say he doesn’t have any interest in Marvel films.
Unnamed people in the article complain that his films were invariably miscast, one pointing out the stockbroker-on-the-run-from-the-mob-hiding-in-high-school movie Hiding Out made a mistake employing Jon Cryer off of Pretty in Pink: “in a normal major studio, you waited for Michael J. Fox. But DeLaurentiis never waited for anybody.”
Really?
I mean, Cryer didn’t prove a major box-office draw, but by 1987 Fox wasn’t drawing audiences outside of Back to the Future sequels. Light of Day? For Love or Money? Greedy? Fox is awesome, lovely, and talented but his participation would not have guaranteed Hiding Out big financial returns.
“You wound up making From the Hip with Judd Nelson, who was fifth or sixth down the list, because you needed to start by February 15th,” the same unnamed former employee complains, and while Nelson again proved to not be box office, coming off The Breakfast Club and St. Elmo’s Fire it seemed a reasonable bet, one that big studio Paramount and producer Walter Hill also made when they made Blue City with Nelson the same year, which indeed also flopped.
In its unsuccessful wake, D.E.G. left us with some genuine masterpieces, some minor masterpieces, some damn good films, some certified cult items that people still talk about, some humpback movies that are messy but still interesting, and very little that is dull or lacking personality. The worst of D.E.G.’s detritus has personality, and in the rear-view looks much prettier than it did upon arrival.
I have come here to praise DeLaurentiis Entertainment Group, not bury it...
This is not to say DeLaurentiis had sound taste – but it is hard to not be nostalgic, in this age of faceless cookie-cutters planning out Marvel spinoffs years in advance and dropping huge films on streaming services no one cares about to maximize revenue, towards an old school studio head who said “yes” or “no” on instinct, not on “market research” done by idiots with MBA’s.
If D.E.G. had only pulled out one substantial hit there would have been a different tune sung and D.E.G. might have survived.
But his King Kong movie, his Schwarzenneger action film, his Stephen King production, they all indeed failed miserably.
The guy made movies the old-fashioned way, and while he surely didn’t intend it, he comes off rather progressive, hiring an inexperienced woman to direct a film in the 1980s (who later went on to win an Academy Award), as well as several young directors of repute who he gave final cut to, like David Lynch and Michael Mann. I find his roster of talent and projects interesting, if not always successful; a pox on “market research” and casting “stars people want to see.”
In fact, auteurists should be in heaven, as during the 80s, when producers like Jerry Bruckheimer and Don Simpson were king, hiring television commercial and music video directors to make their (oh so successful!) films, De Laurentiis hired Mann, Lynch, Peter Bogdanovich, John Irvin, Richard Fleischer, Curtis Hanson, Bruce Beresford, Bob Clark, Sam Raimi, John Hancock, Albert Pyun, John Guillermin, Lewis Teague, Kathryn Bigelow and William Friedkin. Lots of these director’s films were flops at the time, sure, but what film fan will look askance at that roster?
De Laurentiis Entertainment Group (D.E.G.) misfires are so fabled, namely King Kong Lives and Million Dollar Mystery, that the studio became a running joke, like Cannon Films’ uglier sister or something. But you had an optimistic, loud, larger-than-life impresario running a big (out of control?) studio, impudently building physical operations (still in operation today) in North Carolina and Australia, who was undeniably utterly out of touch with the times, hiring actual directors to helm his weird slate of films, none of which made money, sure.
What D.E.G. did do was make three stone-cold masterpieces in its three years of operation, maybe more.
Sure, none of it made money! Oops! He somehow managed to make the one Arnold Schwarzenegger film that didn’t make money in the 1980s! Ouch!
Admittedly, I’m the kind of guy who thinks sports should build character; I’m a fan of Charlie Brown’s hapless baseball team and the Bad News Bears, which has led to me showing more interest in expansion teams and rotten Mets teams way more than following the actually successful Yankees.
So is it with De Laurentiis—he tried to build a movie studio from scratch in the mid-80s, and with no room for failure, failed tremendously.
On August 17, 1988, Andrea Adeleson the New York Times reported that:
De Laurentiis Entertainment Group Inc., the financially troubled film company founded by the Italian-born producer Dino De Laurentiis, filed today for protection from its creditors under Chapter 11 of the Federal Bankruptcy Code.
