Italian film director born on September 14, 1914 in Genoa and died on December 5, 1974 in Rome.
Raised in a humble family which spent serious economic hardships, Pietro Germi had to get to work from very small in the most various trades, while trying to continue basic education studies with enormous personal effort. Now adolescent, undecided to what would be the best way to make a living and help her family, she enrolled in nautical Institute with the aim to take marine professional, but the hardness of the military discipline led him to soon abandon. After a trip to Rome have opted to enter the prestigious Centro Sperimentale di Cinematografía, where he studied the speciality of interpretation, and the title ended by opening the doors of entry to the Italian audiovisual industry. Thus, began playing multiple trades, actor, screenwriter and Assistant Director, which allowed him to learn from different angles how a film is made.
Seven years after its modest breakthrough in the film industry got finally debuting as a director with Il testimone, where faced with enormous raw the issue of responsibility that all individuals have to put an end to the outbreaks of corruption or crime. This film, which would be inserted in the neorealist movement (see cinematic neorealism), had a kind of sequel in lost youth in dealing with the physical decline of human beings from a perspective of social commitment with the poor and the workers whose salary barely reaches end of the month.
That left-wing ideology posed by Germi had usual backdrop of Sicily Island, hence it is almost unavoidable to address the criminal phenomenon of the Mafia and its tensions with justice, something that will be in his third film, In nome della legge, to be followed by the path of hope, on the controversial issue of illegal emigration and the effect this has on the most disadvantaged of the Italian company. These two films, markedly corals, would initiate a series of films where the individual problems multiply as a result of a general drama, of the city is defended or Il Brigante di Tacca del Lupo. However La Presidentessa, which arose by a bet (the narrated story was considered unanimously as infilmable), provides the initial symptoms of Germi is available to give a full twist to his career. In this long period of transition, which will end up covering almost throughout the Decade of the fifties, alternating social dramas such as the railway, painful portraits on children as the straw man, like a damn mess and inconsequential comedies to fashion police, case Gelosia.
In 1962 wheel one of the biggest hits of his career, divorce Italian, title which is choose absolute form by the satirical comedy fustigadora of social customs. Taking sides in favor of a law to divorce, which did not then exist in Italy, this film led to the absurd which can lead to a marriage in crisis without adequate legislation: the murder of wife alleging infidelity, a crime of honour that was punished with only eighteen months in prison. Awarded with the Oscar for best screenplay, as well as other countless international awards, divorce Italian marked a whole era to relaunch the genre of absurd comedy that sinks its roots in the society at the time, and was one of the absolute masterpieces of the history of Italian cinema. No other subsequent attempt of Germi would overcome this film. Seduced and abandoned, opposite lives or divorce is thing of three followed this line of satires moralistic with lower results both critics and public, but little by little they would overshadow the beginning of Pietro Germi as a filmmaker of neorealism. In 1974, when he was about to direct Amici mei, suffered a serious illness that would end up dying, so this title ended up being shot as a tribute to him by his friend Mario Monicelli.
As director and co-writer: 1946: Il testimone.1947: youth perdida.1949: In nome della legge.1950: the way of the esperanza.1951: the city is defiende.1952: La Presidentessa; Il Brigante di Tacca from the Lupo.1953: Gelosia.1954: Amori di mezzo secolo (Co-Director). 1956: the ferroviario.1957: paja.1959 man: A damn embrollo.1962: divorce to the italiana.1964: seduced and abandonada.1965: ladies and senores.1967: many ropes for a violin.1968: Serafino.1970: lives opuestas.1972: divorce is a tres.1974 thing: room for four (Co-Director).
As an actor: 1946: mount Cassino.1948: leak in Francia.1959: five women marked; Labios.1960 pencil: Il rossetto.1961: viaccia; The sicario.1963: The directors.
As Assistant Director, 1941: the son of Corsair Rojo.1943: Nessuno torna indietro.
Screenwriter (s): 1939: Retroscena.1945: I dieci comandamenti.1974: Amici mei.