1956 Italian MAMBO Film HEBREW MOVIE POSTER Israel SILVANA MANGANO & GASSMAN

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Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 276203523686 1956 Italian MAMBO Film HEBREW MOVIE POSTER Israel SILVANA MANGANO & GASSMAN.

DESCRIPTION : Here for sale is an almost 50 years old EXCEPTIONALY RARE and ORIGINAL FILM MOVIE POSTER for the ISRAEL 1956 PREMIERE of the ITALIAN film "MAMBO". Starring among others the great SILVANA MANGANO , VITTORIO GASSMAN , American SHELLEY WINTERS and MICHAEL RENNIE . The film projection took place in the small rural town of NATHANYA ( Also Natania ) in ERETZ ISRAEL. The cinema-movie hall " CINEMA SHARON" ( A legendary local Israeli Cinema Paradiso ) was printing manualy its own posters , And thus you can be certain that this surviving copy is ONE OF ITS KIND Fully DATED 1956 . Text in HEBREW and ENGLISH . Please note : This is NOT a re-release poster but a PREMIERE - FIRST RELEASE projection of the film , After its release in ITALY and at the same time as in Europe and worldwide . The ISRAELI distributors of the film have given it an INTERESTING and quite archaic and amusing advertising and promoting accompany text.   . The condition is very good . Folded once . GIANT size around 28" x 38" ( Not accurate ) . Printed in red and blue on white  paper . Made as issued from two paper sheets glued together by the cinema hall.  ( Pls look at scan for accurate AS IS images )  Poster will be sent rolled in a special protective rigid sealed tube.

AUTHENTICITY : This poster is guaranteed ORIGINAL from 1956 ( Fully dated )  , NOT a reprint or a recently made immitation.  , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.

PAYMENTS : Payment method accepted : Paypal . SHIPPMENTSHIPP worldwide via  registered airmail $ 25. Poster will be sent rolled in a special protective rigid sealed tube. Handling around 5-10 days after payment. 

Mambo is a film written and directed from 1952 to 1953 by Robert Rossen and released in 1955. A mambo craze spread through the USA in the 1950s, and Rossen aimed to repair his finances after almost two years without work since his 1951 House Un-American Activities Committee hearing.[1]The film stars Silvana Mangano as Giovanna Masetti, a poor Venetian who is admired by the crafty croupier Mario Rossi (Vittorio Gassman) and the rich count Enrico Marisoni (Michael Rennie). 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. Cast Silvana Mangano as Giovanna Masetti Michael Rennie as Enrico Marisoni Vittorio Gassman as Mario Rossi Shelley Winters as Toni Salerno Katherine Dunham as Dance teacher Mary Clare as Contessa Marisoni Eduardo Ciannelli as Padre di Giovanna Julie Robinson as Marisa Walter Zappolini Ottone Candiani Franco Caruso as Pio Mimi Dugini Giovanna Galletti Cecilia Maris as Barbara Martitia Palmer as Lena Masetti Sergio Parlato as Eduardo Catherine Zago Critical reception Rossen later said, "Mambo was to be for fun only," but he "took it seriously, and it didn't come off."[1] The New York Times found the plot contorted, the script long and incredible, and lead actress Silvana Mangano's performance laborious, but praised Rossen's skilfully created moods, some decadent and others melancholy.[2] Alan Casty dismissed the film as a "mere job".[3] However, in 2001 Dorothea Fischer-Hornung concluded that the film achieved more than Rossen and contemporary critics realised.[4] The lead, Italian shop-girl Giovanna, enrolls in a troupe led by real-time choreographer Katherine Dunham. 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.[5] In the first scene a sexually charged dance accompanies a character's intense pass at Giovanna.[6] 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 trances.[7][8] 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 montage.