The move comes a week after the film company dropped a $65 million debt restructuring plan, which it had said was crucial to its survival…
The voluntary filing, which allows a company to put its debts on hold while its reorganizes, listed $199.7 million in liabilities and $163 million in assets, said a company spokeswoman, Susan Feldon. The liabilities include $23.9 million in secured debt and $70.4 million in unsecured notes, she said.
One analyst gave De Laurentiis Entertainment little chance of emerging from court protection, as the film company has sold most of its assets, including its 300-title film library for $54 million, to pay loans….
De Laurentiis Entertainment, which is based in Beverly Hills, Calif., fell victim to making ”too many high-priced films, which had minimal commercial value,” said Jeffrey Logsdon, an analyst at Crowell, Weedon & Company, a Los Angeles brokerage.
As reported by Al Delugach in the same day’s Los Angeles Times, “The company’s stock, which reached a high of $19.25 a share shortly after the firm went public in May, 1986, last traded at 37.5 cents a share Tuesday on the American Stock Exchange.”
You tell me if the following body of work is worth 37.5 cents to you!
De Laurentiss Group’s Film Output:
Raw Deal (released June 6, 1986)
A stylish, quirky, violent movie, way underappreciated. Raw Deal is directed by John Irvin, who made Christopher Walken’s The Dogs of War and Alec Guiness’ Tinker, Tailor Soldier Spy and who here good-humoredly pokes fun at the outsized Schwarzenegger personality and physique (with Schwarzenegger cheerfully in on the joke), self-aware of the silliness of dropping this charismatic Austrian block of granite into any situation.
Surrounding him with a superlative cast of supporting actors including Robert Davi, Sam Wanamaker, Arthur Hill, Darren McGavin, Ed Lauter, and the luminous and funny Kathryn Harrold, Raw Deal is my favorite Schwarzenegger film – yes, the James Cameron films are brilliantly realized, but a bit too “clinical” for my tastes. Raw Deal is messy, especially with its pleasing and (undernoticed) romantic throughline that Schwarzenegger is faking his death and tearing apart a crime family from the inside to make the miserable alcoholic wife that he loves happy by getting back in good with the FBI, which had unceremoniously dumped him. As the film’s ends, despite the luscious Kathryn Harrold falling for him (they have groovy chemistry too, I find this film has his most convincing romantic performance, forget True Lies), Schwarzenegger steadfastly never falls into her inviting arms and leaves her, Casablanca style, to go back to his lonely, miserable wife who thinks he’s dead. A sublime masterpiece of lunkhead filmmaking. 10 out of 10 bullets!
My Little Pony:The Movie (June 6, 1986)
I have little to say about My Little Pony: The Movie, except D.E.G., like my beloved Charlie Brown, always found a way to lose, as this film, yes, didn’t make any money. Some interesting names in the cast list, though.
Maximum Overdrive (July 25, 1986)
Who can blame Dino, our protagonist? Get Stephen King, the hottest name in entertainment to write a film based on one of his gory short stories, and also direct it? I would have made that bet, especially with a serviceable cast featuring Emilio Estevez, one of the many brat-packers De Laurentiis (wrongly) turned to to bring in young butts, but it worked on me. I saw all his post-expiration-date-brat-packer films in the theater, except the one that went unreleased, but I caught up with that on VHS too. And Maximum Overdrive, apparently made while King was crazed on coke (gee, thanks a lot Stephen) is rather awful…and endlessly watchable.
It stirs the imagination much more than many better and justifiably forgotten horror films from the period, including some written by King. From the awesome AC/DC score (those guys showed up with their A-game), to Estevez and Pat Hingle playing it straight, to its big dumb truck stunts, to the gore effects obviously pared down to receive an R rating, to its complete lack of logic (Why do trucks turn evil, but not cars? Why do lawn sprinklers turn evil? Why do bicycles suddenly flip some kids but not others?), this a movie that NEVER GROWS OLD. I’m not grading these things as a stockholder, I’m grading these as entertainments. 10 out of 10 guys killed by soda cans shot out of a diabolic vending machine!
The Transformers:The Movie (August 8, 1986)
Didn’t see this either, but noteworthy for using the voice of Judd Nelson, who later starred in the essential DEG release From the Hip and is unfairly badmouthed in the Spy magazine article, but obviously it’s a cult film, with Orson Welles also supplying a voice in his last performance ever.
