Reality film or reality movie describes a genre of films that have resulted from reality television,^[1] such as The Real Cancun, MTV's film version of The Real World, which was originally titled Spring Break: The Reality Movie.^[2][3] In an article in Time Magazine, Joel Stein wrote, "Like reality TV, a reality film is supercheap, and as Jackass proved, there's an audience willing to pay $9 for what it gets free on television."^[4] Typically, a pre-determined situation is staged or created, often with the use of non-professional actors, and then the "reality" of what happens is filmed. In an article on reality movies, Variety Magazine pointed out the low budget of reality films in an era of skyrocketing marketing and production costs for traditional films has made them an attractive option for studios, with the selling point being "Tits and ass. Teenage tits and ass, that is."^[5]

History of reality film[link]

Mary Woronov, star of Chelsea Girls: "I was the only one who memorised my lines, and no one even noticed."

"The thinking behind these pics is not new," wrote Gabriel Snyder in Variety about the techniques employed by recent reality movies.^[5] "In the 1950s, Samuel Arkoff tapped into teen auds with quickies like Rock All Night and Reform School Girl and beach films such as Bikini Beach ("It's where every torso is more so, and bare-as-you-dare is the rule!").^[5] London's Evening Standard called Andy Warhol's 1966 film Chelsea Girls a reality film and noted that the Radio Times Guide to Film 2007 stated it was "to blame for reality television."^[6][7] The film consists of drugged-out conversations between Warhol Superstars Nico, Ondine, Brigid Berlin, Mary Woronov and Gerard Malanga.^[8] "I was the only one who memorised my lines," said Woronov, "and no one even noticed."^[8] In 1970, Candid Camera creator Allen Funt made the film What Do You Say to a Naked Lady?, where he secretly filmed people's reactions to unexpected encounters with nudity in unusual situations. However, it was with the advent of reality television, which presents purportedly unscripted dramatic or humorous situations, documents actual events, and features ordinary people instead of professional actors, combined with the smash box-office success of Jackass The Movie in 2002, that made reality film a genre studios began to consider seriously.^[5] The Real Cancun billed itself as "the first reality feature film", causing Scott Foundas to remark in his review in Variety that such a claim is "apparently ignoring last year's Jackass The Movie".^[9] In 2003 Comedy Central aired its feature length reality movie Windy City Heat, starring Tony Barbieri and Bobcat Goldthwaite (who also directed).^[10] In the movie, friends of real life aspiring actor Perry Caravello convince him he is playing the lead (as a "sports memorabilia private eye") of an action movie titled "Windy City Heat," itself faux-directed by Bobcat Goldthwait; everyone is in on the elaborate joke except Caravello.^[11]

Reality films as documentaries[link]

Some reality films, such as those based upon the Jackass television series, have been called documentaries.^[12][13][14] Jan Krawitz, director of Stanford University's prestigious master of arts program in documentary film and video, teaches not to make a reality film if you want your documentary to be real.^[15] In his article in Time, Stein raises the point that "If the movie is shot like a documentary, we're willing to pretend it's a documentary no matter how staged it is.... And unlike documentarians, the [Real Cancun] producers, who have to work with MTV in their day jobs, felt it prudent to edit out the more controversial scenes, such as the one in which the twins have an angry, cursing fight with rapper Snoop Dogg in his post-concert trailer after, they say, he tried to get amorous with them."^[4] Correy Herrick raises a similar point about Cancun in Hybrid Magazine:

This is by no means a documentary. Everything that happens is real, but you are only seeing what the producers want you to see, in the order they want you to see it, with the music they want you to hear. And they go even further here by splicing in non-reality cuts from time to time to accentuate the plot a little further. They need to turn these normal people into characters in order to achieve an entertaining experience and they are very crafty in the ways they do this.^[16]

James Ronald Whitney, whose films have won multiple "Best Documentary" awards^[17], distinguishes between documentary and reality film. In an interview about his reality film Games People Play: New York, he said the difference was filming a staged scenario versus filming actual events that would have happened regardless of the camera's presence:

"A documentary is reality, but is its own animal. It's when you go back in time and you do a film about an election, an Olympics, a war, or something in the future that would organically happen anyway. Even Real Cancun, spring break was going to happen. Spellbound's spelling bee was still going to happen. Those are not events that were created by a writer who then decided, "I'm going to make a movie about this event that I have created." That's how this is different to me than a documentary.^[18]

Issues facing reality film[link]

The viability of reality films has been called into question. The Real Cancun was considered a flop at the box office, taking in $5,345,083 worldwide on a budget of $7.5 million.^[19] A reality movie based upon the Girls Gone Wild video series that MGM bought the rights to was never put into production and the Universal Pictures effort Drunken Jackasses: The Quest was delayed after the flop of Cancun and went straight to video.^[20][21] In an interview with the Christian Science Monitor, Robert Thompson, founding director of the Bleier Center for Television and Popular Culture at Syracuse University, acknowledged the potential for "for an entirely new form of filmmaking."^[22] However, noted Thompson, "people aren't watching Survivor just to see people in bikinis," and added that standard reality television techniques such as serialized suspense, "voting off" segments, and general goofiness should not be included in the films.^[22] One of the criticisms was that reality television allows viewers to get to know new people over time. With a reality film such as Cancun, "They transposed the format from television but none of the original characters," writes Sean Macauly in The Times.^[23] "With a film, viewers have 90 minutes to get up to speed with a cast of 16 partygoers. Rather than structuring their exploits like a soap opera and following them for a summer, The Real Cancun follows them for eight days."^[23] Paramount Pictures President Gail Berman stated that Jackass is "a great centerpiece for reality going to film" when asked about reality movies, but stated the question going forward is, "How do you get the exhibition experience of a movie to feel immediate and interactive with the audience?"^[24]

Other uses of the phrase 'reality film'[link]

The phrase "reality film" has been used in the titles of articles that discuss the popularity of documentaries after the advent of "reality TV."^{[25] [26]} It is often used as a phrase to describe traditional documentaries.