[9] AT the end of the Italian film, "Mambo," which came to the Criterion yesterday in an English-language version, the heroine wistfully returns to the Katherine Dunham dance troupe, with which she had worked earlier in the film, in the hope of finding some comfort for her sorely broken heart. Two basically seamy romances have ended sadly for her and she decides that her only salvation is to resume a dancing career."Perhaps in my third world," she muses—"the absorbing world of the mambo—I could find forgetfulness and, maybe, eventual peace and happiness."Now, this, we propose, is the crowning expression of nonsense in a film that is heavily loaded with nonsense of the most bald and bewildering sort. For anyone who has ever seen the mambo, especially as it is performed by the Katherine Dunham dance troupe, hardly need be told it is not a peaceful jig. It is one of the most frantic and exhausting that a bunch of wild West Indians can do.But this, as we say, is indicative of the many pretensions in this film, which has Silvana Mangano as its laboriously glamorized star. Logic and reasonable behavior on the part of a woman toward men—and, indeed, on the part of the latter toward a solemnly phlegmatic dame—go right out the window as Miss Mangano paces through a tedious story of confusion in a difficult realm of love.As a poor Venetian salesgirl who gets a chance to go with the Dunham troupe when she does some impromptu hip-slinging at a private fancy-dress ball, she tumbles first for Vittorio Gassman, as a Venetian hallroom boy. But apparently Mr. Gassman's feelings are less devoted than hers. When he learns that Michael Rennie, a handsome Venetian count who has been pursuing Miss Mangano, suffers from hemophilia, he persuades her to marry the gentleman in the hope that he will soon be badly cut.This somewhat bewilders Miss Mangano, who apparently continues to believe that Mr. Gassman loves her. But then Mr. Rennie is so sweet—and he makes such a handsome gesture of telling his disapproving mother where to go—that she finds her affections shifting. Mr. Gassman now gets jealous. There's a fight. Mr. Rennie is fatally punctured. And Miss Mangano goes back to the Dunham troupe.To tell the story thus bluntly may not do entire justice to the heavy mood of Venetian decadence that Director Robert Rossen has put into this film. Mr. Rossen has used the Dunham dancers and a riotous palazzo ball to establish a sense of degeneration in the dark byways of the lovely city of the canals. And later he provides some glimpses of the city powdered with snow that convey a haunting melancholy. He has worked throughout for interesting moods.But the screen play, concocted by four writers, is a long, slow, incredible thing, and Miss Mangano's performance is inexplicably static and dull. Even the physical vitality she has had in previous films is missing in this. Mr. Gassman and Mr. Rennie work hard in their forced roles. Shelley Winters is briefly bumptious as the manager of the Dunham troue, and Miss Dunham herself glitters gaudily a few times among her frenzied mambo cats. It is too bad it wasn't in color. That might have done some good.Also on the bill at the Criterion is "Assignment Children," a thirty-minute film that views the medical work of the United Nations Children's Fund among Asian children through the eyes of world-traveling Danny Kaye. It is a warm-hearted little picture, a bit on the cuddly side. MAMBO, story and screen play by Guido Plovene, Ivo Perille, Ennio De Concini and Robert Rossen; directed by Mr. Rossen; produced by Dlo De Laurentiis and Carlo Ponti. A Ponti-De Laurentiis Production released by Paramount Pictures. At the Criterion. Vittorio Gassman, Knight Grand Cross, OMRI (born Vittorio Gassmann; 1 September 1922 – 29 June 2000),[1] popularly known as Il Mattatore, was an Italian theatre and film actor, as well as director.[2]He is considered one of the greatest Italian actors and is commonly recalled as an extremely professional, versatile, magnetic interpreter, whose long career includes both important productions as well as dozens of divertissements (which made him greatly popular).[3]He was born in Genoa to a German father, Heinrich Gassmann, and a Pisan Jewish mother, Luisa Ambron.[4] While still very young he moved to Rome, where he studied at the Accademia Nazionale d'Arte Drammatica.