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<font size="2"><p>Movie Review
<font size="4"><br>Tea With Mussolini</font>
<br>by Crissa-Jean Chappell</font>
<font size="3" face="Book Antiqua,Century Schoolbook,Times New Roman"><br><i><font size="6" color="#008000"><b>E</b></font>ngland has long enjoyed a literary love affair with Italy. Think of
themes of English etiquette contrasted with Italian heat. Sweet maidens named
Lucy taking dark-skinned lovers, swapping old social constraints into a
marriage of the self. The same is true for post-war British cinema, which
borrowed from Italian neorealism and modeled its radical stylistic techniques
after the French New Wave. During World War II, most British directors had
opted for armchair narrative adaptations-lavish Technicolor productions heavy
on atmosphere. After the war, the Free Cinema movement, (1955) lead by
Lindsay Anderson and Karel Reisz, celebrated "the importance of the
individual and...the significance of the everyday." A film should be a medium
of personal expression, "socially committed to illuminating the problems of
contemporary life."
<p><a href="teawithmussolini-nf.htm">Go to the review</a></font>
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