IT IS TOO EASY, ALMOST OBLIGATORY,
TO THINK OF FILM WHEN ON THE SUBJECT OF PERFORMANCES.
To live cinema and the images that costumes conger up, together with the music,
clothing history and unforgettable images are the big attraction for Bruno Piattelli.
Cinema for Piattelli gives body to the ideas of a screenwriter and set decorator and the vision of the director by creating a synthesis of the input when defining aesthetic lines, at times using vibrant, joyful colors and at times soft blends.
Cinema is the harbinger of important social issue and ethics due to its intellectual force and is thus the true arbiter of good taste and aesthetics. Having frequented people in the business obviously gives one a head start when trying to create the invaluable and unique dream.
The list of easily identified and exciting names recount better than any comment Piattelli’s past, and present, ventures. The list includes directors of the caliber of De Sica, Visconti, Petri, Monicelli, Gellini, Houston, Bertolucci, Zeffirell and Scola. And then there are the costume designers and actors like: Coltellacci, Tosi, De Matteis and Mastroianni, Tognazzi, Segal, Caine, Orsini, Berger, Dunaway, Rooney, Belmondo, Fonda, Law, Manfredi, Nero, Redgrave, Clementi, Melato, Chiari and Caprioli. They are all protagonists in Piattelli’s history and for each of them he has, with passion and dedication, dressed the history of cinema.
The variations range from the futuristic track suits for Jane Fonda and Philip Law in “Barbarella” to the forty five different situations for Monicelli-Mastroianni in “Fu Mattia Pascal. Piattelli oversaw every feature and every detail for each and every character and occasion. His art aimed at highlighting the primary aspect of cinema – reaffirmation of the visual instead of the narration of images “because”, as he states citing Visconti, “the infinite capacity of our eyes when focused on microscopic details perceive exactly what the detail has to offer.”