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Giovanni (Gianni) Bongioanni (born August 6, 1921 in Turin) is an Italian film director, screenwriter, cinematographer, camera operator, editor, occasional actor and writer as well as ''the founder of an authentic neo-realistic approach to the Italian TV film making''.〔A. Grasso, ''Enciclopedia della Televisione Garzanti'', Milano, Garzanti Editore, 1996.〕 His film ''La svolta pericolosa'' (1959) is considered ''the first Italian television series''.〔A. Grasso, ''Enciclopedia della Televisione Garzanti'', Milano, Garzanti Editore, 1996.〕 == Life == Gianni Bongioanni was born in Turin on August 6, 1921. His mother was an housewife and his father was a turner. At the age of 11, he started working as a turner in his father's store while he attended the middle school. It was the cinema that offered him the greatest escape from an unsatisfying home life. When he was five, he saw his first movie ''The Kid'' directed by Charlie Chaplin. He was so struck by it that he began to believe that his life would be like the American movies. Just below his house, there were two dirt-cheap cinemas and almost every day Bongioanni went there. It was during these years that he began to love and appreciate American directors and actors. At the age of 11, he took up swimming to emulate the Austro-Hungarian American swimmer and actor Johnny Weismuller, who interpreted ''Tarzan'' in 1933. Swimming and movies were the two great passions of Bongioanni during his teenager years. In 1939 he was introduced to the CINEGUF of Turin,〔Cineguf was a Cinema Department of Turin University founded for students willing to become film-maker.〕 where he had the golden opportunity to make his first experience as camera-operator. In 1941, Bongioanni joined the Cinema Department of the General Staff of Italian Royal Army where he was exposed to many of the best foreign movies of the 1930-1940s. So he became familiar with the most important and influential directors of those times (C.Chaplin, J. Ford, F. Capra, F. Lang, E. Lubitsch, W.A. Wellman, V. Flemming, M.Carnet, J. Renoir). It was possible for him to watch the original version of these movies because they were spoils of war taken from the enemies before their ships were sunk. In this period, Bongioanni made several war documentaries. In 1944 he became speaker of the radio station ''Radiotevere''〔For further information about this period see: G. Bongioanni, ''Qui Radiotevere. 1944 storia di radio , di amore e di morte'', Sovera Edizioni, Roma, 2003.〕 in Milan and short after, at only 23 years, he became director. After the war, in 1946, he started his career as film and radio-shows reviewer at the magazine ''Film'' directed by Mino Doletti. In 1946, Bongioanni wrote an article called ''Abbasso i tromboni!'' (''Down with the Windbags!'') in which he attacked the current state of Italian broadcast, lambasting certain directors and actors that continued to support an antiquated idea of theatre in a period of rising neo-realism. In 1952 Bongioanni joined the borning national TV and Radio Broadcasting Company "RAI", as technical manager of Cinema Production Department under the direction of Sergio Pugliese.〔:it:Sergio Pugliese〕 In 1957 he decided to make films of his own. He realized his first movie ''Filo d'erba'' (''A Blade of Grass'') awarded with the International Radio and Television Prize ''Prix Italia''. Between 1959 and 1967 he realized, as producer and director, several TV productions that testify his acuity in grasping the facets of Italian society: ''La svolta pericolosa ''(''The dangerous turn'') considered the first Italian telefilm; ''Fine di una solitudine'' (''The end of solitude''); ''La madre di Torino''(''A mother in Turin''). In 1964 he made his first feature film, ''Tre per una rapina''〔German title: ''Drei von uns'' / ''Zwischenlandung Düsseldorf''; Spanish title: ''Tiempo de violencia''〕 (a German - Spanish - Italian co-production), a tight noir style action movie based on the life of a young Italian immigrant moved to Germany. It was a good film, that is now unfortunately forgotten. After directing some valuable documentaries and journalistic reports, he returned to fiction in the 1970s with a series of TV-movies considered among ''the best in the Italian TV history''〔Roberto Poppi, ''Dizionario del cinema Italiano. I Registi.'', Gremese Editore, 2002〕 (R.Poppi, 2011) and that allowed him to be recognized as a ''director who has tried to bring the painful, and often forgotten, truth to light.''〔A. Grasso, ''Enciclopedia della Televisione Garzanti'', Milano, Garzanti Editore, 1996.〕''. These movies marked him out as a keen observer of the harsh realities of Italian life: ''Dedicato a un bambino'' (''Dedicated to a child''); ''Una pistola nel cassetto'' (''A gun in the drawer''); ''Una donna'' (''A Woman''), from the novel by Sibilla Aleramo; ''Un matrimonio di provincia'' (''A wedding in a small town''), a tactful nineteenth-century love story; ''Mia figlia'' (''My daughter''), the dramatic story of a young girl affected by anorexia; ''Giovanni da una madre all'altra'' (''Giovanni from a mother to another''), a story of adoption; ''Follia amore mio'' (''Madness my love''), a story of a woman who takes care of a small group of mental ill patients; ''Piange al mattino il figlio del cuculo'' (''Crying in the morning the son of cuckoo'') about the "surrogate mothers". In 2011, at the age of 90, he decided to realize ''Di quell'amor'' (''On that love'') with the collaboration of a mini-troupe of brave young filmmakers. The film is about the love in old age. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Gianni Bongioanni」の詳細全文を読む スポンサード リンク
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