See also[link]

• Actuality film
• Dirty Sanchez
• Realism (arts)

Notes[link]

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Matteo Garrone
Matteo Garrone in Castiglioncello on June 21, 2008
Born	(1968-10-15)October 15, 1968 Rome
Nationality	Italian
Occupation	Film director
Known for	Gomorrah

Matteo Garrone is an Italian film maker.

Born in Rome, the son of a theatre critic, Nico Garrone and a photographer, in 1996 Garrone won the Sacher d'Oro, an award sponsored by Nanni Moretti, with the short film Silhouette, that became one of the three episodes that are on his first long film Terra di Mezzo in 1997. He won Best Director at the European Film Awards and at the David di Donatello Awards for "Gomorrah". His latest film Reality competed in competition at the 2012 Cannes Film Festival^[1][2] and won the Grand Prix.^[3]

Garrone and Italian Neorealism[link]

When Matteo Garrones' Gomorrah won the 2008 Cannes Grand Prix, shared with compatriot Paolo Sorrentino's film Il Divo, the victory of his account of the ruthless Italian criminal organization known as camorra, surprised the public and critics. Although Il Divo received critical acclaim for its blunt depiction of corruption among Italian politicians and its scandals, the cinema of Garrone attracted considerable critical consideration because of its bleak, authentic portrayal of contemporary Italian society. The American popularity of Gomorrah that followed the European acclaim, shed light on this young Italian filmmaker, winner, among other awards, of the Best Screenplay at the Chicago International Film Festival and a 2009 nominee for the Golden Globes Best Foreign Film. Garrone found fame and appreciation in and outside Italy, proving to be a fascinating new voice in Italian cinema.

Because of such unpredicted international success of Matteo Garrone's Gomorrah and Paolo Sorrentino's Il Divo, some critics have seen in these films a signs of resurrection of Italian cinema. A few critics have even gone further and have implied that with these two films, a new Italian Neorealism was born. In an interview by Richard Parton that appeared in Cineaste, Garrone admits to an unconscious influence of Neorealist filmmakers such as Rossellini, but underlines that Neorealism was a product of the post-War period and, therefore, a result of unique social and economic conditions. Despite the specific historical context in which Italian Neorealism originated, it is worthwhile to think of Garrone's style as a contemporary version of that aesthetic movement.

Garrone points out that the careful attention to the real living conditions of his characters, the use of vernacular language, together with his choice of non-professional actors, are clear reminders of characteristics that contributed to the creation of Neorealistic cinema. His choice of mixing professional and non-professional actors offers an insight in his artistic intentions of provoking and shocking his audience. His popularity represents a move back to stories about real people and real situations, which is strikingly reminiscent of Italian Neorealism. There is an original component in Garrone's cinematic style and that comes from his attention to details in the depiction of Italy. While other contemporary directors like Marco Tullio Giordana, Francesco Munzi, Tonino Zangardi, Stefano Reali, Cristina Comencini and Giuseppe Tornatore too have paid attention to social and cultural tensions in contemporary Italy, Matteo Garrone stands out for his visual style. Trained as a painter, Garrone embraces cinematography with a style that reflects an emotional involvement with his art. By mirroring contemporary social and cultural instability, Garrone's filmmaking has become one of the most significant voices in today's Italian cinema because he employs a visually engaging look at social problems. As suggested by Italian film critic Goffredo Fofi in his preface to the anthology, Non Solo Gomorra. Tutto il cinema di Matteo Garrone, Garrone's filmmaking emerges from the latest and most innovative cinematic voices because of his refusal to make films simply to denounce societies and peoples. His stories are about people he has known and as a result, the tone is one of engagement, and the view is from the inside. Garrone demonstrates that an inventive filmmaking style has reached artistic maturity. His cinematic style relies on the importance of details and simple gestures, and as a result, the characters in his films are able to appropriate the mannerisms and moods of the people they embody and then display a subjective interpretation of reality. In his speech when accepting the Cannes Grand Prix, Garrone referred to Gomorrah as an example of what cinema means: an interpretation of a reality more than a projection of a situation because it was always his intention to move his viewers. He stated that to him, the most important thing is to move people.

Gomorrah reveals several moments of emotional intensity such as the shooting of two young boys, Marco and Ciro, two people who inhabit the tense, gripping community affected by camorra. This sequence stands out in the film as one of the most significant moments as it exemplifies the core of this drama: camorra touches everyone's life, like a spreading disease that infects Italian communities. Women and children too are involved in this great danger, as the shooting of the two young boys clearly emphasizes. In the end, Marco and Ciro have to pay with their own lives because they dared to defy camorra. In this sequence the camera follows Marco and Ciro as they are on the beach stalking their target. All of a sudden, this "mission" is revealed to be a trap and is ended by the killers.

