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Born in [[Casacalenda]], [[Campobasso]], at twelve Montuori moved to [[Milan]] to live with his uncle, a photographer and a painter; in Milan he attended the [[Polytechnic University of Milan|Polytechnic University]] and followed courses in painting at the [[Brera Academy]].<ref name=enc>Stefano Masi, ''Storie della luce: i film, la vita, le avventure, le idee di 200 operatori italiani'', L'Aquila 1983, pp. 153-56.</ref> He approached cinema in 1907 working in the production company "Comerio & C." and debuting as an operator in ''Dalla pietà all'amore'', a 1909 [[Luca Comerio]]'s documentary film about the [[1908 Messina earthquake]].<ref name=enc/> At the same time Montuori started working at the photo studio Ganzini, where he learned the basics in the field of the use of artificial lighting.<ref name=enc/> Starting from 1911 Montuori was among the first in Italy to test the application of these techniques in film, inventing a device based on rudimentary arc lamps, made of carbon bound with wire and connected to the electric current through resistors.<ref name=enc/><ref>Alberto Lorenzi, ''Milano, il nostro secolo: Letteratura, teatro, divertimenti e personaggi del '900 milanese'', Bramante, 1969, p. 87.</ref>
Born in [[Casacalenda]], [[Campobasso]], at twelve Montuori moved to [[Milan]] to live with his uncle, a photographer and a painter; in Milan he attended the [[Polytechnic University of Milan|Polytechnic University]] and followed courses in painting at the [[Brera Academy]].<ref name=enc>Stefano Masi, ''Storie della luce: i film, la vita, le avventure, le idee di 200 operatori italiani'', L'Aquila 1983, pp. 153-56.</ref> He approached cinema in 1907 working in the production company "Comerio & C." and debuting as an operator in ''Dalla pietà all'amore'', a 1909 [[Luca Comerio]]'s documentary film about the [[1908 Messina earthquake]].<ref name=enc/> At the same time Montuori started working at the photo studio Ganzini, where he learned the basics in the field of the use of artificial lighting.<ref name=enc/> Starting from 1911 Montuori was among the first in Italy to test the application of these techniques in film, inventing a device based on rudimentary arc lamps, made of carbon bound with wire and connected to the electric current through resistors.<ref name=enc/><ref>Alberto Lorenzi, ''Milano, il nostro secolo: Letteratura, teatro, divertimenti e personaggi del '900 milanese'', Bramante, 1969, p. 87.</ref>


After collaborating with the Italian leading directors from the silent era such as [[Carmine Gallone]] and [[Augusto Genina]], in 1925 he collaborated at the [[Fred Niblo]]'s blockbuster ''[[Ben-Hur (1925 film)|Ben-Hur]]'', and in 1929 he was the cinematographer of ''[[Sun (film)|Sole]]'', the directorial debut of [[Alessandro Blasetti]], with whom he establishing a professional relationship that lasted for eight films.<ref>{{cite book|last=Gianni Canova|title=Enciclopedia del cinema|publisher=Garzanti Libri, 2009|page=831}}</ref>
After collaborating with the Italian leading directors from the silent era such as [[Carmine Gallone]] and [[Augusto Genina]], in 1925 he collaborated at the [[Fred Niblo]]'s blockbuster ''[[Ben-Hur (1925 film)|Ben-Hur]]'', and in 1929 he was the cinematographer of ''[[Sun (film)|Sole]]'', the directorial debut of [[Alessandro Blasetti]], with whom he establishing a professional relationship that lasted for eight films.<ref>{{cite book|last=[[Gianni Canova]]|title=Enciclopedia del cinema|publisher=Garzanti Libri, 2009|page=831}}</ref>


