Amedeo Nazzari

Acting

Amedeo Nazzari

Born December 10, 1907 · Cagliari, Sardinia, Italy

Died November 5, 1979 · aged 71

Amedeo Nazzari (Cagliari, 10 December 1907 – 6 November 1979) was an Italian actor. Nazzari was one of the leading figures of Italian classic cinema, often considered a local variant of the Australian-American star Errol Flynn. Description above from the Wikipedia Amedeo Nazzari licensed under CC-BY-SA, full list of contributors on Wikipedia.

Known For

Nights of CabiriaNights of Cabiria · 1957
Nights of Cabiria
★ 8.01957
MovieDramaComedy
Rome, 1957. A woman, Cabiria, is robbed and left to drown by her boyfriend, Giorgio. Rescued, she resumes her life and tries her best to find happiness in a cynical world. Even when she thinks her struggles are over and she has found happiness and contentment, things may not be what they seem.
The Sicilian ClanThe Sicilian Clan · 1969
The Sicilian Clan
★ 7.61969
MovieCrimeDrama
An ambitious mobster plans an elaborate diamond heist while seducing the daughter-in-law of a ruthless mob patriarch as a determined police commissioner closes in on all of them.
The Naked MajaThe Naked Maja · 1958
The Naked Maja
★ 6.21958
MovieAdventureDrama
A historical fiction based on the lives of the artist Goya and the Duchess of Alba.
The White AngelThe White Angel · 1955
The White Angel
★ 6.41955
MovieDrama
In this sequel to Nobody's Children, Guido still longs for Luisa, who has become a nun. Then he meets Lina, a chorus dancer who is a dead ringer for his former lover.
The Valachi PapersThe Valachi Papers · 1972
The Valachi Papers
★ 6.51972
MovieCrimeDrama
When Joe Valachi has a price put on his head by Don Vito Genovese, he must take desperate steps to protect himself while in prison. An unsuccessful attempt to slit his throat puts him over the edge to break the sacred code of silence.
Lure of the SilaLure of the Sila · 1949
Lure of the Sila
★ 6.21949
MovieDrama
Returning home after a night of love spent in a woodman's hut with Orsola, Pietro is arrested by the police for a crime he did not commit. His mother and youngest sister, Rosaria, go to Orsola begging her to provide Pietro with the alibi that will clear him. But Rocco, Orsola's brother, dreading a family scandal, constrains Orsola to silence. Condemned despite his innocence, Pietro escapes from prison, but the police track him down and kill him, and his mother, before the eyes of Rosaria. Years pass, and one day Rocco stumbles upon a half-frozen young woman lying in the snow. He takes her home and confides her to the care of Orsola. Later, yielding to the pleas of Orsola, Rocco and Rocco's son, Salvatore, the girl stays on in the house, and Salvatore falls in love with the beautiful stranger, who is careful to keep the family members from learning she is Rosaria, the grown up sister of Pietro seeking revenge for the deaths of her brother and mother.
The Poppy Is Also a FlowerThe Poppy Is Also a Flower · 1966
The Poppy Is Also a Flower
★ 6.01966
MovieCrimeDrama
A special United Nations bureau organises a campaign to trace a drug-smuggling ring across Europe to its source on the Afghanistan-Iran border.
The BanditThe Bandit · 1946
The Bandit
★ 6.41946
MovieDramaCrime
Among others, Ernesto returns to Turin after the war from a German POW camp; his household destroyed and family deceased, he tries making an honest living.

Filmography

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Lure of the SilaLure of the Sila · 1949
Lure of the Sila
★ 6.21949
MovieDrama
Returning home after a night of love spent in a woodman's hut with Orsola, Pietro is arrested by the police for a crime he did not commit. His mother and youngest sister, Rosaria, go to Orsola begging her to provide Pietro with the alibi that will clear him. But Rocco, Orsola's brother, dreading a family scandal, constrains Orsola to silence. Condemned despite his innocence, Pietro escapes from prison, but the police track him down and kill him, and his mother, before the eyes of Rosaria. Years pass, and one day Rocco stumbles upon a half-frozen young woman lying in the snow. He takes her home and confides her to the care of Orsola. Later, yielding to the pleas of Orsola, Rocco and Rocco's son, Salvatore, the girl stays on in the house, and Salvatore falls in love with the beautiful stranger, who is careful to keep the family members from learning she is Rosaria, the grown up sister of Pietro seeking revenge for the deaths of her brother and mother.

Rocco Barra

HarlemHarlem · 1943
Harlem
★ 9.01943
MovieDrama
This propaganda film was partly inspired by the story of the first Italian heavyweight champion Primo Carnera who, after winning the title with Al Capone’s help in 1933, was beaten the following year by the Jewish Max Bear and then again by the ‘Brown Bomber’ Detroit Joe Lewis in June 1935, on the eve of the Italian invasion of Ethiopia. This match provoked numerous racial skirmishes on the streets of Harlem between the Black community and pro-Fascist Italian-Americans. The film overturns historical facts and here, obviously, it is the white boxer who wins in order to demonstrate the superiority of the “Aryan Italians” over the “sinister Jewish entrepreneurs” and the “savage Afro-American fans in Yankee Stadium”. In the film, these were played by South African prisoners-of-war interred in a work camp, which the German and Italian propaganda ministries had set up near Cinecittà “for cinematic purposes”.

Amedeo Rossi

We Are All MurderersWe Are All Murderers · 1952
We Are All Murderers
★ 6.71952
MovieCrimeDrama
Originally titled Nous Sommes Tout des Assassins, We Are All Murderers was directed by Andre Cayette, a former lawyer who detested France's execution system. Charles Spaak's screenplay makes no attempt to launder the four principal characters (Marcel Mouloudji, Raymond Pellegrin, Antoinine Balpetre, Julien Verdeir): never mind the motivations, these are all hardened murderers. Still, the film condemns the sadistic ritual through which these four men are brought to the guillotine. In France, the policy is to never tell the condemned man when the execution will occur--and then to show up without warning and drag the victim kicking and screaming to his doom, without any opportunity to make peace with himself or his Maker. By the end of this harrowing film, the audience feels as dehumanized as the four "protagonists." We Are All Murderers was roundly roasted by the French law enforcement establishment, but it won a special jury prize at the 1952 Cannes Film Festival.

Docteur Detouche (version italienne)