[5]Gassman's debut was in Milan, in 1942, with Alda Borelli in Niccodemi's Nemica (theatre). He then moved to Rome and acted at the Teatro Eliseo joining Tino Carraro and Ernesto Calindri in a team that remained famous for some time; with them he acted in a range of plays from bourgeois comedy to sophisticated intellectual theatre. In 1946, he made his film debut in Preludio d'amore, while only one year later he appeared in five films. In 1948 he played in Riso amaro.It was with Luchino Visconti's company that Gassman achieved his mature successes, together with Paolo Stoppa, Rina Morelli and Paola Borboni. He played Stanley Kowalski in Tennessee Williams' Un tram che si chiama desiderio (A Streetcar Named Desire), as well as in As You Like It (by Shakespeare) and Oreste (by Vittorio Alfieri). He joined the Teatro Nazionale with Tommaso Salvini, Massimo Girotti, Arnoldo Foà to create a successful Peer Gynt (by Henrik Ibsen). With Luigi Squarzina in 1952 he co-founded and co-directed the Teatro d'Arte Italiano, producing the first complete version of Hamlet in Italy, followed by rare works such as Seneca's Thyestes and Aeschylus's The Persians.In 1956 Gassman played the title role in a production of Othello. He was so well received by his acting in the television series entitled Il Mattatore (Spotlight Chaser) that "Il Mattatore" became the nickname that accompanied him for the rest of his life. Gassman's debut in the commedia all'italiana genre was rather accidental, in Mario Monicelli's I soliti ignoti (Big Deal on Madonna Street, 1958). Famous movies featuring Gassman include: Il sorpasso (1962), La Grande Guerra (1962), I mostri (1963), L'Armata Brancaleone (1966), Profumo di donna (1974) and C'eravamo tanto amati (1974).He directed Adelchi, a lesser-known work by Alessandro Manzoni. Gassman brought this production to half a million spectators, crossing Italy with his Teatro Popolare Itinerante (a newer edition of the famous Carro di Tespi). His productions have included many of the famous authors and playwrights of the 20th century, with repeated returns to the classics of Shakespeare, Dostoyevsky and the Greek tragicians. He also founded a theatre school in Florence (BottegaTeatrale di Firenze), which educated many of the more talented actors of the current generation of Italian thespians.[6]In cinema, he worked frequently both in Italy and abroad. He met and fell in love with American actress Shelley Winters while she was touring Europe with fiancé Farley Granger. When Winters was forced to return to Hollywood to fulfill contractual obligations, he followed her there and married her. With his natural charisma and his fluency in English he scored a number of roles in Hollywood, including Rhapsody with Elizabeth Taylor and The Glass Wall before returning to Italy and the theatre. While rehearsing Hamlet, he began an affair with Anna Maria Ferrero, his 16-year-old Ophelia, which ended his marriage to Winters. He and Winters were forced to work together on Mambo just as their marriage was unraveling, providing fodder for tabloids all over the world. He later voiced Mufasa in the Italian version of The Lion King.Silvana Mangano (Italian pronunciation: [silˈvana ˈmaŋɡano]; 21 April 1930[1] – 16 December 1989[2]) was an Italian actress.Raised in poverty during World War II, Mangano trained as a dancer and worked as a model before winning a "Miss Rome" beauty pageant in 1946.[2] This led to work in films; she achieved a notable success in Bitter Rice (1949) and continued working in films for almost four more decades.Born in Rome to an Italian father and an English mother (Ivy Webb from Croydon), Mangano lived in poverty caused by the Second World War. Trained for seven years as a dancer, she was supporting herself as a model.In 1946, at age 16, Mangano won the "Miss Rome" beauty pageant and through this, she obtained a role in a Mario Costa film. One year later, she became a contestant in the Miss Italia contest. Potential actress Lucia Bosé became "The Queen", among Mangano and several other future stars of Italian cinema such as Gina Lollobrigida, Eleonora Rossi Drago and Gianna Maria Canale.Film careerMangano's earliest connection with filmmaking occurred through her romantic relationship with actor Marcello Mastroianni. This led her to a film contract, though it would take some time for Mangano to ascend to international stardom with her performance in Bitter Rice (Riso Amaro, Giuseppe De Santis, 1949). Thereafter, she signed a contract with Lux Film, in 1949, and later married Dino De Laurentiis, who was on the verge of becoming a known producer.