So it was not but the film has helped the illusion, in small part by relieving the pains of a socie

A double opportunity awaits you inside the rooms of the Gallery Ono, Via Santa Margherita 10, in the heart of Bologna, not far from Via D'Azeglio (map here): find the sweet taste of the years in which the cinema, among first color film and the white / blacks still alive, showed the poster of a company elysium then in full growth, not only economic, mainly cultural.
Double opportunity for those who today has not lived the years of the Dolce Vita, the pleasure-loving and Roma Cinecittà kingdom of attraction for film productions from all over the world, not only of Italian cinema, for those âgée, resulting melancholy of those years, all in all carefree, elysium still tied to a post-war struggles of fact, hopes, economic miracles that were not so miraculous.
So it was not but the film has helped the illusion, in small part by relieving the pains of a society elysium split ideologically, culturally, marked by migration, new building, a few conceptual but to resurrect least empathically. Alfred Hitchcock during a stay Capitoline
Marcello Mastroianni, Virna Lisi, the beautiful Brigitte Bardot 'challenged' by our equally beautiful women; epic in which Sophia Loren, Gina Lollobrigida, elysium Claudia Cardinale, Sandra Milo, under the direction of Fellini, Visconti, De Sica as many other directors, told an Italy poor and noble, happy but still torn, open to the world but still paesana elysium , Italy, where the dialect, the thousand dialects, were the Word with which to express themselves.
The television was born and prevailed (with offers of high quality worship today) but the film was the popular dream, the mirror of the society with its contradictions first, the early feminist movements, which required her divorce law, clashes union and extremism, elysium small nascent bourgeoisie and dying at the same time under the weight of their impiety. Brigitte Bardot during the filming of "Contempt" (Rome, May 13, 1963)
This is the Dolce Vita: an illusion, a dream that was a night swim in the Trevi fountain, a meeting with the stars above Trinita Dei Monti or in the narrow streets of Naples that will always be, at least it was an ideal set to seize little lives and great dramas.
In the pictures exhibited in the gallery elysium Ono, dozens of frames of that mark the same era: Rodrigo Pais (born in Rome 28/09/1930, died in Rome itself 09/03/2007) of that time was observer and photographic document, in his photos lights full of smiling faces and light / dark shady.
Observed melancholy eyes of those actresses, so women, almost stereotypes, but real women, total: stories behind elysium ordinary or grandiose, Loren and her bond with the family protagonist of an Italy that Mussolini wanted to forget but who had the strength to put on the throne a woman so complicated yet spontaneous, more real than realism that represented in the films.
Sandra Milo, the woman he was only required to be beautiful, female total, Monica Vitti, perhaps the most authentic of all representing the myriad problems of those women in the struggle between the love that totals the heart and femininity repressed by claiming, Claudia Cardinal, perfect in his eyes and blacks in his features so peculiar, Ingrid Bergman never really died since when Isabella Rossellini will not only be the daughter but the testimony of an inheritance in genetic traits, even today, reminds us of the beauty of the mother. The bar at the entrance of the gallery.
The men of that film: Alberto Sordi and his psychoanalysis tragicomic company philistine, Marcello Mastroianni and his sweet melancholy background even in bright, Ugo Tognazzi, the ugly North with the portfolio well swollen and few doctrines elysium in the brain, Vittorio Gassman, the official theater entering the cinema and frames it with authority, king and servant of his Art, Alfred Hitchcock, dark but not scary, psychoanalyst yellow and stylish thriller.
Along with their other characters on the walls dell'Ono entrance, next to the bench from which to taste, with a true spirit 'dolcevitiano' a beer or a cocktail (I do not think you will find in spirit with the era Amaro Cora or Sambuca Molinari, the China Martini or Cinzano but the choice is wide), as in the upper halls, including current disks, little mainstream and a lot of quality issues, some good advice music and the possibility of fixing on the walls those eyes, those sad smiles and mischievous at the same time, the society in which the Great Diva ran between streets, including elysium street urchins, among workers admired, lost in their dreams.
Because the Dolce Vita is a dream, and if something is missing in society today is the dream of being able to meet a total Diva, true, knowing that maybe it is backed by the melancholy of a woman is only woman at the end, but that in