Ambra Danon, the Italian costume designer who worked on the three La Cage aux Folles films, earning an Oscar nomination for the first one, has died. She was 75.
Danon died April 12 in Rome after a long battle with cancer, her niece, Echo Danon, told The Hollywood Reporter.
The original La Cage Aux Folles (1978), based on Jean Poiret’s 1973 play of the same name, was directed by Édouard Molinaro and released by United Artists. The French-language comedy starred Ugo Tognazzi and Michel Serrault as a gay couple operating a drag nightclub in a French resort town and was a huge box office success.
Danon, who shared her Academy Award nom with five-time nominee Piero Tosi, lost out on Oscar night to Albert Wolsky of All That Jazz. She then returned for the La Cage aux Folles sequels released in 1980 and 1985.
The daughter of Marcello Danon, who produced the first two movies in the series,...
Danon died April 12 in Rome after a long battle with cancer, her niece, Echo Danon, told The Hollywood Reporter.
The original La Cage Aux Folles (1978), based on Jean Poiret’s 1973 play of the same name, was directed by Édouard Molinaro and released by United Artists. The French-language comedy starred Ugo Tognazzi and Michel Serrault as a gay couple operating a drag nightclub in a French resort town and was a huge box office success.
Danon, who shared her Academy Award nom with five-time nominee Piero Tosi, lost out on Oscar night to Albert Wolsky of All That Jazz. She then returned for the La Cage aux Folles sequels released in 1980 and 1985.
The daughter of Marcello Danon, who produced the first two movies in the series,...
- 5/24/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
Pamela Tiffin, the 1960s starlet who was discovered in the Paramount commissary on the way to memorable turns in such films as State Fair, The Pleasure Seekers, Come Fly With Me and Harper, has died. She was 78.
Tiffin died Wednesday of natural causes in a hospital in New York, her daughter Echo Danon, an actress, video director and music supervisor, told The Hollywood Reporter.
Tiffin received Golden Globe nominations for her first two features, both released in 1961: as most promising newcomer — female for Summer and Smoke and as best supporting actress for her performance in Billy Wilder’s Cold War satire One, Two, Three (1961)....
Tiffin died Wednesday of natural causes in a hospital in New York, her daughter Echo Danon, an actress, video director and music supervisor, told The Hollywood Reporter.
Tiffin received Golden Globe nominations for her first two features, both released in 1961: as most promising newcomer — female for Summer and Smoke and as best supporting actress for her performance in Billy Wilder’s Cold War satire One, Two, Three (1961)....
- 12/5/2020
- The Hollywood Reporter - Film + TV
Strand Releasing
NEW YORK -- This video-shot French feature well demonstrates that the self-indulgence and lack of technical prowess afflicting so many independent American films has clearly wandered over to the other side of the Atlantic. The oblique tale of a depressed and creatively blocked young filmmaker entering into his first homosexual relationship, "Love Forbidden" ultimately involves a highly contrived, melodramatic ending that wouldn't have been out of place in a '40s-era film noir.
Director-screenwriter Rodolphe Marconi also plays the central role of Bruce, a filmmaker recovering from both the death of his older brother, an acclaimed novelist, and the recent end of his relationship with his girlfriend. Arriving at a government-sponsored retreat for artists at a posh Roman villa, he soon finds himself being befriended by Matteo (Andrea Necci), a hunky worker in the institute's library. Eventually, despite Bruce's professed straightness, the relationship turns sexual. But it ends as quickly as it began, and the versatile Matteo soon moves on to another relationship, with Aston (Echo Danon), a female American writer who's obsessed with serial killers.
As Bruce becomes more and more fixated on Matteo, even spying on him while he makes love with his new partner, the film awkwardly enters Hitchcockian territory, attempting to blend its tale of sexual confusion and obsession with a darker mystery involving Matteo's possibly being a serial killer himself.
Straining for an atmosphere of Gothic menace, the film can't overcome its technical limitations, and such forced elements as the repetitive shots of ominous-looking statues are more laughable than atmospheric. While its exploration of the shifting nature of sexuality is sometimes provocative, the far-too-obviously titled "Love Forbidden" is ultimately undone by its pretensions.
NEW YORK -- This video-shot French feature well demonstrates that the self-indulgence and lack of technical prowess afflicting so many independent American films has clearly wandered over to the other side of the Atlantic. The oblique tale of a depressed and creatively blocked young filmmaker entering into his first homosexual relationship, "Love Forbidden" ultimately involves a highly contrived, melodramatic ending that wouldn't have been out of place in a '40s-era film noir.