Of course, De Laurentiis would be the only guy who couldn’t figure out a way to make money off of the damn Transformers.
Manhunter (August 15, 1986)
STONE COLD MASTERPIECE. I don’t care how hot Miami Vice was, this was a risky project; Mann’s last theatrical release was the disastrous The Keep, and unnamed executives bitching about how De Laurentiis wouldn’t followed “market research” or hire “stars” can go to hell! William Peterson, Joan Allen, Brian Cox and Tom Noonan weren’t stars, but are note perfect, Mann’s unique, intense filmmaking style, the soundtrack, all of it, beyond brilliant. Better than any other Hannibal Lechter film and I’m not fashionable saying this, I’ve been a fan since August 1986. 10 out of 10 blind victims!
Blue Velvet (September 19, 1986)
CASE CLOSED! What other studio put out two films in a row like Manhunter and Blue Velvet, EVER? De Laurentiis was nuts, beautifully so; even after David Lynch’s Dune, which he produced, flopped for Universal, he nevertheless bankrolled Lynch’s dream project and left him alone to make it how he saw fit. And, NO, it didn’t make any money when it came out, and no, he didn’t test market and hire Michael J. Fox for the lead, he okayed Kyle McLachlan, who had already starred in and been less-than-great in Dune, the previous Lynch fiasco. And he’s great in this! The bet paid off, if not financially! Dennis Hopper! Laura Dern! Isabella Rossellini! STONE COLD MASTERPIECE. 10 out of 10 Chris Isaak songs!
Radioactive Dreams (September 19, 1986)
CASE CLOSED part 2! What studio puts out two auteurist masterpieces like Manhunter and Blue Velvet in a row, and then puts out a nutty post-apocalyptic Albert Pyun film??? Which also makes no money, of course! De Laurentiis was burning money to make his stable of crazy auteurs happy! Radioactive Dreams is like a lot of Pyun films; cinematic, weird, sometimes terrible, and equally fascinating, plus John Stockwell, an 80 favorite from Christine and Losin’ it, stars alongside the American Ninja, Michael Dudikoff. 8 out of 10 Pyuns!
Trick or Treat (October 24, 1986)
OK, this is more of a bunt single than a home run, but it stars Skippy from Family Ties, Gene Simmons and Ozzy Osbourne, and is directed by Charles Martin Smith, the accountant guy from The Untouchables! 6.5 out of 10 Screams!
Tai-Pan (November 7, 1986)
Yes, it was a flop! I don’t care if James Clavell’s epic novel wasn’t developed to his liking! Sure, I love To Sir, With Love and The Last Valley but I never saw Shogun or any of that stuff; Tai-Pan has Bryan Brown, who sells no tickets but is a perfectly fine actor, and a young Joan Chen and Kyra Sedgwick also show up. This is old school, and it indeed should have been made in the 60s with Charlton Heston after 55 Days in Peking and before The Hawaiians. I’m all about the old school, as who needs the Goonies and Flashdance? I can’t deny this expensive flop was probably not market researched and De Laurentiis hoped Brown’s Thorn Birds stardom would translate to big-screen success. Nope! But Brown was good in F/X, a personal favorite of the time, so I and my dad went to see this in widescreen splendor in November ’86 (I don’t think it was playing by December ’86). And aueterists, director Daryl Duke is the guy who made Payday with Rip Torn and The Silent Partner with Elliot Gould! Great hire! 8 out of 10 long ships!
Body Slam (November 21, 1986)
Hal Needham! Who makes a Hal Needham movie when Burt Reynolds isn’t around? Dino De Laurentiis does! In a comedy about wrestling featuring Rowdy Roddy Piper and the A-Team’s Dirk Benedict, who wasn’t gonna sell any tickets by 1986, especially if Mr. T. couldn’t sell tickets to D.C. Cab in 83 when The A-Team was still actually a hit!
I think by 86 Robert Vaughn had shown up on the A-Team, a desperation move kind of like Cousin Oliver being inserted into the final season of Brady Bunch, if Cousin Oliver came with a gun and terrorized the family. But anyway, the film also has Sheena’s Tanya Roberts as the female lead, so 7 out of 10 Tanyas!