[1]Though she never scaled the heights of her contemporaries Sophia Loren and Gina Lollobrigida, Mangano remained a favorite star between the 1950s and 1970s, appearing in Anna (Alberto Lattuada, 1951), The Gold of Naples (L'oro di Napoli, Vittorio De Sica, 1954), Mambo (Robert Rossen, 1955), Theorem (Teorema, Pier Paolo Pasolini, 1968), Death in Venice (Morte a Venezia, Luchino Visconti, 1971), and The Scientific Cardplayer (1972).The Bosnian singer Silvana Armenulić took her stage name from Mangano.Personal lifeMarried to film producer Dino De Laurentiis from 1949, the couple had four children: Veronica, Raffaella, Francesca, and Federico.[2] Veronica's daughter Giada DeLaurentiis is host of Everyday Italian and Giada at Home on the Food Network. Raffaella coproduced with her father on Mangano's penultimate film, Dune (David Lynch, 1984). Federico died in an airplane crash in 1981 in Alaska.[2] De Laurentiis and Mangano separated in 1983, and Mangano began divorce proceedings in 1988.[3]Following surgery on 4 December 1989 that left her in a coma, Mangano died of lung cancer in Madrid, Spain, during the late night/early morning hours between 15 and 16 December 1989.[1]Shelley Winters (August 18, 1920 – January 14, 2006) was an American actress who appeared in dozens of films, as well as on stage and television; her career spanned over 50 years until her death in 2006. Winters won Academy Awards for The Diary of Anne Frank and A Patch of Blue, and received nominations for A Place in the Sun (Best Actress) and The Poseidon Adventure (Best Supporting Actress). She also appeared in such films as The Big Knife, A Double Life, Lolita, The Night of the Hunter and Alfie.Winters was born Shirley Schrift in St. Louis, Missouri, the daughter of Rose (née Winter), a singer with The Muny, and Jonas Schrift, a designer of men's clothing.[1] Her parents were Jewish; her father emigrated from Austria, and her mother had been born in St. Louis to Austrian immigrants.[2] Her parents were third cousins.[2] Her family moved to Brooklyn, New York when she was three years old. Her sister Blanche Schrift later married George Boroff, who ran The Circle Theatre (now named El Centro Theatre) in Los Angeles. Winters studied at The New School in New York City.CareerAs the New York Times obituary noted, "A major movie presence for more than five decades, Shelley Winters turned herself into a widely-respected actress who won two Oscars." Winters originally broke into Hollywood as "the Blonde Bombshell", but quickly tired of the role's limitations. She washed off her makeup and played against type to set up Elizabeth Taylor's beauty in A Place in the Sun, still a landmark American film. As the Associated Press reported, the general public was unaware of how serious a craftswoman Winters was. "Although she was in demand as a character actress, Winters continued to study her craft. She attended Charles Laughton's Shakespeare classes and worked at the Actors Studio, both as student and teacher." She studied in the Hollywood Studio Club, and in the late 1940s she shared an apartment with another newcomer, Marilyn Monroe.Her first movie was What a Woman! (1943). Working in films (in mostly bit roles) through the 1940s, Winters first achieved stardom with her breakout performance as the victim of insane actor Ronald Colman in George Cukor's A Double Life, in 1947. She quickly ascended in Hollywood with leading roles in The Great Gatsby (1949) with Alan Ladd and Winchester 73 (1950), opposite James Stewart. But it was her performance in A Place in the Sun (1951), a departure from the sexpot image that her studio, Universal Pictures, was building up for her at the time, that first brought Winters her acclaim, earning a nomination for the Academy Award for Best Actress.Throughout the 1950s, Winters continued in films, including Meet