This work is perhaps De Sica's masterpiece and one of the most important works in Italian cinema.

In 1961 Sophia Loren won the Academy Award for Best Actress for her role as a woman who is raped in World War II, along with her adolescent daughter, in Vittorio De Sica's Two Women.

In May 2010, Loach told Tom Lamont in an interview about the three films that have influenced him most: Vittorio De Sica's Bicycle Thieves ( 1948 ), Milos Forman's Loves of a Blonde ( 1965 ) and Gillo Pontecorvo's Battle of Algiers ( 1966 ).

Ironically, for an artist considered one of the Italian cinema's greatest and most influential directors, De Sica's sole Academy Award nomination was for acting, when he received a Best Supporting Actor Oscar nod for playing Major Rinaldi in American director Charles Vidor's 1957 adaptation of Ernest Hemingway's A Farewell to Arms, a movie that was panned by critics and proved a box office flop.

De Sica's acting was considered the highlight of the film.

She was the first actress of the talkie era to win an Academy Award for a non-English-speaking performance, for her portrayal of Cesira in Vittorio De Sica's Two Women.

In 1961, she starred in Vittorio De Sica's Two Women, a stark, gritty story of a mother who is raped while trying to protect her daughter in war-torn Italy.

Among Loren's best-known films of this period are Samuel Bronston's epic production of El Cid ( 1961 ) with Charlton Heston, The Millionairess ( 1960 ) with Peter Sellers, It Started in Naples ( 1960 ) with Clark Gable, Vittorio De Sica's triptych Yesterday, Today, and Tomorrow ( 1963 ) with Marcello Mastroianni, Peter Ustinov's Lady L ( 1965 ) with Paul Newman, the 1966 classic Arabesque with Gregory Peck, and Charlie Chaplin's final film, A Countess from Hong Kong ( 1967 ) with Marlon Brando.

Vittorio De Sica's 1948 film Bicycle Thieves is also representative of the genre, with non-professional actors, and a story that details the hardships of working-class life after the war.

It also influenced several Indian film directors including Bimal Roy, who made Do Bigha Zameen ( 1955 ), after watching Vittorio De Sica's Bicycle Thieves ( 1948 ).

In addition to the threat of television, there was also increasing competition from foreign films, such as Vittorio De Sica's Bicycle Thieves ( 1948 ), the Swedish film Hon dansade en sommar ( English title: One Summer of Happiness ) ( 1951 ), and Ingmar Bergman's Sommaren med Monika ( Summer with Monika ) ( 1953 ).

( For De Sica's film, there was a censorship controversy when the MPAA demanded a scene where the lead characters talk to the prostitutes of a brothel be removed, regardless of the fact that there was no sexual or provocative activity.

Inspired by Italian neo-realistic cinema, Bimal Roy made Do Bigha Zameen after watching, Vittorio De Sica's Bicycle Thieves ( 1948 ).

Satyajit Ray cited Italian filmmaker Vittorio De Sica's Bicycle Thieves ( 1948 ) and French filmmaker Jean Renoir's The River ( 1951 ), which he assisted, as influences on his debut film Pather Panchali ( 1955 ).

Bimal Roy's Two Acres of Land ( 1953 ) was also influenced by De Sica's Bicycle Thieves and in turn paved the way for the Indian New Wave, which began around the same time as the French New Wave and the Japanese New Wave.

The screenplay is in English, by Neil Simon and De Sica's longtime collaborator Cesare Zavattini.

De Sica's interest in the project surprised Simon, who at first dismissed it as a way for the director to support his gambling habit.

Yet After The Fox does touch on themes found in De Sica's earlier work, namely disillusionment and dignity.

He won the Grand Prix du Festival at the Cannes Film Festival twice: in 1946 for Iris and the Lieutenant () ( part of an eleven-way tie ), and in 1951 for his film Miss Julie () ( an adaption of the August Strindberg's play which tied with Vittorio De Sica's Miracle in Milan ).

The film's final shot of Antonio and Bruno walking away from the camera into the distance is an homage to many Charlie Chaplin films, who was De Sica's favorite filmmaker.

He wrote, " Again the Italians have sent us a brilliant and devastating film in Vittorio De Sica's rueful drama of modern city life, The Bicycle Thief.

They bring a grave dignity to De Sica's unblinking view of post-war Italy.