While in Gamorrah, Garrone depicts his characters denouncing the corruption and uncontrollable violence that camorra produces, in the films made prior to it, he captured, the characters painful conditions without actually passing his judgment. In L'Imbalsamatore (2002) and Primo Amore (2004), the filmmaker sets up gloomy scenarios in which the viewer is asked to quietly participate and witness the range of emotions that characters are going through, surrounded by a space that not only confines them but also mirrors their despair. In his cinema, Matteo Garrone has always shown a curiosity about outcasts and the spaces and landscapes that surround them. From Terra di mezzo (1996) to Ospiti (1998) and Estate Romana (2000), his considered interest in prostitutes, immigrants, and artists living in Rome has contributed to making his cinematic world a well-crafted space in which to project the harsh reality of those who live on the outskirts of society.

Garrone's stylistic characteristic as a filmmaker lies in the investigative eye that makes him study peoples and places before shooting since he is interested in understanding how people are, how they think, where they come from, and how he might represent them effectively. His early films represent moments in the development of his artistic view. They also reflect the creative phases in which poignant depictions of social outcasts create a typology of those people who, even though rejected by society, contribute to making Italy a multifaceted country. His cinema thus offers a view of the underground world, a topic that rarely finds sympathy in the audience. Garrone's portrayals of obsessive attraction and deadly passions in L'Imbalsamatore and Primo Amore exemplify this unique visual style. Directed in 2002 and 2004 respectively, these films illustrate dangerous obsessions. A closer look at the films also suggests symbolic readings, critiques of today's Italy, a society that Garrone sees as devoured by selfishness, loneliness and despair. In this desolation, pathological feelings have replaced fulfilling loving relationships.

[edit] Love, Obsession and L'imbalsamatore

In L'imbalsamatore, Garrone reveals a profound understanding of how people struggle to relate to each other on an emotional level, but also of the thin line that separates love from obsession. The film narrates the story of Peppino Profeta (played by Ernesto Mahieux), a taxidermist, who works for the camorra and implants contraband drugs in dead bodies after he carefully prepares them for their final destination. The film opens with Peppino meeting Valerio (Valerio Foglia Manzillo), a handsome waiter who is easily persuaded to give up his job and work as his assistant. The two men develop a special bond that takes them on an unexpected journey. These mens destiny moves towards a deadly and inevitable ending given Peppinos uncontrollable obsession for Valerio, a behavior that he desperately tries to repress. When Deborah (Elisabetta Rocchetti) enters Valerios life, Peppino sees this woman as an intrusion into their relationship and thus tries to eliminate her. By luring Valerio into promiscuous sexual encounters with other women, Peppino aims at sabotaging the couples relationship, inevitably provoking an outburst of jealousy in Deborah and leading Valerio to be confused about rather than convinced about his love for her. One day, Valerio and Deborah decide to leave Peppino and move back to her native northern town in order to start a new life away from the illegal criminal organization and the dangerous influence that Peppino still has on Vittorio. In an expected twist, Peppino meets the couple at Deborahs family home and finds out that Vittorio and Deborah are expecting a baby. In a desperate attempt to convince Valerio to return to Caserta with him, Peppino threatens the woman with a gun, as he blames her for taking Valerio away from him. He dies while in the car, next to his beloved Valerio who agreed to join him only to save Deborahs life.

The relationship between Peppino and Valerio starts like a perfect friendship as they work together and relax together until the harmony of the two mens relationship is disrupted by the presence of a beautiful, sexy woman. In a powerful sequence, Deborah challenges her rival, Peppino, in an argument meant to assert that only she, a woman, can own and control Valerios life. The films conclusion also suggests a similar reading: Valerio and Deborah are meant to be together as their love is socially acceptable whereas Peppinos obsessive desire for another man needs to be destroyed because it is considered forbidden by society. As Valerio and Peppino are in the car and about to leave Deborah behind, gunshots are heard. The scene that follows shows the couple getting rid of Peppinos body, plunged in the dark waters of a river. The real cause of Peppinos death is left unclear, as if Garrone wants to give the viewer the power (and freedom) to decide whether Peppinos death was caused by Valerio or self inflicted. Despite this ambiguous conclusion, it is still possible to read in Peppinos death the ultimate sacrifice love entails when rage and infatuation prevail but most significantly when it defies its conventional norms. To reinforce this notion, one can point out that it is Deborah, a woman, who challenges Peppinos sexual confidence by mocking his sexuality. In another significant scene, Peppino, Valerio and Deborah are in a hotel room, and Deborah convinces the two men to dress up as women. Peppinos depiction here demands some critical consideration as his heavy make-up vividly makes him resemble a drag queen. The camera follows the three characters from a certain distance, gently moving around their bodies, to allow a complete look at the scene. This visually intriguing scene recalls a similar moment in Fellinis depiction of the festive atmosphere in the Carnevale (Mardi Gras) sequence of I Vitelloni (The Young and the Passionate).

