This current, which would renew decisively the entire Italian cultural climate, developed between 1945 and the early fifties antagonizing absolutely every aspect of fascist ideology, faithful to realistic perspective to the rawness, he drew inspiration for his painful and profound films from the episodic descriptions of the Resistance and painful condition of the immediate post-war Italy. In fact, after the war, Alessandrini's activities were reduced very much, because he was unable to fit in constructively with the very different expressive climate created by the neo-realists. As it can easily be deduced from the titles, him being regarded as one of the most important directors in Italian fascism was not an understatement, and the success of his works was, at least in part, due to his blatant membership in the policy of the regime, an attitude that, however, later revealed to be a double edged sword. He also received the Biennale Award in 1942 for “Noi Vivi and Addio Kira!” He collaborated frequently with one of the stars of the time, Amedeo Nazzari and also with a son of Mussolini, Vittorio. He was widely praised by critics and was awarded multiple times for instance, he received several awards at the Venice Film Festival during the Fascist era: the Mussolini Cup for Best Italian film in 1938 for “Luciano Serra pilota”, and in 1939 for “Abuna Messias”. Between 19, he was able to draw, fascinating film with interesting stories and characters which had a great hold over the audience. It is an early Wayne non-Western film appearance, made when he was 26 years old. For all latest news, follow The Daily Star's Google News channel.ĭuring the fascist regime, Alessandrini's career, like that of other directors such as Blasetti, Camerini and Genina, experienced its most brilliant period. His Private Secretary is a 1933 American pre-Code comedy film directed by Phil Whitman and starring Evalyn Knapp and John Wayne.
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