After the war, Montuori "had a major role in the figurative culture of first neo-realism",<ref name=enc/> often collaborating with [[Luigi Zampa]] and winning a [[Nastro d'Argento|silver ribbon]] for best cinematography for his work in [[Vittorio De Sica]]'s ''[[Bicycle Thieves]]''.<ref name=premi>{{cite book|last=Enrico Lancia|title=I premi del cinema|publisher=Gremese Editore, 1998|page=228}}</ref> His son [[Mario Montuori|Mario]] was also a cinematographer.<ref name=enc/>
After the war, Montuori "had a major role in the figurative culture of first neo-realism",<ref name=enc/> often collaborating with [[Luigi Zampa]] and winning a [[Nastro d'Argento|silver ribbon]] for best cinematography for his work in [[Vittorio De Sica]]'s ''[[Bicycle Thieves]]''.<ref name=premi>{{cite book|last=Enrico Lancia|title=I premi del cinema|publisher=Gremese Editore, 1998|page=228}}</ref> His son [[Mario Montuori|Mario]] was also a cinematographer.<ref name=enc/>
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* ''[[The Blue Fleet]]'' (1932)
* ''[[The Blue Fleet]]'' (1932)
* ''[[Your Money or Your Life (1932 film)|Your Money or Your Life]]'' (1932)
* ''[[Your Money or Your Life (1932 film)|Your Money or Your Life]]'' (1932)
* ''[[The Missing Treaty]]'' (1933)
* ''[[Seconda B]]'' (1934)
* ''[[Seconda B]]'' (1934)
* ''[[The Last of the Bergeracs]]'' (1934)
* ''[[The Last of the Bergeracs]]'' (1934)
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* ''[[Frenzy (1939 film)|Frenzy]]'' (1939)
* ''[[Frenzy (1939 film)|Frenzy]]'' (1939)
* ''[[Goodbye Youth (1940 film)|Goodbye Youth]]'' (1940)
* ''[[Goodbye Youth (1940 film)|Goodbye Youth]]'' (1940)
* ''[[The Birth of Salome]]'' (1940)
* ''[[Love Trap (film)|Love Trap]]'' (1940)
* ''[[Pirates of Malaya]]'' (1941)
* ''[[Pirates of Malaya]]'' (1941)
* ''[[The Two Tigers (film)|The Two Tigers]]'' (1941)
* ''[[The Two Tigers (film)|The Two Tigers]]'' (1941)
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* ''[[Rome-Paris-Rome]]'' (1951)
* ''[[Rome-Paris-Rome]]'' (1951)
* ''[[Mamma Mia, What an Impression!]]'' (1951)
* ''[[Mamma Mia, What an Impression!]]'' (1951)
* ''[[Lieutenant Giorgio]]'' (1952)
* ''[[The Dream of Zorro]]'' (1952)
* ''[[The Dream of Zorro]]'' (1952)
* ''[[The Enemy (1952 film)|The Enemy]]'' (1952)
* ''[[The Enemy (1952 film)|The Enemy]]'' (1952)

Latest revision as of 19:59, 5 August 2024

Carlo Montuori
Born(1885-08-03)3 August 1885
Casacalenda, Campobasso
Died4 March 1968(1968-03-04) (aged 82)
Rome

Carlo Montuori (3 August 1885 - 4 March 1968) was an Italian cinematographer and cameraman.

Born in Casacalenda, Campobasso, at twelve Montuori moved to Milan to live with his uncle, a photographer and a painter; in Milan he attended the Polytechnic University and followed courses in painting at the Brera Academy.[1] He approached cinema in 1907 working in the production company "Comerio & C." and debuting as an operator in Dalla pietà all'amore, a 1909 Luca Comerio's documentary film about the 1908 Messina earthquake.[1] At the same time Montuori started working at the photo studio Ganzini, where he learned the basics in the field of the use of artificial lighting.[1] Starting from 1911 Montuori was among the first in Italy to test the application of these techniques in film, inventing a device based on rudimentary arc lamps, made of carbon bound with wire and connected to the electric current through resistors.[1][2]

After collaborating with the Italian leading directors from the silent era such as Carmine Gallone and Augusto Genina, in 1925 he collaborated at the Fred Niblo's blockbuster Ben-Hur, and in 1929 he was the cinematographer of Sole, the directorial debut of Alessandro Blasetti, with whom he establishing a professional relationship that lasted for eight films.[3]

After the war, Montuori "had a major role in the figurative culture of first neo-realism",[1] often collaborating with Luigi Zampa and winning a silver ribbon for best cinematography for his work in Vittorio De Sica's Bicycle Thieves.[4] His son Mario was also a cinematographer.[1]

Selected filmography

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References

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  1. ^ a b c d e f Stefano Masi, Storie della luce: i film, la vita, le avventure, le idee di 200 operatori italiani, L'Aquila 1983, pp. 153-56.
  2. ^ Alberto Lorenzi, Milano, il nostro secolo: Letteratura, teatro, divertimenti e personaggi del '900 milanese, Bramante, 1969, p. 87.
  3. ^ Gianni Canova. Enciclopedia del cinema. Garzanti Libri, 2009. p. 831.
  4. ^ Enrico Lancia. I premi del cinema. Gremese Editore, 1998. p. 228.
[edit]
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