In Fellini's 1953 account of five young men living in the small Adriatic town, Alberto (played by Alberto Sordi) is dressed up like a woman; at the end of the party, he sadly reflects upon a life which slowly drifts away. In that powerful image of Alberto resembling a gloomy clown, Fellini projects his benevolent view of selfish, childish men who, like Alberto, are unable to accept life's responsibilities. Garrone seems to depict a similar drama: Peppino is dressed up as a woman, wearing a costume to emphasize his inability to reveal his real self, his need to mask his real sexual identity. Selfish and afraid to fully and openly embrace his sexuality, surrounded by loneliness and misery, he fails in life, as much as in his performance of a man pretending to be a woman or as a man pretending to be someone else. Peppino is a short, out of proportion man, his physical appearance closely resembling a dwarf, a man who relies on the criminal world to be socially recognized and accepted. The mask he wears, that of the straight man who flirts with women, is also a symbol of a society that creates categories more to contain than to let people express their identity.

Primo Amore: Love for disease[link]

In Primo Amore, the film released two years after L'imbalsamatore, the filmmaker continues to explore obsessive passions and fatal attractions. As in L'imbalsamatore, the viewer is invited from the very beginning to enter the realm of passions, in this instance, between two heterosexual people, Vittorio (Vitaliano Trevisan) and Sonia (Michela Cescon). The film is based on a book-confession entitled Il cacciatore di anoressiche, in which the author, Marco Mariolini, confesses to the murder of a young woman, Monica Cal. Found guilty of the crime committed in 1998, Mariolini describes in his book published a year prior to his crime in 1997, the origins of his obsession for anorexic women. As he explains in his book, pathological behavior led him to fall in love with an anorexic woman, Monica Cal. After an initial relationship, Monica left him to escape from his cruelty, but eventually fell into his trap again and, with her death, ended Mariolinis pathological obsession.

Garrones film tells the story of Vittorio and Sonia, a goldsmith and a store assistant, and the abusive relationship they develop when they move in together. This is an obsessive and pathological relationship because it is based on Vittorios demands to that Sonia lose weight so he can fully appreciate (and love) her. Sonia at first accepts his requests as if she has to please him to be appreciated by him. She then realizes that he is depriving her of her own life and ultimately finds the strength to end this oppression. In Garrones cinematic account of Vittorios tragic obsession, the viewer is invited to enter into a forbidden space: that of a most secret desire and obsession: an uncontrollable and totalitarian love or the desire to love so deeply one owns the beloveds mind and body. In this space, as in L'imbalsamatore, viewers are once again left to wonder about the emotions evoked by Garrones images and by their own responses to a narrative that shows how controlling anothers mind and body can be mistaken as an act of love.

In an intriguing reading, Maria Vittoria and Paola Golinelli discuss Primo Amore from a psychological perspective, emphasizing the effects that Garrones film produces on the audience. Although anorexia, they claim, remains as much unknown as it is painful, the film succeeds in letting us witness the struggle and the emotional involvement of the two characters through painful images that speak of deprivation and physical as well as psychological abuse. In adapting Primo Amore from the book based on the actual story of its author, a killer, Garrone inevitably refers to several medical pathologiesanorexia, mental illnesses in order to speak metaphorically. As he explains in the last section of Non solo Gomorra, the film was meant to address the instabilities and insecurities of two people who search for a normal life together by means of what they believe is love. Vitaliano Trevisan, a renowned writer from Vicenza, plays the protagonist Vittorio. The filmmaker decided to cast Trevisan as the films protagonist mostly because of the writers introspective and somewhat mysterious personality. This element, together with the choice to shoot the film in Trevisans native town furthers the possibility of Garrone creating a character in a more realistic, authentic way. The drastic loss of weight endured by the actress Michela Cescon during the films shooting also contributes to the true-to-life portrayal of a dramatic, tragic obsession and its dangerous outcome. Most interestingly, with this film, Garrone moves from the familiar space of Rome seen in previous films to the northern province of Vicenza to show the dull, isolated landscapes that surround the characters. In this space, the filmmaker highlights the couples struggle to adapt to a normal life. Furthermore, the filmmakers curiosity about the real drama of a sick man, Mariolini and his obsessive desires for slim, even skeletal and emaciated women, gives him the opportunity of reflecting on Italy. If on the surface Italy appears a shining collection of artistic beauty and richness, of economic growth and prosperity, using a different lens, reveals a country consumed by violence, from racial intolerance to political and social divisions based on geographical borders. The horrific obsession between Vittorio and Sonia in Primo Amore suggests Italys darkest side, that characterized by violence and undisclosed corruption, unruly passions and dangerous obsessions which are responsible for spreading insecurity, instability, and loneliness. L'imbalsamatore followed a similar artistic path, as it was loosely based on a real event that occurred in Italy. In it, Garrone expressed his concerns about social issues that revolve around human interaction and values and examined the fragile boundaries between good and evil.

