- published: 17 Sep 2010
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Laura Betti (May 1, 1927 – July 31, 2004) was an Italian actress known particularly for her work with directors Federico Fellini, Pier Paolo Pasolini and Bernardo Bertolucci. She had a long friendship with Pasolini and made a documentary about him in 2001. Betti became famous for portraying bizarre, grotesque, eccentric, instable or maniacal roles, like Regina in Bernardo Bertolucci's 1900, Anna the medium in Twitch of the death nerve, Giovanna la pazza in Woman buried alive, hysterical Rita Zigai in Sbatti il mostro in prima pagina and Therese in Private Vices, Public Virtues. Particularly notes her roles as Emilia, the servant, in Pier Paolo Pasolini's Teorema and Mildred, the protagonist's wife-ghost in Mario Bava's Hatchet for the honeymoon.
Born Laura Trombetti in Bologna, she grew up to be interested in singing. She first worked professionally in the arts as a jazz singer and moved to Rome. She adopted the surname "Betti" at this time.
Betti made her film debut in Federico Fellini's La Dolce Vita (1960). In 1963, she became a close friend of the poet and movie director Pier Paolo Pasolini. Under his direction, she proved a wonderful talent and played in seven of his films, including La ricotta (1963), Teorema (Theorem, 1968), his 1972 version of The Canterbury Tales, in which she played the Wife of Bath; and his controversial Salo (1975) ("120 Days of Sodom").
Actors: Cosimo Cinieri (actor), Augusto Zucchi (actor), Federico Bruno (producer), Federico Bruno (director), Federico Bruno (writer), Federico Bruno (editor), Armando De Razza (actor), Federico Torre (actor), Fiorenza Tessari (actress), Ivan Bacchi (actor), Riccardo Cicogna (actor), Ermanno De Biagi (actor), Emanuela Ponzano (actress), Edoardo Pesce (actor), Giovanni Scifoni (actor),
Genres: Biography, Drama,Venere Tascabile, Laura Betti & Piero Umiliani
Spettacolo teatrale ideato e realizzato da Laura Betti Produzione Rai, 1996) su test! poetici di Pier Paolo Pasolini (elencati nei titoli di coda, insieme ai brani musicali utilizzati) // Regia teatrale Laura Betti, regia televisiva Mario Martone // Pubblicazione in attesa di liberatoria (11 agosto 2013) - L'elaborazione video è dedicata al professore della Université Libre de Bruxelles, Faculté de Philosophie & Lettres, Fabien Gerard, e al Responsabile del Centro Studi-Archivio Pasolini presso la Cineteca di Bologna, Roberto Chiesi.
Laura Betti canta "Incontro milanese" (testo di Billa Billa, musica di Fiorenzo Carpi) e "Una vera signora" (testo di Fabio Mauri, musica di Fiorenzo Carpi), da "Babau" di Paolo Poli, 1970. Entrambi i testi sono pubblicati in "Giro a vuoto - le canzoni di Laura Betti", edizioni Scheiwiller, 1960.
"Non vedo perché sia la musica che le parole delle canzonette non dovrebbero essere più belle. Un intervento di un poeta colto e magari raffinato non avrebbe niente di illecito. Personalmente, credo che mi interesserebbe e mi divertirebbe applicare dei versi ad una bella musica, tango o samba che sia." Così si esprimeva nel 1956 Pasolini intervistato dalla rivista "Avanguardia". L'occasione si presentò nel 1959, quando Laura Betti sollecitò agli amici scrittori e poeti i testi per le canzoni del suo nuovo spettacolo "Giro a vuoto", e all'appello risposero in molti, da Moravia a Flaiano, da Fortini ad Arbasino, e Pasolini contribuì con tre canzoni in romanesco, "Valzer della toppa", "Macrì Teresa detta Pazzia" e "Cristo al Mandrione", musicate da Piero Umiliani e da Piero Piccioni, che h...
Dans la discothèque Le Palace à Paris, Thierry ARDISSON interviewe Laura BETTI. Ils évoquent son parcours dans le cinéma italien des années 60, reviennent sur son tour de chant à Paris en 1961, parlent de Marcello MASTROIANNI, Federico FELLINI, de sa relation avec Pierre Paolo PASOLINI et de son livre "Madame". Images d'archive INA Institut National de l'Audiovisuel http://www.ina.fr Images d'archive INA Institut National de l'Audiovisuel http://www.ina.fr Abonnez-vous http://www.youtube.com/subscription_center?add_user=inatalkshow
Laura Betti-Legge-Marilyn-di Pier Paolo Pasolini Help us caption & translate this video! http://amara.org/v/E72x/
It's what you see in men, does my rugged face cut scars like daggers,
Faces on the wall we can't touch you but you move our hobby,
Reach into the hall step around the feast and find the lobby,
Open up the door see an angel and you'll lose your body,
My body (body, body...) her Angel (Angel, Angel...)
Picking out a name, stretching out on your sheets,
Isabelle, Isabelle can't you hear me I can't tell,
Is the devil in the room is he hiding in the first drawer,
Hold me dear, hold me dear cant you feel me touch your ear,
Meat was on the Bone, but the children huddled and devoured,
Keep them in the home let their minds go where their bikes can't take them,
Flinching finds me first so I'll hide 'til she is in the basement,
When I light the match touching angels shadows on the ceiling,
Racing round the room your forehead is on fire,
Isabelle, Isabelle they're all talking you're not well,
Looking like a ghost doctors shaking their heads,
Say my name, say my name can't you hear me I'm to blame,
(There have been sadder days...)
Starting to rotting... Pretty angel.
Grab the preachers throat can't you see the light within the shutters,
Who set up the ball don't you see your dancing frees my chances,
Put me on my feet theres an angel with a hand thats open,
Write my name in ink send a letter to the ground and beg him,
Folding all your clothes changing all your bed sheets,
Isabelle, Isabelle your not with me where I dwell,
Drinking from your glass smash it on the pyre,
It's a shame, It's a shame dont you see me, I'm to blame,
Some people's lives awake to itsy-bitsy "I'm so sorry's" the branch breaks you crack a window and the wind might say,