Director of Italian cinema, born in Naples on November 15, 1922.
Direct heir of the late film neorealism, Francesco Rosi's film career has been always characterized by its interest in reflect the different historical and political moments of the contemporary Italy through exciting stories. Observer acute reality, by his filmography have paraded true events, dealt with controversial tone to stir the sleeping consciousness of the Viewer. In fact, such circumstances served for a time to classify it within the generation of filmmakers led by Constantin Costa-Gavras, which was however far in many respects. And it is that unlike other colleagues, their humble Neapolitan origins have reflected in a cinema that shows the world the underdevelopment of certain Italian areas and the way in which poverty can finish bringing with it the emergence of crime mafia, to become an ineradicable social scourge.
Its introduction in the film was, however, purely casual. After completing law studies, during the German occupation of Italy came into the radio as an announcer for a North American broadcaster of propaganda and, later, worked as a draftsman. But the meeting with the filmmaker Luchino Visconti changed his existence: for seven months, Francesco Rosi worked as Batman of this prestigious film director in La terra trema, one of the tougher and more bitter portrait of the life of the fishermen who were never filmed in the history. The influence of Visconti turned out, therefore crucial, since he offered of face to face the possibility of having a perspective based on the reality of the environment and, at the same time, not forgetting the film sensitivity.
After a long period of assistantship he debuted as a director with the feature film the challenge, co-production across where wanted to tell, pretty greedy, how was everyday life in Naples and how the Mafia blackmailed to small traders. This social discourse I magliari, accurate portrait of the mentality of a Neapolitan scammer - which incarnates masterfully Alberto Sordi- continued, but it was not until Salvatore Giuliano when their name jumped into the international sphere. In this film, Rosi was intended to biografiar the history of a legendary Sicilian Bandit which the Mafia considered a distinguished hero. While the film had already input a conflicting filming and Francesco Rosi film it guarded by two policemen, the success was enormous and threw him to the maximum heights of the film industry; However, his name would be marked as a possible target of an attack gangster.
To escape the cloudy atmosphere agreed to make your next project in Spain with the invaluable collaboration of Ricardo Muñoz Suay and Pere Portabella, two meanings leftist opponents to the Franco regime. So came the moment of truth, a look at the world of bulls and the difficulties of farmers to earn a living in the big city.
Men against the war, an antimilitarist fable involving an ardent speech on class struggle, return you to the forefront of the controversy. A situation which was reinforced with the Mattei case on the confusing real death of a Tycoon who decided to oppose the multinational corporations in the oil sector. Now, and as it is customary in Rosi film, research on the causes of this alleged murder does not end at the end of the film, but remains open to make the spectator who form their own opinion.
With Lucky Luciano, I would give even one step further by portraying the mafia as a kind of clandestine sect with its particular codes of conduct. But the high point reached it with most excellent cadavers, ironic title for a detective story in which an honest and gullible COP tries to unsuccessfully find out the truth about a murder. All this framed in a Italy whooping as a result of the crisis of growth suffered by the Communist Party, which was gaining votes at the expense of losing its identity. The irony was also the basis of Christ stopped at Eboli, controversial film about an exiled on the left who see the poverty of the South of Italy.
Three brothers would mark a turning point in his career, by agreeing to make the leap toward more ambitious productions and European, but following its reflective. This trend came to its climax with the overproduction of Chronicle of a death announced, based on the novel by the Colombian writer Gabriel García Márquez, relative failure of box office that moved him from circulation for three years. Frustrated by what he considered an unjust prison which not had been able to leave with films as Chronicle of a death foretold, returned to territories known thanks to the entrepreneur Silvio Berlusconi, who caused him forget Palermo, hard attack against the Sicilian Mafia that resulted in threats against him.
After several years of silence, Rosi has filmed the truce, adaptation of the literary work of the Uruguayan Mario Benedetti.
As director, script writer and coguionista:1958: the desafio.1959: I magliari.1961: Salvatore Giuliano.1963: hands on the ciudad.1965: the time of the verdad.1967: there is always a mujer.1970: men against the guerra.1972: the Mattei.1973 case: Lucky Luciano.1976: distinguished cadaveres.1979: Christ stopped at eboli.1981: three hermanos.1983: Carmen.1987: Chronicle of a death anunciada.1990: forget Palermo.
As an Assistant of direccion:1948: La terra trema.1950: Domenica d' Aug. 1951: torment; Paris, Paris always (and co-writer); Bellissima (and co-writer). 1952: Ana Garibaldi; The children of anyone; Process to the ciudad.1953: I vinti.1954: Neapolitan carousel; Senso.1955: Proibito; Tales of Rome (only co-writer). 1956: the bigamist (and co-writer). 1957: Kean (technical guidance only).