Crimes of the Heart (December 12, 1986)
Solid! Bruce Beresford directing Jessica Lange, Sissy Spacek and Diane Keaton in a film based on a Beth Henley play! This is a diverse cinematic lineup, folks! I only saw this on VHS, but Beresford only started making turkeys with alarming regularity in the 21st century, at this point he was still good and consistent and Tender Mercies and Breaker Morant-identified. His swing for the award fences didn’t result in a score, but it’s a good movie and a great showcase for its stars. 8 out of 10 Oscars!
King Kong Lives (December 19, 1986)
I have no problem with dumb King Kong sequels. John Guillermin was a solid-pus director and he makes a silly, enjoyable, dopey film with one of the many young actresses I had a crush on at the time, Linda Hamilton, and John Ashton from Beverly Hills Cop and Midnight Run as the military villain guy who just can’t let Kong be.
Is it good? I guess not, but I enjoy what turned out to be Guillermin’s last theatrical film. I’m gonna expend too much energy defending Guillermin’s Sheena, Queen of the Jungle soon enough, so I can’t burn it up defending this thing, but I find it kind of cute and pleasant with all sorts of elements I like, although here’s one where maybe market research might have indeed helped out, Dino!
On the other hand, if Paramount can greenlight The Golden Child, De Laurentiis can be forgiven for his terrible project. I mean Paramount had money to burn, removing John Barry’s score from Golden Child (!!!). Who dumps a Barry score? A studio that can afford to make dumb decisions. D.E.G. couldn’t, and Kong’s flop did put a major-league hurt on D.E.G.. But it’s hilarious and bizarre and ripe to be a genuine cult item (it’s out of circulation currently and hard to see). 5 out of 10 John Ashtons!
The Bedroom Window (January 30, 1987)
Not just Michael Mann, not just David Lynch, but Curtis L.A. Confidential Hansen got an early directing gig for De Laurentiis, shooting this Hitchcockian thriller with a nifty premise. Solidly executed, even if Steve Guttenberg was too closely identified with his Police Academy goofball persona to really score in this – but with distance, he’s a competent actor and perfectly convincing as a thickheaded everyman who intrepidly pretends to be a witness to a crime to “protect” his married lover. Plus enigmatic, alluring, and narcissistic Isabelle Huppert is in it alongside Elizabeth Perkins. Didn’t make money! Still an awesome film! 9 out of 10 MaGuffins!
From The Hip (February 6, 1987)
The legendary Bob Clark! De Laurentiis hired all our favorite directors! The thing with Clark is you never know if you’re getting the brilliant guy who made Death Dream and Black Christmas and Murder By Decree and A Christmas Story and Porky’s or the bewilderingly bad director who made Loose Cannons and Rhinestone and Porky’s 2! Here you get both! The first half is a dimwitted comedy about an obnoxious lawyer we’re supposed to root for, but the second half is amazing, as obnoxious lawyer Judd Nelson is forced to defend sociopathic millionaire John Hurt, and the film gets real interesting real fast. Written by David Kelly, who later did all that television lawyer stuff like Boston Legal and the Practice; De Laurentiis continually hiring all sorts of young talent! It just didn’t pay off financially! As a Brat Pack fan, I went to see From the Hip opening night on a double date! We apparently accounted for 24% of the total box-office! 7.5 gavels out of 10!
Evil Dead II (March 13, 1987)
D.E.G. bankrolled Evil Dead II, releasing it under a shell company so it could go out unrated! What can I say? Bruce Campbell became Bruce Campbell in this film — Who doesn’t like Evil Dead II? 11 out of 10 grinning skulls!
Million Dollar Mystery (June 12, 1987)
What an energetic, misbegotten goof! Who unofficially remakes It’s a Mad, Mad, Mad World in 1987 with no stars? But in my house, 1941 and I Wanna Hold Your Hand’s Eddie Deezen IS a star, recent troubles with the law notwithstanding! And c’mon, the studio gambled on new talent like David Lynch and Michael Mann, but also hired aging veterans like Guillermin and in this case Richard Fleischer, who directs with more vitality than you might expect. Another genuinely weird project that is more memorable than a lot of 80s crap that doesn’t get anywhere near as maligned! Six out of 10 Glad trash bags!