Danny Wilson (1952) as Frank Sinatra's leading lady, most notably in Charles Laughton's 1955 Night of the Hunter, with Robert Mitchum and Lillian Gish, and the less successful I Am A Camera starring opposite Julie Harris and Laurence Harvey. She also returned to the stage on various occasions during this time, including a Broadway run in A Hatful of Rain, in 1955–1956, opposite future husband Anthony Franciosa. She won an Oscar for Best Supporting Actress for The Diary of Anne Frank in 1960, and another award, in the same category, for A Patch of Blue in 1966. She donated her Oscar for The Diary of Anne Frank to the Anne Frank House in Amsterdam.[3]Notable later roles included her lauded performance as the man-hungry Charlotte Haze in Stanley Kubrick's Lolita; starring opposite Michael Caine in Alfie; and as the fading, alcoholic former starlet Fay Estabrook in Harper (both 1966); in The Poseidon Adventure (1972) as the ill-fated Belle Rosen (for which she received her final Oscar nomination); and in Next Stop, Greenwich Village (1976). She also returned to the stage during the 1960s and 1970s, most notably in Tennessee Williams' Night of the Iguana. She appeared in such cult films as 1968's Wild in the Streets and 1971's Whoever Slew Auntie Roo?.As the Associated Press reported, "During her 50 years as a widely known personality, Winters was rarely out of the news. Her stormy marriages, her romances with famous stars, her forays into politics and feminist causes kept her name before the public. She delighted in giving provocative interviews and seemed to have an opinion on everything." That led to a second career as a writer. Though not an overwhelming beauty, her acting, wit, and "chutzpah" gave her a love life to rival Monroe's. In late life, she recalled her conquests in her autobiographies. She wrote of a yearly rendezvous she kept with William Holden, as well as her affairs with Sean Connery, Burt Lancaster, Errol Flynn and Marlon Brando.[4]Winters gained significant weight later in life, but lost much of it for (or before) an appearance at the 1998 Academy Awards telecast, which featured a tribute to Oscar winners past and present. She appeared alongside a panoply of former winners, including Gregory Peck, Claire Trevor, Jennifer Jones and Luise Rainer.Audiences born in the 1980s knew her primarily for the autobiographies and for her television work, in which she played a humorous parody of her public persona. In a recurring role in the 1990s, Winters played the title character's grandmother on the ABC sitcom Roseanne. Her final film roles were supporting ones: she played a restaurant owner and mother of an overweight cook in Heavy (1995), with Liv Tyler and Debbie Harry; as an aristocrat in The Portrait of a Lady (1996), starring Nicole Kidman and John Malkovich; and as an embittered nursing home administrator in 1999's Gideon.[citation needed]The 1940s and early ’50sRossen directed and stage-managed in the theatre for several years before breaking into Hollywood as a screenwriter in 1936. He quickly set up shop at Warner Brothers, where he wrote (or cowrote) some of the studio’s best films of the 1930s, including Marked Woman (1937), They Won’t Forget (1937), Dust Be My Destiny (1939), and The Roaring Twenties (1939). Rossen worked on the screenplays for The Sea Wolf (1941), Out of the Fog (1941), and Edge of Darkness (1943) before leaving the studio to write the World War II classic A Walk in the Sun (1945). He later penned The Strange Love of Martha Ivers (1946), which became a noteworthy example of film noir, and he contributed (uncredited) to the screenplay of John Huston’s The Treasure of the Sierra Madre (1948).Rossen’s first two directorial efforts were the competent film noir Johnny O’Clock, which he also wrote, and the boxing classic Body and Soul (both 1947). The latter movie featured John Garfield in arguably his finest performance, for which he received his only Academy Award nomination. In addition, James Wong Howe’s trailblazing cinematography and a potent script by Abraham Polonsky provided Rossen with unusually strong support. Rossen ascended to the top rank of Hollywood