437:. The other three main characters in different ways try to dominate Giovanna, but she renounces one while the other two die violently. Giovanna returns to the troupe to devote herself to dance. In the first scene a sexually charged dance accompanies a character's intense pass at Giovanna. The rest of the first third of the film forms three stages of Giovanna's training: basic lessons in Durham's technique; Giovanna collapses; more advance training, using twirling and other movements to induce
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441:. While most contemporary critics considered the cinematography of the dance scenes "confusing" and "handled with no real flair", one described it as "briefly, seems like genius", replacing conventional straight shots with sudden cuts, mirroring and
432:
However, in 2001 Dorothea
Fischer-Hornung concluded that the film achieved more than Rossen and contemporary critics realised. The lead, Italian shop-girl Giovanna, enrolls in a troupe led by real-time choreographer
327:), Giovanna lives out a dream to become a dancer and moves to Rome. She returns six months later to the competing affections of Mario and Enrico, resulting in a choice between the two and the dramatic finale.
429:'s performance laborious, but praised Rossen's skilfully created moods, some decadent and others melancholy. Alan Casty dismissed the film as a "mere job".
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636:. Forum for European Contributions to African American Studies: FORECAAST. Vol. 4. Berlin-Hamburg-Münster: LIT Verlag. pp. 91–112.
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craze spread through the USA in the 1950s, and Rossen aimed to repair his finances after almost two years without work since his 1951
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Embodying liberation: the Black body in
American dance
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575:Casty, Alan (1966). "The Films of Robert Rossen".
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1099:The Godfather Part II
606:"'Mambo' Out of Step"
1217:1950s American films
1212:Films shot in Venice
1162:American drama films
996:List of compositions
858:The Roaring Twenties
791:They Came to Cordura
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548:Fischer-Hornung 2001
536:Fischer-Hornung 2001
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512:Fischer-Hornung 2001
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415:Rossen later said, "
388:Franco Caruso as Pio
376:as Padre di Giovanna
370:as Contessa Marisoni
19:For other uses, see
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1157:Italian drama films
775:Alexander the Great
340:as Giovanna Masetti
1090:Speak Softly, Love
941:The Undercover Man
890:Blues in the Night
850:Dust Be My Destiny
751:All the King's Men
610:The New York Times
422:The New York Times
411:Critical reception
346:as Enrico Marisoni
285:Paramount Pictures
277:Dino De Laurentiis
275:film, produced by
196:Paramount Pictures
91:Dino De Laurentiis
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231:Running time
222: (Italy)
207:Release date
1008:Discography
1001:film scores
933:As producer
922:Desert Fury
818:Screenplays
799:The Hustler
727:As director
615:27 February
583:(2): 3–12.
391:Mimi Dugini
281:Carlo Ponti
235:110 minutes
96:Carlo Ponti
84:Produced by
65:Ivo Perilli
43:Directed by
1142:1954 films
1136:Categories
569:References
488:Casty 1966
368:Mary Clare
218:1954-09-18
173:Production
53:Written by
1052:Concertos
985:Nino Rota
718:Films by
240:Countries
163:Nino Rota
141:Edited by
1123:Category
659:See also
257:Language
151:Music by
105:Starring
597:1210689
443:montage
439:trances
260:English
216: (
175:company
1044:(1959)
1036:(1955)
1028:(1950)
1017:Operas
944:(1949)
925:(1947)
917:(1946)
909:(1945)
901:(1943)
893:(1941)
885:(1941)
877:(1941)
869:(1939)
861:(1939)
853:(1939)
845:(1938)
837:(1937)
829:(1937)
810:(1964)
807:Lilith
802:(1961)
794:(1959)
786:(1957)
778:(1956)
770:(1954)
762:(1951)
754:(1949)
746:(1947)
738:(1947)
649:25 Feb
640:
595:
767:Mambo
678:Mambo
628:Mambo
593:JSTOR
449:Notes
417:Mambo
293:mambo
268:Mambo
246:Italy
29:Mambo
21:Mambo
683:IMDb
651:2010
638:ISBN
617:2010
331:Cast
307:Plot
283:and
198:(US)
681:at
585:doi
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