It is impossible to imagine this story in any other form than De Sica's.

Perhaps the best example of this was in Vittorio De Sica's 1952 film Umberto D ...

It is truly odd and ironic that the most handsome and impressive film yet made from Miguel De Cervantes' `` Don Quixote '' is the brilliant Russian spectacle, done in wide screen and color, which opened yesterday at the Fifty-fifth Street and Sixty-eighth Street Playhouses.

In addition, Raimi needed $ 3 million to finish his movie, but Universal was not willing to give him the money and delayed its release because they were upset that De Laurentiis would not give them the rights to the Hannibal Lecter character so that they could film a sequel to Jonathan Demme's The Silence of the Lambs.

Paddy Chayefsky's Academy Award-winning Marty was the most notable examination of working class Bronx life was also explored by Chayefsky in his 1956 film The Catered Affair, and in the 1993 Robert De Niro / Chazz Palminteri film, A Bronx Tale, Spike Lee's 1999 movie Summer of Sam, centered in an Italian-American Bronx community, 1994's I Like It Like That that takes place in the predominately Puerto Rican neighborhood of the South Bronx, and Doughboys, the story of two Italian-American brothers in danger of losing their bakery thanks to one brother's gambling debts.

Brian Russell De Palma ( born September 11, 1940 ) is an American film director and writer.

Throughout the 1970s and early 1980s, De Palma worked repeatedly with actors Jennifer Salt, Amy Irving, Nancy Allen ( his wife from 1979 to 1983 ), Gary Sinise, John Lithgow, William Finley, Charles Durning, Gerrit Graham, cinematographers Stephen H. Burum and Vilmos Zsigmond ( see List of noted film director and cinematographer collaborations ), set designer Jack Fisk, and composers Bernard Herrmann, John Williams and Pino Donaggio.

The film, which was co-directed with Leach and producer Cynthia Munroe, had been shot in 1963 but remained unreleased until 1969, when De Palma's star had risen sufficiently within the Greenwich Village filmmaking scene.

In an interview with Gelmis from 1969, De Palma described the film as " very good and very successful.

The film records The Performance Group's performance of Euripides ’ The Bacchae, starring, amongst others, De Palma regular William Finley.

De Palma recalls that he was “ floored ” by this performance upon first sight, and in 1973 recounts how he " began to try and figure out a way to capture it on film.

focuses on De Niro's character, Jon Rubin, an essential carry-over from the previous film.

The film is ultimately significant insofar as it displays the first enunciation of De Palma's style in all its major traits – voyeurism, guilt, and a hyper-consciousness of the medium are all on full display, not just as hallmarks, but built into this formal, material apparatus itself.

De Palma describes the sequence as a constant invocation of Brechtian distanciation: “ First of all, I am interested in the medium of film itself, and I am constantly standing outside and making people aware that they are always watching a film.

It is precisely from this crudity that the film itself gains a credibility of “ realism .” In an interview with Michael Bliss, De Palma notes “ Black, Baby was rehearsed for almost three weeks ...

Making the film was a crushing experience for De Palma as Tommy Smothers didn't like a lot of De Palma's ideas.

After several small, studio and independent released films that included stand-outs Sisters, Phantom Of The Paradise, and Obsession, a small film based on a novel called Carrie was released directed by Brian De Palma.

Preproduction for the film had coincided with the casting process for George Lucas's Star Wars, and many of the actors cast in De Palma's film had been earmarked as contenders for Lucas's movie, and vice-versa.

The film was admired by Jean-Luc Godard, who featured a clip in his mammoth Histoire ( s ) du cinéma, and Pauline Kael who championed both The Fury and De Palma.

The film boasted a larger budget than Carrie, though the consensus view at the time was that De Palma was repeating himself, with diminishing returns.

As a film it retains De Palma's considerable visual flair, but points more toward his work in mainstream entertainments such as The Untouchables and Mission: Impossible, the thematic complex thrillers for which he is now better known.

Because of the subject matter and graphic violence of some of De Palma's films, such as Dressed to Kill, Scarface and Body Double, they are often at the center of controversy with the Motion Picture Association of America, film critics and the viewing public.

De Palma is often cited as a leading member of the New Hollywood generation of film directors, a distinct pedigree who either emerged from film schools or are overtly cine-literate.