#il monello

Il Monello is a newly opened Italian joint by some of the same folks behind Tuscany Steakhouse and Il Tinello. My wife and I came here with two other couples, so we got to try a lot of the menu! Take a look: http://www.johnnyprimesteaks.com/wp-content/uploads/2022/12/il-monello-1-with-music.mp4 Beautiful little bar in the entryway. I enjoyed their negroni. Starters: fried calamari, carpaccio,…

Beautiful portraits of Tina Aumont taken by Elisabetta Catalano in 1974.

Tina Aumont portrait I guess while she was filming Storia de Fratelli e de Cortelli (1973).

Beautiful portrait of Tina taken by Eva Sereny circa 1972.

Beautiful actress Tina Aumont pictured circa 1972, unknown further details.

Casanova strikes back again! (II/III)

- Tell us a little about "Casanova", Tina. Tina - Whose? Of the character, Donald Sutherland or Fellini? After all, come to think of it, they are both the same thing and three different things. - Let's start with the character-Casanova. Tina - Before shooting Fellini's film, I considered Giacomo Casanova as the prototype of man, of the "male", in the worst sense of the term. The guy who uses women as if they were recreational items, do you understand? A man without a soul, in short, self-centered, selfish, arid. - Then you changed your mind? Tina - Yes, I realized that, ultimately, Casanova had to love women sincerely. The trouble was ... he loved them all! Yes, he was eternally in love with the "woman" in the broader sense, and poured this feeling into every female he met. If I met a man like that, I would be sorry, but ... I really think I would try to return his love, even though I know he is a passenger. - Let's move on to Donald Sutherland, who will probably remain in the history of cinema as the Casanova for antimonimacy. Tina - Also on Donald I had to change my mind. I considered him an excellent actor, but terribly "Yankee", even if he is a Canadian. An American a bit 'superficial, in short ... And instead I discovered in him a very sensitive man, cultured, enchanting. He slipped into the character of Casanova as if it were a second skin for him. - And we come to Fellini ... Tina - What can one say, of the "Great Federico", which has not yet been said? It almost makes me angry to have to talk about it, because everyone has done it all along ... - They say, however, that Fellini treats the actors, and especially the actresses, like “buratti”, which tends to depersonalize them, just to serve. Tina - No, it's not absolutely true. Federico has an extreme respect for the actors. I can say that I have never felt so much "actress" as when I worked with him. It gives you the feeling of being indispensable, comes to ask for advice. Then, maybe, he will do his own thing, but in the meantime he makes you feel "important". - Let's talk now about your sentimental life. You have long been engaged to the painter Frédéric Pardo, who was then "blown" by a colleague, Dominique Sanda ... Tina - For the record, I had previously "blew" Frédéric to Dominique. So, "match" even ... for now ... - You were often accustomed to flirting with co-workers: Gassman, Walter Chiari, Massimo Ranieri ... Tina - Advertising maneuvers, nothing else. To launch a film, the system of inventing a flirt between the performers is old but it always seems to work. As a woman, it annoys me. But as an actress, as a professional, I have to play the game. The actors, however, are not my ideal types. - Really? Yet between you and Terence Stamp, years ago, there was something more than an advertising flirt. Tina - It's true. But I was very young then, and I was on my first film, so I did not know the cinema environment. I met Terence on the set of "Modesty Blaise", and ... I tried to love him. But he is a difficult type, edgy, full of complexes. I made a hole in the water, in short.