Near Dark (October 2, 1987)
Another STONE COLD CLASSIC! Kathyrn Bigelow’s vampire movie is bloody, violent, romantic, funny, harrowing! He hired a woman, namely Kathryn Bigelow, in 1987 to make a vampire film! Did Don Simpson do that? Nope! Great film! Jenny Wright! Bill Paxton! Lance Henriksen! 10 out of 10 vampires bursting into flame in the morning sun! Of course, it made no money! We let Dino down, folks, if we JUST WENT TO SEE Manhunter, Blue Velvet and this in the theater, Dino would’ve been fine! I went! 8 out of the 15 films listed above I saw theatrically! Did you?
DID YOU?
Weeds (October 16, 1987)
This is a NEAR-MASTERPIECE! Bang the Drum Slowly’s John Hancock’s story of prisoners who regain humanity by becoming actors is disturbing, unpredictable, and funny! The one and only Nick Nolte is incredible in this and it’s way underseen, it’s in fact never had a DVD release, and Hancock thinks the negative is lost. Someone find this negative! I tracked down the lost director’s cut of the last Bogdanovich film, it’s somebody else’s turn!
This film is very cool and very underseen. People keep saying D.E.G. is like Cannon films, but actual masterpieces were made under D.E.G.’s failed watch! 10 out of 10 thespians!
Hiding Out (November 6, 1987)
Likeable enough past-its-expiration-date Brat Pack comedy about a stockbroker hiding out from mafia killers in a high school; Pretty in Pink’s Jon Cryer is perfectly good in this, but he admittedly wasn’t a movie star. I’ll give it a friendly rating because I appreciate De Laurentiis’ persistently giving roles to my Brat Pack heroes in the false belief that anyone other than me cared. 7.5 out of 10 school lunches!
Date with an Angel (November 20, 1987)
This one is odd, it’s about an angel who falls to earth and the guy who loves her. It apparently was developed before Splash was released and does play kind of like a belated Splash ripoff as it came out years alter. Here the casting is odd as the filmmakers picked a soap opera star, Michael E. Knight, to be the lead, which doesn’t make much sense because it’s a youth comedy and I assume grandmas watched soaps. Phoebe Cates is also in it and the gorgeous Emanuelle Beart does her ethereal best in her U.S. debut as the angel in a film that takes a dark turn towards the end I found kind of interesting. 7 out of 10 broken wings.
Shakedown (May 6, 1988) (released by Universal Pictures in U.S.)
DEG developed Shakedown back when it was called Blue Jean Cop! A crazy James Glickenhaus over-the-top New York City based action film, with shootouts in both Coney Island and Times Square, Shakedown bet on Peter Weller’s star rising with Robocop and Sam Elliot just being Sam Elliot, I guess. D.E.G. had to sell it off to Universal as its money woes mounted, but it’s a good, dopey action film, belatedly much beloved, with genuine stunts in impressive locations. 8 out of 10 Times Square marquees!
Illegally Yours (May 13, 1988) (released by United Artists in U.S.)
I wrote about this extensively already; De Laurentiis bought a truly puerile script that Peter Bogdanovich unsuccessfully then attempted to bring in for a safe landing. Still, I wholly appreciate Dino hiring Peter when Peter was on the outs for righteously if wrong-headedly suing Universal for cutting Mask despite his holding final cut, and Bogdanovich gets a hugely appealing performance from Rob Lowe doing the clumsy-bespectacled-hero bit while keeping the whole thing going rather brightly for about half the running time. But this is a flop, yeah. 5 out of 10 pairs of Harold Lloyd glasses!
Traxx (August 17, 1988) (direct-to-video in U.S.)
Huh? I have never seen this, but apparently irrepressible Dino thought L.A. DJ Shadoe Stevens was movie star material and made this, which I hear is a spoof, not a straight-forward action flic. I’d rather see this at this point than catch up with any recent Marvel Captain America film I didn’t see, I can tell you that.
Pumpkinhead (October 14, 1988) (released by United Artists in U.S.)
Another good horror film that D.E.G. sold off to United Artists. It didn’t make money for them either, so it wouldn’t have saved him, but it’s the second time Dino employed Lance Henriksen and it’s a cool movie, so 9 pumpkins out of 10! Sure he made Maximum Overdrive, but Dino bankrolled both Pumpkinhead and Near Dark. His stable is full of minor (and a couple of major) classics!