directors with All the King’s Men (1949), which he also produced and scripted, adapting the Pulitzer Prize-winning novel by Robert Penn Warren. It was an enormous critical and commercial success, winning Academy Awards for best picture, best actor (Broderick Crawford), and best supporting actress (Mercedes McCambridge); Rossen was nominated for best direction and best screenplay (losing on both counts to Joseph Mankiewicz). The Brave Bulls (1951) was Rossen’s peculiar choice to follow such a triumph. Shot in Mexico, its story about a matador had limited commercial appeal, particularly with the no-star cast that Rossen (who also produced) assembled.Rossen had little time to concern himself with that film’s prospects, however. In 1951 he was called before a session of the House Un-American Activities Committee after others had testified that he had been a member of the Communist Party. Although he had joined the party in the 1930s, Rossen had broken with it about 1947. At his appearance, Rossen exercised his Fifth Amendment rights, whereupon he was blacklisted. However, during a special closed session in 1953, he recanted and named names. He was subsequently removed from the blacklist.After the blacklistAlthough free to work again, Rossen struggled to revive his career; his initial post-blacklist films were largely unsuccessful. In 1954 he made the melodrama Mambo, which was shot in Venice and starred Shelley Winters, Vittorio Gassman, and Silvana Mangano. Alexander the Great (1956), with a blond Richard Burton, was a handsomely mounted account of Alexander’s remarkable conquests, but Island in the Sun (1957) marked the first time in many years that Rossen neither produced nor scripted one of his own films, and it suffered from his absence. The 1959 historical drama They Came to Cordura set Gary Cooper and Rita Hayworth during the days of Pancho Villa in Mexico; although a solid production, it was a disappointment at the box office.Based on his initial post-blacklist work, it appeared that Rossen would never regain his former stature, but he did—in 1961, when The Hustler was released. Based on Walter Tevis’s novel about pool hustlers, the film was produced and cowritten (with Sidney Carroll) by Rossen, and it earned him his first Academy Award nomination for directing since 1949. One of the year’s best films, it contains what may be the finest work of Paul Newman’s career (superior even to his Oscar-winning performance in Martin Scorsese’s 1986 sequel, The Color of Money).The success of The Hustler might have signaled the start of a whole new career for Rossen, one in which he could again work regularly in Hollywood, but he made only one more movie, Lilith (1964), shot in England. It was a mixed success. Warren Beatty played a therapist-in-training at a Maryland asylum who falls in love with a mentally ill patient (Jean Seberg), only to lose his own hold on reality. Although the film did poorly at the box office, it was a work to take seriously and indicated that Rossen had more to give. However, after struggling with various illnesses, he died in 1966.Robert Rossen , (born March 16, 1908, New York, New York, U.S.—died February 18, 1966, New York City), American writer and director whose career—although highlighted by a number of notable films, especially All the King’s Men (1949) and The Hustler (1961)—was damaged after he was blacklisted for initially refusing to testify (1951) before the House Un-American Activities Committee about alleged communist involvement.    ebay2603

  • Condition: Used
  • Condition: The condition is very good . Folded once . GIANT size around 28" x 38" ( Not accurate ) . Printed in red and blue on white paper . Made as issued from two paper sheets glued together by the cinema hall. ( Pls look at scan for accurate AS IS images )
  • Industry: Movies
  • Movie: ITALIAN film "MAMBO"
  • ITALIAN film "MAMBO": SILVANA MANGANO , VITTORIO GASSMAN , SHELLEY WINTERS
  • Year: 1950-59
  • Size: size around 28" x 38" ( Not accurate )
  • Object Type: Poster
  • Original/Reproduction: Original
  • Country/Region of Manufacture: Israel

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