Maria Carta
1 Film
Maria Carta
1 Included Film

Maria Carta (24 June 1934 – 22 September 1994) was a Sardinian folk music singer-songwriter. She also performed in film and theatre. In 1975 she wrote a book of poetry, Canto rituale (Ritual Song). Throughout her 25-year career she covered the richly diverse genres of traditional music of her native Sardinia (Cantu a chiterra, ninne nanne—children's lullabies, gosos, Gregorian chants, and more), often updating them with a modern and personal touch. She succeeded in bringing Sardinian folk music into wider popular awareness in demonstrations at a national level in Italy (like the Canzonissima in 1974) as well as internationally (especially in France and the United States). Maria Carta won the Miss Sardinia beauty contest in 1957 and later participated in the national Miss Italy competition. Around 1960, she moved to Rome where she met the screenwriter Salvatore Laurani whom she later married. She attended the Centro Nazionale di Studi di Musica Popolare, directed by Diego Carpitella, at the National Academy of Santa Cecilia and at the same time she pursued a musical and ethnographic research path with important productions and collaborations. In 1971, she made two albums: Sardegna canta and Paradiso in re, and in the meantime she attended the ethnomusicologist Gavino Gabriel. The same year RAI broadcast the television documentary Incontro con Maria Carta (photography by Franco Pinna and texts by Velia Magno), in which she sang and recited with Riccardo Cucciolla. In 1972, she played at the Teatro Argentina in Rome in the Medea by Franco Enriquez. The same year she met Amália Rodrigues, with whom she held a concert at the Teatro Sistina. In 1973, the two artists made a tour in Sardinia. In 1974, she participated in Canzonissima, interpreting the traditional Sardinian Ave Maria Deus ti salvet Maria. She reached the final and was ranked second in the group of folk music with the song Amore disisperadu. In 1975, she held an important concert at the Bolshoi Theatre in Moscow. In 1976, she served as Communal Councilwoman for the Italian Communist Party, in the city council of Rome and remained in office until 1981. In 1980, she participated in the Festival d'Avignon; in 1987 she performed in St. Patrick's Cathedral in New York City; and in 1988 in St. Mary's Cathedral in San Francisco. She caught the attention of such directors as Francis Ford Coppola – who gave her the first of two of her widely-seen film roles as the mother of Vito Corleone in The Godfather Part II (1974) – and Franco Zeffirelli, who cast her as Martha, the sister of Lazarus, in Jesus of Nazareth (1977). In 1985, she was awarded, as songwriter, the Targo Tenco for dialectal/regional music. In the last years of her life, Carta gave her time to the University of Bologna where she conducted a series of classes and advised student theses on which she had relevant personal, human experience and scholarly background. In 1991, the President of Italy, Francesco Cossiga, named her a "Commendatore della Repubblica" ("Knight of the Republic"), similar to the British CBE. Source: Article "Maria Carta" from Wikipedia in English, licensed under CC-BY-SA 3.0.
The Paramount 4K "restoration" is a desecration. It has completely revisionist color timing, harsh HDR, treatment of stock footage, bad encoding, selective DNR and grain management so bad that the entire screen frequently freezes up with only characters moving around in grain soup. It is so bad that the film's restorer Robert Harris publicly washed his hands of it saying essentially the 2007 restoration (with Willis and Coppola supervising) is how the film was intended and made. This is Paramount's modern version done their way. The new 1080p SDR Blu-rays in print are the crap 4K desecration master with the same problems still there just harder to spot and with crap encodes. Part II overall fares better than the first film but it has all the same problems. Randomly some shots are the worst in the trilogy looks mushy and manipulated to death.
The mono option is an unnecessarily processed version of the lossy mono from the 2008 Blu-ray. The 2008 Blu-ray of the 2007 Coppola Restoration while an imperfect outdated disc is LIGHT YEARS better than this 4K desecration. The only truly major issue is that it is very slightly redder than the 2007 finished master as seen on DCPs. The lossy mono on the 2008 Blu-ray is the best version of the original mix known to exist as it is better than the late 80's mastering for VHS and LaserDisc.
DFIC review of the hideous crap 4K Blu-rays: https://youtu.be/0uw6-Kcy_UA?si=ob1nDg0wTCvemjH0
The Paramount 4K "restoration" is a desecration. It has completely revisionist color timing, harsh HDR, treatment of stock footage, bad encoding, selective DNR and grain management so bad that the entire screen frequently freezes up with only characters moving around in grain soup. It is so bad that the film's restorer Robert Harris publicly washed his hands of it saying essentially the 2007 restoration (with Willis and Coppola supervising) is how the film was intended and made. This is Paramount's modern version done their way. The new 1080p SDR Blu-rays in print are the crap 4K desecration master with the same problems still there just harder to spot and with crap encodes. Part II overall fares better than the first film but it has all the same problems. Randomly some shots are the worst in the trilogy looks mushy and manipulated to death.
The mono option is an unnecessarily processed version of the lossy mono from the 2008 Blu-ray. The 2008 Blu-ray of the 2007 Coppola Restoration while an imperfect outdated disc is LIGHT YEARS better than this 4K desecration. The only truly major issue is that it is very slightly redder than the 2007 finished master as seen on DCPs. The lossy mono on the 2008 Blu-ray is the best version of the original mix known to exist as it is better than the late 80's mastering for VHS and LaserDisc.
DFIC review of the hideous crap 4K Blu-rays: https://youtu.be/0uw6-Kcy_UA?si=ob1nDg0wTCvemjH0
1 film