Garrones peculiar vision of obsessive emotions uncovers a fascination that the filmmaker has with the human body. Rather than focusing on the physical aspects that denote beautygenerally employed by male filmmakers to address femininity and sexualityin Primo Amore, Garrone privileges the sinister consequences of an obsession that derives from looking at a human body. Determined to shape Sonias body in order to make of her the perfect ideal of feminine beauty, Vittorio maintains an almost diabolic control over her body and mind. Sonia agrees to lose weight, as if this were the ultimate proof that love exists between her and Vittorio because of her sacrifice in letting him appropriate her body. Vittorios bleak, obsessive look, while staring at Sonia when he first sees her in the bar at the bus station, projects his uncontrollable desire for her body. During their first conversation, Vittorios prevailing power over her is well illustrated when he succeeds in convincing her to stay in the bar. While in the bar, despite Sonias initial uneasiness caused by Vittorios disappointment in noticing Sonias body, not as thin as he was expecting, she is nonetheless attracted to his charismatic persona. The life they start together is based on a co-dependence Vittorio depends on Sonias anorexia because only by molding her body, can he fulfill his obsessions. Sonias life depends on Vittorios desires to feel she is fully accepted, resulting in a sinister game of attraction, destruction and self-destruction. Vittorios pathological glances at her silhouette contain a wide range of emotions whenever he is confronted with the overwhelming forces that push him to take over Sonia. Close-ups of Vittorio and Sonias face are often used in scenes when the narrative demands an emotional involvement on the part of viewers.

Italian writer Italo Moscati suggests that Vittorios obsession comes from wanting to deprive Sonia of all feelings, as if she is a metaphor for today's Italian society which has become, on the surface, wealthy, gaining weight and getting comfortable with its excessive futile commodities. This fascinating reading adds to the complexity of this fatal attraction, especially since it is based on a true story. It points to another significant aspect of the film: the symbolism given the numbness and human isolation often found in the lifestyle of the northern provinces. As mentioned by Garrone in an interview, the depiction of the suburban Vicenza in Primo Amore gives him the ideal situation to depict a relationship between a man and a woman in which the geographical space becomes a metaphor for loneliness and psychological instability.

Similarly, the space embodied by the two towns chosen for L'imbalsamatore, Caserta (near Naples) and Cremona, reinforces the importance the filmmaker gives to space. In this film, the journey the three characters take in the second half of the film brings them from the southern town of Caserta to the northern province of Cremona. Like Vicenza in Primo Amore, these towns in L'imbalsamatore symbolize more than a geographical space. The cinematography employed by Garrone in depicting the different landscapes of the two towns, using sunny and well-lit scenes in the southern town and rainy and dim ones in the northern one, clearly suggests an inner division, a separation between spaces that is more than visual, symbolizing the social and cultural fracture between the industrial North and the agrarian South. Once again, Garrone decides to let the landscape, its regional variety and cultural diversity, speak by itself with long shots that offer the viewer an imagery absorbed with symbolic significance.

Desolate scenery functions as a mirror of the lonely and at times dull life that both Sonia and Vittorio experience. Since their first encounter in the bar at the bus station, the viewer realizes that women's and mens different mannerisms and roles in communicating symbolize a relationship based on a hierarchy. Vittorio is the dominant figure, demanding attention and assertive to the point that Sonia, once she becomes emotionally involved in this relationship, moves in with him. Sonia is not only submissive to his desires; her submission is the result of loneliness and a desire to be with someone. From the moment Sonia moves in with Vittorio, the couple starts playing out a masochistic and at times horrific relationship in which the man psychologically, more than physically, dominates the woman. As mentioned earlier, controlling anothers body by having her lose weight is for Vittorio the acknowledgment of the power he has over Sonia. Is this obsession a distorted, limited vision of love? Does brutality triumph? The film does not provide an answer as it leaves the viewer to interpret through the images the strange dynamics developed between the two.

Gold is at the core of this film in the characterization of Vittorio as a goldsmith, another reminder of a metaphor that functions to speak of obsessions in terms of a desire for shining, aesthetically perfect beauty more than for emotional and profound connection. Vittorios need to mold Sonias body also signifies his reaching a fulfillment, almost a spiritual enrichment that only an ideal of beauty with a body that becomes a perfect embellishment of a self can give. A body that can be shaped and adjusted according to his own desires: this is the ultimate manifestation of love that Sonias body symbolizes for Vittorio. In conclusion, Vittorio and Sonia present the different ways in which an obsession can be manifested and even mistaken for love: it can become a tool through which one possesses the other, as if by metaphorically eating the beloved, one can fulfill his/her desires to love. There is no joy or happiness in the relationship developed between Sonia and Vittorio, and death seems to be the ultimate way to consummate their mutual dependence. As for Vittorio, prevailing over Sonia is, in his pathological state, the only way he can experience what he feels love is but, at the end, Sonia finds the strength to rebel and put an end to her (and his) misery. In the end, Sonias reaction to Vittorio s dominance adds a new component to the complexity of the character: her female agency. By hitting Vittorio and making him unconscious and thus helpless, Sonia, a female body and mind controlled by male dominance, evolves from being a property, an object to mold, to an active pursuer of life. Vittorio and Sonia lose touch with the surrounding reality because they are so preoccupied with their own relationship. Primo Amore therefore succeeds in reveals the dangerous and distraught consequences of love when confronted with uncontrollable obsessions.

