{"id":23271,"date":"2012-07-20T14:25:08","date_gmt":"2012-07-20T12:25:08","guid":{"rendered":"http:\/\/www.rapportoconfidenziale.org\/?p=23271"},"modified":"2012-07-20T15:59:40","modified_gmt":"2012-07-20T13:59:40","slug":"baci-da-cinema-1951-1960","status":"publish","type":"post","link":"https:\/\/www.rapportoconfidenziale.org\/?p=23271","title":{"rendered":"Baci da cinema \/ 1951-1960"},"content":{"rendered":"<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23247\" title=\"Streetcar01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Streetcar011.jpg\" alt=\"\" width=\"620\" height=\"396\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Streetcar011.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Streetcar011-300x191.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>A Streetcar Named Desire (1951), Elia Kazan<br \/>\n<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23246\" title=\"The African Queen\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/The-African-Queen012.jpg\" alt=\"\" width=\"620\" height=\"463\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/The-African-Queen012.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/The-African-Queen012-300x224.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>The African Queen (1951), John Houston <\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23221\" title=\"Singin in the Rain01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Singin-in-the-Rain01.jpg\" alt=\"\" width=\"620\" height=\"341\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Singin-in-the-Rain01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Singin-in-the-Rain01-300x165.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Singin&#8217; in the Rain (1952), Stanley Donen, Gene Kelly<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23223\" title=\"From Here to Eternity01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/From-Here-to-Eternity011.jpg\" alt=\"\" width=\"620\" height=\"467\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/From-Here-to-Eternity011.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/From-Here-to-Eternity011-300x225.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>From Here to Eternity (1953), Fred Zinnemann<br \/>\n<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23225\" title=\"Roman Holiday01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Roman-Holiday01.jpg\" alt=\"\" width=\"620\" height=\"465\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Roman-Holiday01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Roman-Holiday01-300x225.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Roman Holiday (1953), William Wyler<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23224\" title=\"Pickup on South Street01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Pickup-on-South-Street01.jpg\" alt=\"\" width=\"620\" height=\"464\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Pickup-on-South-Street01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Pickup-on-South-Street01-300x224.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Pickup on South Street (1954), Samuel Fuller<br \/>\n<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23226\" title=\"Rear Window01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Rear-Window01.jpg\" alt=\"\" width=\"620\" height=\"468\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Rear-Window01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Rear-Window01-300x226.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Rear Window (1954), Alfred Hitchcock<br \/>\n<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23227\" title=\"Sabrina01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Sabrina01.jpg\" alt=\"\" width=\"620\" height=\"475\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Sabrina01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Sabrina01-300x229.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Sabrina (1954), Billy Wilder<br \/>\n<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23228\" title=\"Guys and Dolls01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Guys-and-Dolls01.jpg\" alt=\"\" width=\"620\" height=\"418\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Guys-and-Dolls01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Guys-and-Dolls01-300x202.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Guys and Dolls (1955), Joseph L. Mankiewicz<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23229\" title=\"Kiss Me Deadly01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Kiss-Me-Deadly01.jpg\" alt=\"\" width=\"620\" height=\"374\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Kiss-Me-Deadly01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Kiss-Me-Deadly01-300x180.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Kiss Me Deadly (1955), Robert Aldrich<br \/>\n<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23231\" title=\"Lady and the Tramp01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Lady-and-the-Tramp011.jpg\" alt=\"\" width=\"620\" height=\"465\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Lady-and-the-Tramp011.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Lady-and-the-Tramp011-300x225.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Lady and the Tramp (1955), Clyde Geronimi, Wilfred Jackson, Hamilton Luske <\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23233\" title=\"Picnic01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Picnic01.jpg\" alt=\"\" width=\"620\" height=\"262\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Picnic01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Picnic01-300x126.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Picnic (1955), Joshua Logan<br \/>\n<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23234\" title=\"Rebel Without a Cause01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Rebel-Without-a-Cause01.jpg\" alt=\"\" width=\"620\" height=\"422\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Rebel-Without-a-Cause01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Rebel-Without-a-Cause01-300x204.