Tapeheads (October 21, 1988) (released by Avenue Pictures in U.S.)
John Cusack and Tim Robbins in a self-consciously weird indie comedy! It’s not great, but it’s interesting! By this time, D.E.G. was toast and most of the titles that had any potential were being sold off to other distributors. 7 out of 10 Cusacks!
Bill and Ted’s Excellent Adventure (February 17, 1989) (released by Orion Pictures in U.S.)
Dino gave Keanu Reeves his big comedy break! It’s actually not so very good but strangely endearing, and the closest thing to a cinematic tentpole Dino ever got near! 8 out of 10 time-machine-phone-booths!
Earth Girls Are Easy (May 12, 1989) (released by Vestron Pictures in U.S)
The dude produced a colorful kind-of musical from Julian Temple, the director of Absolute Beginners, featuring Jeff Goldblum, Geena Davis, a young Jim Carrey, and a young Damon Wayans! Strange but endearing, and thank God for the lack of market research because, yeah, who the hell would go see this stuff? 8 out of 10 surfboards!
Collision Course (April, 1992) (direct-to-video in U.S.)
The fabled buddy-cop film featuring Pat Morita and Jay Leno that went straight to video in the U.S. Well, he did hire Alligator and Cujo director Lewis Teague to helm it, so again, D.E.G. is an auteurist’s happy place. But I heard this was pretty bad, indeed — I never saw it.
Rampage (October 30, 1992) (released by Miramax Films in U.S.)
William Friedkin’s long-unreleased Rampage was ALSO produced by D.E.G., and many love this movie! I found it a little risible when I saw it but it’s been about 25 years,so I remember little of it, and I’ll take the word of those smarter than me who say it’s a terrific Friedkin film, because it SUPPORTS MY THESIS.
9 out of 10 serial killers!
That’s an eccentric but enviable pile-up of cinematic train wrecks, some of which are unquestionably among the greatest films made in the last forty years!
Man, I get giddy when the short-lived 1980s DeLaurentiis Entertainment Group (D.E.G.) appears before a movie. Sure, it’s considered a folly, the erratic if prolific Italian producer setting up camp in North Carolina to avoid union regulations, trying to squeeze life out of aging properties he still owned like King Kong.
Yes, it was a flop, but we are all happy that Stephen King’s absurd Maximum Overdrive, where Emilio Estevez and Pat Hingle fight killer trucks off with bazookas at a truckstop while AC/DC blares, exists, yes? I mean it’s nuts, but it’s so watchable.
No, Steve Guttenberg didn’t prove a reliable box-office leading man, but who has an issue with Curtis Hanson’s Hitchcockian The Bedroom Window? It might have been a big mistake to assume Bryan Brown would bring in audiences in Tai-Pan, but I like Bryan Brown! I don’t care if he’s not Mel Gibson, that’s proven partially a plus, yes? But there’s no need to apologize for Blue Velvet, Manhunter, Near Dark, The Bedroom Window, Raw Deal, Weeds, Crimes of the Heart. Good, nay, great work was done there in its short two years of existence.
I’d rather have the D.E.G. library on a desert island than the Simpson/Bruckheimer library.
Hopefully this quick run-through does crystalize your vision, seeing that while it may have been an aging entrepaneur’s folly, D.E.G. actually came up with a pretty weird and interesting slate of films in its short existence from 1986-1988. I’m not sure many other studios made films as great as Manhunter, Blue Velvet and Near Dark in that period, and a lot of the other stuff that flopped looks better with distance.
D.E.G. is dead! Long Live D.E.G.!
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https://www.tvguide.com/celebrities/giada-de-laurentiis/3000054408/
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Giada De Laurentiis
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Learn more about Giada De Laurentiis - movies and shows, full bio, photos, videos, and more at TV Guide
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/favicon.ico
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TVGuide.com
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https://www.tvguide.com/celebrities/giada-de-laurentiis/3000054408/
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If You're Not Taking The Food Network Seriously, You're Not Paying Attention
The power of the network and its culinary-themed programming is far greater than you'd think
Giada De Laurentiis Slices Finger During Live Thanksgiving Special
The Food Network's annual Thanksgiving Live special is designed to give viewers pointers about Turkey Day, but this year Giada De Laurentiis demonstrated what not to do. De Laurentiis sliced her finger open while she was slicing a turkey roll on the live show Saturday, with other celebrity chefs Ina Garten, Alton Brown and Bobby Flay looking on, Radar Online reports.