Filmography[link]

Director[link]

Short films[link]

• Silhouette (1996)
• Bienvenido espirito santo (1997)
• Un caso di forza maggiore (1997)
• Oreste Pipolo, fotografo di matrimoni (1998)

Feature films[link]

• Terra di mezzo (1996)
• Ospiti (1998)
• Estate romana (2000)
• L'imbalsamatore (2002)
• Primo amore (2003)
• Gomorrah (Gomorra) (2008)
• Reality (2012)

Producer[link]

• Silhouette (1996)
• Terra di mezzo (1996)
• Ospiti (1998)
• Estate romana (2000)
• Mid-August Lunch (2008)

References[link]

External links[link]

Wikimedia Commons has media related to: Matteo Garrone

• IMDb: Matteo Garrone

Bibliography[link]

Luciana d'Arcangeli. "The Films of Matteo Garrone: Italian Cinema is Not Embalmed" in William Hope (ed) "Italian Film Directors in the New Millenium". Cambridge, Cambridge Scholars Press, 2010, pp. 175–187.

This article may require cleanup to meet Wikipedia's quality standards. No cleanup reason has been specified. Please help improve this article if you can; the talk page may contain suggestions. (September 2010)

Ajay Devgan
Born	Vishal Devgan[1] (1969-04-02) 2 April 1969 (age 43) New Delhi, India
Residence	Mumbai, Maharashtra, India
Other names	Ajay Devgan[2]
Occupation	Film actor, Director, Producer
Years active	1991–present
Spouse	Kajol (m.1999–present; 2 children)
Website
ajaydevgn.com

Ajay Devgan (Hindi: अजय देवगन), born Vishal Devgan on 2 April 1969,^[1] is an Indian film actor, director, and producer.^[1] He made his film debut with Phool Aur Kaante in 1991 and received a Filmfare Award for Best Male Debut for his performance in the film.^[3][4] He then starred in films such as Jigar (1992), Dilwale (1994), Suhaag (1994), Naajayaz (1995), Diljale (1996) and Ishq (1997). In 1999, Devgan received his first National Film Award for Best Actor for his performance in Mahesh Bhatt's drama Zakhm. Some of his later films of the decade are Pyaar To Hona Hi Tha, Hum Dil De Chuke Sanam and Kachche Dhaage.

In the early 2000s, he starred in Lajja (2001) and Company (2002). In 2003, he won his second National Film Award for Best Actor for his portrayal of Bhagat Singh in Rajkumar Santoshi's biopic The Legend of Bhagat Singh. Throughout his career he has given many critically and commercially successful films including Raincoat (2004), Yuva (2004), Omkara (2006), Golmaal: Fun Unlimited (2006), Golmaal Returns (2008), All the Best: Fun Begins (2009), Once Upon a Time in Mumbaai (2010), Golmaal 3 (2010), Raajneeti (2010), and Singham (2011). Having done so, he has established himself as one of the leading actors of Bollywood. In 2008, he debuted as a film director with his starrer U Me Aur Hum which proved to be an moderate success at the box office. He then established the production house, Ajay Devgn Films.

Biography[link]

Devgan was born in Mumbai to Veena and Veeru Devgan.Originally from Amritsar, Punjab ^[5] members of the Devgan family are all related to the Hindi Film industry in Bombay. His father, Veeru Devgan, is a well-known stunt choreographer, and his mother Veena Devgan, a film producer. Devgan's brother, Anil, is a Hindi film director. Ajay Devgan is an alumnus of the Silver Beach High School in Juhu and Mithibai College. On 24 February 1999, he married Hindi film actress Kajol. The couple have two children. Their daughter Nysa was born on the 20th of April 2003 and their son Yug was born on the 13th of September 2010.^[6] In August 2009, Devgan changed his last name to Devgn on the request of his family.^[7][8] He became the first Bollywood personality to acquire a private jet for transport to shooting locations, promotions and personal trips.^[9]

Career[link]

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1990s[link]

Ajay Devgan made his debute as an actor in Phool Aur Kaante in 1991. The film grossed 11,000,000 Indian rupees () and earned him a Filmfare Award for Best Male Newcomer. In 1992, he starred in Jigar alongside Karisma Kapoor, which grossed 7,00,00,000.^[10] In 1993, he worked with director Deepak Bahry in the action film Ek Hi Raasta,^[11] and with Deepak Pawar in Platform. In 1994, Devgn worked in Harry Baweja's Dilwale, Suhaag and Vijaypath.^[12] In 1995, he appeared in Mahesh Bhatt's Naajayaz, for which he was nominated as a Best Actor by Filmfare.^[13] In 1996, he continued with Diljale".^[14] and romantic comedies, such as Ishq in 1997.^[15] In 1998, he starred in Major Saab, Pyaar To Hona Hi Thaand Mahesh Bhatt's Zakhm. Zakhm won Devgn several awards for his performance, including the National Film Award for Best Actor and the Star Screen Award for Best Actor^{[citation needed][16]} Devgn's 1999 work included Sanjay Leela Bhansali's Hum Dil De Chuke Sanam as well as Hindustan Ki Kasam and Kachche Dhaage.^[17]

2000s[link]

In 2000, he worked in Harry Baweja's Deewane. In this film, he essayed a double role, one as a thief and the other as a police officer. The film flopped at the box office.^[18] The same year, Devgn starred in his first home production Raju Chacha opposite wife Kajol. The film also bombed at the box office.^[18]

In 2001, he starred in Yeh Raaste Hain Pyaar Ke with Madhuri Dixit and Preity Zinta. This film was an average grosser at the box office.^[19] His next release Lajja, alongside Manisha Koirala, Madhuri Dixit, Jackie Shroff and Anil Kapoor, earned him a nomination for the "Filmfare Best Supporting Actor Award". The film did not perform as expected at the box office.^[19] He then worked in Mahesh Manjrekar's Tera Mera Saath Rahen.

