Italian film director born in Milan on November 13, 1914 and died on July 3, 2005 in Rome.
Son of a famous composer, put its multifaceted spirit in the service of the film through decoration. Student of architecture and also fan of politics and literature, was associated in his young years to anti-fascist newspapers, Camminare, and combined with odd jobs in cinema studies before founding, in 1940, the Cineteca Italiana with Mario Ferrari and Luigi Comencini. Its next hop in the cinematic ladder was as Assistant writer and address, before tackling his first film as an author in 1942, Giacomo l' idealistic, whose character had a lot of himself.
Its tendency as director was assigned initially to neorealism; they were the years following the second world war. Il bandito (1946) explores the circumstances that lead a man to become in an outside the law. Exposed as a tragedy, it has many points in common with without pity (1948). The latter narrates the love between a prostitute and a black soldier, but the central theme of both is to portray the aftermath of the war, although this was not the reason for their problems to be distributed in the United States, but the interracial loves of two marginalized people.
Despite having not devoted to any genre exclusively, yes there is a constant that marks cinema of Lattuada. The literary adaptations extend from his first film, based on a novel by Emilio di Marchi, to the Mandrake (1965), by Niccolò Mechiavelli, through adaptations of Gogol (the Mayor, the clerk and her coat, 1952), Puschkin (the Tempest, 1958) or Vitalino Brancati (Don Juan in Sicily, 1967). Literature mostly, eroticism interested. So, he/she chose always sensual actresses like Jacqueline Sassard, who launched in Guendalina (1956); Teresa Ann Savoy, who starred in putative father (1974) or Nastassja Kinski, who worked with Lattuada on as well as you are (1978). This fondness for sex and eroticism led him to publish Journal of a great amador (1980) satisfying their concern as Narrator.
The variety of topics that confront Lattuada includes a social concern, which is shown in the adaptation of the novel by Ricardo Baccheli, Il mulino del Po (1949), where the dispute between unions and employers is treated with an exquisite balance. An episode of l'amore in Città (1953) led the Director to sum up the pros and cons of neorealism, sharing work with Dino Risi and Federico Fellini, Michelangelo Antonioni, Francesco Maselli. Precisely with this latter co-directed lights of varieties (1950), where the atmosphere of the "music hall" shows more details cinema of Fellini than of Lattuada. His works from 1985 they went to television, where it premiered with a version of the story of Cristóbal Colón in 1985.
As film director:(Lattuada intervenes as a scriptwriter in almost all his films) 1942: Giacomo, l' idealistic. 1943: The freccia nel fianco. 1945: La nostra guerra.1946: Il bandito. 1947: Il delitto Giovani Episcopo. 1948: No mercy. 1949: Il mulino del Po. 1950: Luci (Co-Director) varietà. 1951: Ana. 1952: The Mayor, the clerk and her coat. 1953: The magnifying glass; L'amore in Città (episode: Gli italiani if voltano). 1954: La spiaggia; Scuola elementare. 1956: Guendalina.1958: the Tempest. 1959: I dolci inganni. 1960: Letters of a novicia.1961: the unexpected. 1962: The steppa; The power of the mafia. 1965: The mandragora.1966: without rival. 1967: don Juan in Sicily. 1969: Fräulein Doktor: L'amica. 1970: come and have coffee with us. 1971: White, red and...-1972: I have been I! 1974: Putative father. 1975: Heart of a dog. 1976: Oh, Serafina! 1978: As well as you are. 1980: La chicharra. 1985: Une épine dans le coeur. 1995: Il toscano cigar.
As an actor: 1955: an eroe dei nostri tempi. 1994: Il Toro.
As Assistant Director and co-writer: 1936: delle lancette dance. 1940: Times past. 1941: Sissignora.
Works for television: 1985: Christopher Columbus (director). 1988: I due fratelli (director). 1989: hand je.
Other works: 1933: Cuore rivelatore (decorator). 1935: Il museo dell'amore (Advisor of photography).