Director-screenwriter Rodolphe Marconi also plays the central role of Bruce, a filmmaker recovering from both the death of his older brother, an acclaimed novelist, and the recent end of his relationship with his girlfriend. Arriving at a government-sponsored retreat for artists at a posh Roman villa, he soon finds himself being befriended by Matteo (Andrea Necci), a hunky worker in the institute's library. Eventually, despite Bruce's professed straightness, the relationship turns sexual. But it ends as quickly as it began, and the versatile Matteo soon moves on to another relationship, with Aston (Echo Danon), a female American writer who's obsessed with serial killers.
As Bruce becomes more and more fixated on Matteo, even spying on him while he makes love with his new partner, the film awkwardly enters Hitchcockian territory, attempting to blend its tale of sexual confusion and obsession with a darker mystery involving Matteo's possibly being a serial killer himself.
Straining for an atmosphere of Gothic menace, the film can't overcome its technical limitations, and such forced elements as the repetitive shots of ominous-looking statues are more laughable than atmospheric. While its exploration of the shifting nature of sexuality is sometimes provocative, the far-too-obviously titled "Love Forbidden" is ultimately undone by its pretensions.
Strand Releasing
NEW YORK -- This video-shot French feature well demonstrates that the self-indulgence and lack of technical prowess afflicting so many independent American films has clearly wandered over to the other side of the Atlantic. The oblique tale of a depressed and creatively blocked young filmmaker entering into his first homosexual relationship, "Love Forbidden" ultimately involves a highly contrived, melodramatic ending that wouldn't have been out of place in a '40s-era film noir.
Director-screenwriter Rodolphe Marconi also plays the central role of Bruce, a filmmaker recovering from both the death of his older brother, an acclaimed novelist, and the recent end of his relationship with his girlfriend. Arriving at a government-sponsored retreat for artists at a posh Roman villa, he soon finds himself being befriended by Matteo (Andrea Necci), a hunky worker in the institute's library. Eventually, despite Bruce's professed straightness, the relationship turns sexual. But it ends as quickly as it began, and the versatile Matteo soon moves on to another relationship, with Aston (Echo Danon), a female American writer who's obsessed with serial killers.
As Bruce becomes more and more fixated on Matteo, even spying on him while he makes love with his new partner, the film awkwardly enters Hitchcockian territory, attempting to blend its tale of sexual confusion and obsession with a darker mystery involving Matteo's possibly being a serial killer himself.
Straining for an atmosphere of Gothic menace, the film can't overcome its technical limitations, and such forced elements as the repetitive shots of ominous-looking statues are more laughable than atmospheric. While its exploration of the shifting nature of sexuality is sometimes provocative, the far-too-obviously titled "Love Forbidden" is ultimately undone by its pretensions.
NEW YORK -- This video-shot French feature well demonstrates that the self-indulgence and lack of technical prowess afflicting so many independent American films has clearly wandered over to the other side of the Atlantic. The oblique tale of a depressed and creatively blocked young filmmaker entering into his first homosexual relationship, "Love Forbidden" ultimately involves a highly contrived, melodramatic ending that wouldn't have been out of place in a '40s-era film noir.
Director-screenwriter Rodolphe Marconi also plays the central role of Bruce, a filmmaker recovering from both the death of his older brother, an acclaimed novelist, and the recent end of his relationship with his girlfriend. Arriving at a government-sponsored retreat for artists at a posh Roman villa, he soon finds himself being befriended by Matteo (Andrea Necci), a hunky worker in the institute's library. Eventually, despite Bruce's professed straightness, the relationship turns sexual. But it ends as quickly as it began, and the versatile Matteo soon moves on to another relationship, with Aston (Echo Danon), a female American writer who's obsessed with serial killers.
As Bruce becomes more and more fixated on Matteo, even spying on him while he makes love with his new partner, the film awkwardly enters Hitchcockian territory, attempting to blend its tale of sexual confusion and obsession with a darker mystery involving Matteo's possibly being a serial killer himself.
Straining for an atmosphere of Gothic menace, the film can't overcome its technical limitations, and such forced elements as the repetitive shots of ominous-looking statues are more laughable than atmospheric. While its exploration of the shifting nature of sexuality is sometimes provocative, the far-too-obviously titled "Love Forbidden" is ultimately undone by its pretensions.
- 12/1/2003
- The Hollywood Reporter - Movie News
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