In 2002, he featured in Ram Gopal Varma's fictional expose of Mumbai underworld Company. He was nominated for the Filmfare Best Actor Award and won the Filmfare Critics Award for Best Actor. The film fared well at the box office.^{[clarification needed][20]} His next release was Hum Kisi Se Kum Nahin alongside Amitabh Bachchan, Sanjay Dutt and Aishwarya Rai.^[20]

The same year, he also starred in Rajkumar Santoshi's biopic The Legend of Bhagat Singh.^[21] in the title role. The film didn't fare well at the box office.^{[clarification needed][20]} However, he won his second National Film Award for Best Actor for his performance. He then starred in Anees Bazmee's Deewangee. The film was partially inspired by William Diehl's English language novel Primal Fear and earned Devgn several awards for his negative role including, "Filmfare Best Villain Award", "Star Screen Award for Best Villain" and "Zee Cine Award for Best Actor in a Negative Role". This film was a success at the box office.^[20]

In 2003, he starred in Ram Gopal Verma's Bhoot opposite Urmila Matondkar. The film was appreciated critically & performed very well at the box office.^[22] He then starred in action thriller Qayamat: City Under Threat opposite debutante Neha Dhupia which was huge commercial success.^[22] He then worked in Milan Luthria's romantic film Chori Chori opposite Rani Mukherji and Sonali Bendre. This film did not succeed at the box office.^[22]

In that same year he featured in Prakash Jha's Gangaajal, for which he was nominated for the Filmfare Best Actor Award. He then worked in Rohit Shetty's directional debut Zameen^[23] and J. P. Dutta's war film LOC Kargil.

In 2004 he was cast alongside Amitabh Bachchan, Aishwarya Rai and Akshay Kumar in Rajkumar Santoshi's Khakee. Later that year he appeared in director Indra Kumar's Masti: Sanam Teri Kasamand also starred in the critically acclaimed movies Yuva^[24][25][26] and Rituparno Ghosh's Raincoat.^[27]. He was also seen in a cameo appearance in Taarzan: The Wonder Car.

2005 was less successful for him as he starred in a series of flop movies like Insan, Blackmail, Main Aisa Hi Hoon, Tango Charlie and Shikhar whilst Kaal and Apaharan succeeded at the Box Office. For his performance in Apaharan Devgn was nominated for the National Film Award for Best Actor and Filmfare Best Actor Award. His villanous performance in Kaal also earned him a nomination for the Filmfare Best Villain Award^[28]

2006 was a remarkable year in his career as he starred Golmaal and Omkara, which were to both prove enormously significant in his decade long career. Omkara, were Devgn was cast in the title role, was both a critical and commercial success^[29][30][31] and Golmaal proved to be a sleeper hit. The latter film was soon to be followed by two super hit sequels Golmaal Returns and Golmaal 3. In the same year he also featured in a short documentary about the Mumbai floods of 2005 named The Awakening.^[32]

2007 was again disappointing for him as he starred only in 2 movies, directorAnubhav Sinha's action thriller Cash and Ram Gopal Varma Ki Aag which was a remake of the 1975 classic] Sholay. Both films received extremely poor reception both at the box office and from critics,^[33] and is currently placed at number 14 on the bottom 100 movies on Imdb.

In 2008 he worked with Rajkumar Santoshi and was cast with Pankaj Kapoor and Vidya Balan in Halla Bol.^[34] He then starred in director Rohit Shetty's third film Sunday, before directing his first movie with wife Kajol and himself in lead roles. The film, titled U, Me aur Hum, was an average success.^[34] He also had a cameo appearance in his brother Anil Devgan's film Haal–e–dil. He starred with long-time friend Sanjay Dutt and actress Manisha Koirala in Afzal Khan's Mehbooba. He then re-teamed with Rohit Shetty for the sequel of his hit film Golmaal: Fun Unlimited, Golmaal Returns which was a blockbuster hit.^[34]

In 2009 he produced his third film All the Best also directed by Rohit Shetty. The film did good business and was a semi-hit.^[35] Later in the year he starred in Vipul Shah's London Dreams with Salman Khan and Tamil film star Asin. The film was declared a flop.^[35]

2010s[link]

In the beginning of 2010 he worked with actors Amitabh Bachchan and Ben Kingsley in Leena Yadav's Teen Patti. He also starred in the comedy Atithi Tum Kab Jaoge? alongside Paresh Rawal and Konkona Sen Sharma which was a success. He followed this with Prakash Jha's Raajneeti and Milan Luthria's Once Upon a Time in Mumbai. Both movies were among the top grossers of 2010.^[36] He was then seen alongside Akshaye Khanna in Priyadarshan's rough adaptation of Mississippi Burning, Aakrosh. Devgn teamed up with Rohit Shetty for the fifth time withGolmaal 3. The movie was a super hit and the fourth highest grossing movie in Bollywood history. Devgn later lent his voice to the animated film Toonpur Ka Super Hero.