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Rebel Without a Cause (1955), Nicholas Ray<br \/>\n<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23235\" title=\"Seven Year Itch01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Seven-Year-Itch011.jpg\" alt=\"\" width=\"620\" height=\"481\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Seven-Year-Itch011.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Seven-Year-Itch011-300x232.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>The Seven Year Itch (1955), Billy Wilder<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23236\" title=\"To Catch a Thief01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/To-Catch-a-Thief01.jpg\" alt=\"\" width=\"620\" height=\"493\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/To-Catch-a-Thief01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/To-Catch-a-Thief01-300x238.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>To catch a Thief (1955), Alfred Hitchcok<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23237\" title=\"Baby Doll01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Baby-Doll01.jpg\" alt=\"\" width=\"620\" height=\"465\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Baby-Doll01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Baby-Doll01-300x225.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Baby Doll (1956), Elia Kazan<br \/>\n<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23238\" title=\"Invasion of the Body Snatchers01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Invasion-of-the-Body-Snatchers01.jpg\" alt=\"\" width=\"620\" height=\"735\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Invasion-of-the-Body-Snatchers01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Invasion-of-the-Body-Snatchers01-253x300.jpg 253w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Invasion of the Body Snatchers (1956), Don Siegel<br \/>\n<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23240\" title=\"A Touch of Evil01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/A-Touch-of-Evil011.jpg\" alt=\"\" width=\"620\" height=\"349\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/A-Touch-of-Evil011.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/A-Touch-of-Evil011-300x168.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>A Touch of Evil (1958), Orson Welles<br \/>\n<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23241\" title=\"Vertigo01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Vertigo01.jpg\" alt=\"\" width=\"620\" height=\"760\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Vertigo01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Vertigo01-244x300.jpg 244w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Vertigo (1958), Alfred Hitchcock<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23243\" title=\"Pillow Talk01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Pillow-Talk011.jpg\" alt=\"\" width=\"620\" height=\"267\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Pillow-Talk011.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Pillow-Talk011-300x129.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Pillow Talk (1959), Micahel Gordon<br \/>\n<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23244\" title=\"Some Like It Hot01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Some-Like-It-Hot01.jpg\" alt=\"\" width=\"620\" height=\"782\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Some-Like-It-Hot01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/Some-Like-It-Hot01-237x300.jpg 237w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>Some Like It Hot (1959), Billy Wilder<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23254\" title=\"North by Northwest01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/North-By-Northwest01.jpg\" alt=\"\" width=\"620\" height=\"802\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/North-By-Northwest01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/North-By-Northwest01-231x300.jpg 231w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>North by Northwest (1959), Alfred Hitchcock<br \/>\n<\/span><\/p>\n<p style=\"text-align: center;\"><span style=\"font-family: Arial; font-size: 9pt; color: black;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-23253\" title=\"La dolce vita01\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/La-dolce-vita01.jpg\" alt=\"\" width=\"620\" height=\"463\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/La-dolce-vita01.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2012\/07\/La-dolce-vita01-300x224.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/>La dolce vita (1960), Federico Fellini<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A Streetcar Named Desire (1951), Elia Kazan The African Queen (1951), John Houston Singin&#8217; in the Rain (1952), Stanley Donen, Gene Kelly From Here to Eternity (1953), Fred Zinnemann Roman Holiday (1953), William Wyler Pickup on South Street (1954), Samuel Fuller Rear Window (1954), Alfred Hitchcock Sabrina (1954), Billy Wilder Guys and Dolls (1955), Joseph L. Mankiewicz Kiss Me Deadly<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[2137],"tags":[13662],"class_list":["post-23271","post","type-post","status-publish","format-standard","hentry","category-immagini","tag-httpwww-rapportoconfidenziale-orgwp-contentuploads201207baby-doll01-jpg"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Baci da cinema \/ 1951-1960 | Rapporto Confidenziale<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.rapportoconfidenziale.org\/?p=23271\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Baci da cinema \/ 1951-1960 | Rapporto Confidenziale\" \/>\n<meta property=\"og:description\" content=\"A Streetcar Named Desire (1951), Elia Kazan The African Queen (1951), John Houston Singin&#8217; in the Rain (1952), Stanley Donen, Gene Kelly From Here to Eternity (1953), Fred Zinnemann Roman Holiday (1953), William Wyler Pickup on South Street (1954), Samuel Fuller Rear Window (1954), Alfred Hitchcock Sabrina (1954), Billy Wilder Guys and Dolls (1955), Joseph L. 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