Dino De Laurentiis, Prolific Italian Film Producer, Dies at 91
Italian film producer Dino De Laurentiis died in Los Angeles on Friday, The New York Times reports. He was 91. "Cinema has lost one of its greats," Walter Veltroni, former mayor of Rome and the founder of the Rome Film Festival, said in a statement. "The name of Dino De Laurentiis is tied to the history of cinema."
Giada de Laurentiis Joins The Next Food Network Star
Spicing up Season 6 of the cooking competition The Next Food Network Star is the goddess of Italian cooking (and host of her own Emmy-nominated series) Giada de Laurentiis, who takes on the role of mentor to the 12 contestants vying for celebrity chefdom. ...
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2021-09-19T23:42:49+00:00
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The Script Lab
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https://thescriptlab.com/property/body-of-evidence/
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A lawyer defends a woman accused of killing her older lover by having sex with him.
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https://www.tvguide.com/news/dino-delaurentiis-dies-1025463/
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en
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Dino De Laurentiis, Prolific Italian Film Producer, Dies at 91
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[
"Robyn Ross"
] |
2010-11-11T17:48:00+00:00
|
en
|
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TVGuide.com
|
https://www.tvguide.com/news/dino-delaurentiis-dies-1025463/
|
Italian film producer Dino De Laurentiisdied in Los Angeles on Friday, The New York Times reports. He was 91.
"Cinema has lost one of its greats," Walter Veltroni, former mayor of Rome and the founder of the Rome Film Festival, said in a statement. "The name of Dino De Laurentiis is tied to the history of cinema."
De Laurentiis got his start in 1940 on the film L'ultimo Combattimento and in 1946 started his company, the Dino De Laurentiis Cinemotografica. He went on to produce more than 500 films and won an Academy Award in 1956 for Federico Fellini's La Strada and in 1957 for Nights of Cabiria. It was on his 1949 film Bitter Rice that he met his first wife, actress Silvana Mangano.
See other celebrities we've lost this year
In the 1970s, De Laurentiis moved to the United States, where he produced, among other films, Serpico, Death Wish, Three Days of the Condorand a 1976 remake of King Kong. Other films include the Conan the Barbarian and Hannibal Lecter series, including 2001's Hannibal. Other business endeavors, including a hotel in Bora Bora, an upscale deli in New York City and a studio complex in North Carolina, were less successful for De Laurentiis.
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| 42 |
https://www.npr.org/sections/thetwo-way/2010/11/11/131242421/dino-de-laurentiis-famed-film-producer-has-died
|
en
|
Dino De Laurentiis, Famed Film Producer, Dies
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[
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[
"Mark Memmott"
] |
2010-11-11T00:00:00
|
One of the giants of post-World War II Italian cinema, he went on to produce in Hollywood too. De Laurentiis was behind films such as Serpico, La Strada and Day of the Condor.
|
en
|
NPR
|
https://www.npr.org/sections/thetwo-way/2010/11/11/131242421/dino-de-laurentiis-famed-film-producer-has-died
|
"One of the giants of Italian cinema in its post-war heyday" has died, NPR's Sylvia Poggioli reports from Rome:
Sylvia Poggioli on Dino De Laurentiis
Dino De Laurentiis, who produced movies such as Serpico, War and Peace and Three Days of the Condor and co-produced some of Federico Fellini's greatest films, was 91. He "passed away inside his Beverly Hills home," according to The Hollywood Reporter.
The IMDB.com list of films on De Laurentiis' resume is daunting and wide-ranging. Along with those mentioned above, there was Hannibal, Dune, La Strada, Conan the Barbarian and Ragtime. He won Oscars for La Strada (1954) and Nights of Cabiria (1957).
"Cinema has lost one of its greats," Walter Veltroni, an Italian lawmaker and former mayor of Rome who founded the Rome Film Festival, tells AFP. "The name of Dino De Laurentiis is tied to the history of cinema."
|
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https://www.wikidata.org/wiki/Q890084
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Body of Evidence
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https://www.wikidata.org/static/favicon/wikidata.ico
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1993 American film directed by Uli Edel
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https://www.wikidata.org/wiki/Q890084
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3.1/10
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