In 2011 he teamed up with Emraan Hashmi for Madhur Bhandarkar's comedy Dil Toh Baccha Hai Ji which also starred Omi Vaidya. The film was a moderate success. He was a narrator in Yamla Pagla Deewana and also did a cameo role in the 2011 Salman Khan-starrer Ready. Devgn's next film, Singham, proved to be a milestone for him. The film grossed 100 crores net in India, making it the 7th film to do so, and was a blockbuster worldwide. ^[37]

Awards and honours[link]

Among other awards and nominations, Devgan has won two National Film Awards and three Filmfare Awards.

Filmography[link]

Actor[link]

Producer[link]

Director[link]

References[link]

External links[link]

• Ajay Devgn at the Internet Movie Database
• Ajay Devgn's Official Site

Wikimedia Commons has media related to: Ajay Devgan

This article relies on references to primary sources or sources affiliated with the subject, rather than references from independent authors and third-party publications. Please add citations from reliable sources. (March 2009)

Richard Sanderson (born 5 March 1953, Taplow) is a British singer.

Biography[link]

He was born in England, son of two musicians: his Scottish father plays drums and his French mother plays the accordion.

Sanderson began playing piano from age five and picked up guitar at age 15. He is best known for his song Reality, which was the title theme to the soundtrack to the french 1980 film La Boum. The song became a hit in Europe in 1982, reaching #1 in 15 countries, including France Germany, Austria, Italy and Switzerland and selling more than eight million copies worldwide. Reality is well known in Germany and it has been covered multiple times on DSDS, the German version of American Idol.

Despite his success in continental Europe, Sanderson is virtually unknown in the United Kingdom. He has scored four films: Resonnances, Acharnés, Adam et Ève, C'est facile et ça peut rapporter... 20 ans and the TV miniseries Unknown Images: The Vietnam War.

Discography[link]

Studio albums[link]

• 1980: No Stickers Please
• 1981: I'm In Love
• 1987: Reality
• 1987: Songs For Lovers
• 1987: Fairy Tale
• 1990: Anytime At All

Compilation[link]

• 1984: The Best of Richard Sanderson

Singles[link]

• 1979: Never Let You Go
• 1980: Reality
• 1980: Go On Forever
• 1981: She's A Lady / Junie Bug
• 1981: When I'm In Love / Close The Gate
• 1982: Your Eyes / Playground
• 1983: Stiamo Insieme / L'Hotel
• 1983: Sun
• 1984: Check On The List / Something New
• 1987: Lovely Lady
• 1988: Maybe You're Wrong
• 1990: When The Night Comes
• 1990: Anytime At All

External links[link]

• Official website
• Richard Sanderson at the Internet Movie Database
• Discogs

This article about a Scottish musician is a stub. You can help Wikipedia by expanding it. v t e

Matthew Lillard
Lillard at the 84th Academy Awards Red Carpet 2012
Born	Matthew Lyn Lillard (1970-01-24) January 24, 1970 (age 42) Lansing, Michigan, US
Occupation	Actor, voice actor
Years active	1990–present
Spouse	Heather Helm (2000–present)
Children	Addison Grace Macey Lyn Liam

Matthew Lyn Lillard (born January 24, 1970) is an American actor and producer. He is best known for his roles as Stu Macher in Scream, Stevo in SLC Punk (awarded Best Actor at the Mar del Plata Film Festival), and Shaggy Rogers in the Scooby-Doo film series and the Animated reboot series. Lillard recently made a dramatic turn in Alexander Payne's critically acclaimed comedy-drama The Descendants.

Early life[link]

Lillard was born in Lansing, Michigan, and grew up in Tustin, California.^[1] He has a younger sister, Amy. He attended Foothill High school in Santa Ana, CA and later the American Academy of Dramatic Arts in Pasadena, California, with fellow actor Paul Rudd, and later, the theater school Circle in the Square in New York City.

Career[link]

Lillard with fans on the set of In the Name of the King: A Dungeon Siege Tale.

While still in high school, he was co-host of a short-lived TV show titled SK8 TV. After high school, he was hired as an extra for Ghoulies 3: Ghoulies Go to College (1991).

In 1996, Lillard was cast in the horror slasher, Scream as Billy Loomis's friend Stu Macher. He also played Stevo in the independent film SLC Punk!, and also played a secondary role in Thirteen Ghosts. Lillard was cast as Shaggy Rogers in the 2002 live-action Scooby Doo film, a role he later reprised in the 2004 sequel Scooby Doo 2: Monsters Unleashed. Although he did not continue the role in the later live-action films in the series, Lillard has portrayed Shaggy in animated productions since 2009, officially taking over the role from previous Shaggy voice actor Casey Kasem.^[2]

In 2011, Lillard guest-starred on the Fox series House.^[3]

In July & August 2011, Lillard produced and directed his first feature film, Fat Kid Rules the World in Seattle. It is currently in post-production with an anticipated release date of 2012. It is based on the K. L. Going book of the same name.^[4]

In 2011, Lillard appeared in the Alexander Payne film The Descendants, with George Clooney, Judy Greer, and Shailene Woodley.^[5]

Personal life[link]

In 2000, Lillard married Heather Helm and together they have three children: Addison Grace (b. June 13, 2002), Macey Lyn (b. October 19, 2004), and Liam (b. April 2008).^[6] In October 2005, Lillard participated in a Dungeons & Dragons Minis tournament against members of the Quest Club Gaming Organization at the Magic Castle in Hollywood.^[7][8]

Filmography[link]

(as Matthew Robertson)