[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"tmdb:person\u002F15136:{\"language\":\"tr-TR\",\"append_to_response\":\"combined_credits,images\"}":3},{"adult":4,"also_known_as":5,"biography":7,"birthday":8,"deathday":9,"gender":10,"homepage":11,"id":12,"imdb_id":13,"known_for_department":14,"name":15,"place_of_birth":16,"popularity":17,"profile_path":18,"combined_credits":19,"images":368},false,[6],"Elvira Morelli","​From Wikipedia, the free encyclopedia\n\nRina Morelli (6 December 1908 – 17 July 1976) was an Italian film actress. She appeared in 34 films between 1939 and 1976.\n\nShe was born in Naples, Italy and died in Rome, Italy.\n\nDescription above from the Wikipedia article Rina Morelli, licensed under CC-BY-SA, full list of contributors on Wikipedia.","1908-12-06","1976-07-17",1,null,15136,"nm0603761","Acting","Rina Morelli","Naples, Campania, Italy",1.0289,"\u002FkdP3Wgz98JSic8PmR47AmP9CjU2.jpg",{"cast":20,"crew":367},[21,39,54,66,82,97,110,123,135,146,156,166,176,187,196,204,215,224,239,250,260,271,282,292,302,312,322,333,346,357],{"adult":4,"backdrop_path":22,"genre_ids":23,"id":25,"title":26,"original_language":27,"original_title":28,"overview":29,"popularity":30,"poster_path":31,"release_date":32,"softcore":4,"video":4,"vote_average":33,"vote_count":34,"character":35,"credit_id":36,"order":37,"media_type":38},"\u002Fmyikoqu8Z2gtE7TaBgk9r6fB9MF.jpg",[24],18,1040,"Leopar","it","Il gattopardo","Filmde, 1860’ların İtalyası’nın hızla değişen toplumsal yapısına uyum sağlamaya çalışan yaşlı bir prensi canlandıran Burt Lancaster, statüsünü ve yaşam tarzını sağlama alma çabasıyla yeğeni Tancredi’nin (Alain Delon) zengin bir tüccarın kızı olan Angela’yla (Claudia Cardinale) evliliğini ayarlar; ve filmin final bölümünü oluşturan neredeyse bir saate yakın balo sahnesi boyunca, hem ait olduğu toplumsal sınıf hem de kendi geçmişiyle bugünü üzerine derin düşüncelere dalar. Birey ve toplum arasındaki etkileşimi büyüleyici ve görkemli bir dille anlatan böyle bir filmi, ancak Visconti gibi aristokrat kökenli bir Marksist yönetebilirdi. (Lancaster, rolünü Visconti’nin karakterinden yola çıkarak canlandırdığını söylemiştir). Aristokratların artık gücün yeni zenginlerin eline geçtiğini kabullendikleri balo sahnesi, haklı olarak sinema tarihinin en ustaca çekilmiş sahnelerinden biri olarak kabul edilir.",8.8245,"\u002FoWOxb6FhkVXaUTt5pO2CQ6crvig.jpg","1963-03-27",7.722,987,"Princess Maria Stella Corbera of Salina","52fe42e5c3a36847f802b1c3",4,"movie",{"adult":4,"backdrop_path":40,"genre_ids":41,"id":44,"title":45,"original_language":27,"original_title":45,"overview":46,"popularity":47,"poster_path":48,"release_date":49,"softcore":4,"video":4,"vote_average":50,"vote_count":51,"character":52,"credit_id":53,"order":37,"media_type":38},"\u002FdPNbXMEIbMxZU5A4psQ00rZMiXZ.jpg",[42,43],12,14,68058,"La corona di ferro","",2.7717,"\u002Fe4uEFgeex8diBvg5tSgd1wfZFX7.jpg","1941-09-07",5.7,21,"The Prophetess","63d1316fcb71b8007c1b2692",{"adult":4,"backdrop_path":55,"genre_ids":56,"id":58,"title":59,"original_language":27,"original_title":59,"overview":46,"popularity":60,"poster_path":61,"release_date":62,"softcore":4,"video":4,"vote_average":63,"vote_count":43,"character":64,"credit_id":65,"order":24,"media_type":38},"\u002FxsKcM0pK6ojVPnHAliB5JUs6QpJ.jpg",[57],35,65840,"Altri tempi - Zibaldone n. 1",2.1076,"\u002F3Oht3QXRo4hmedxBJBx01CC95rs.jpg","1952-09-28",5.2,"la madre di Guido","63c93d22abdec000e2143df3",{"adult":4,"backdrop_path":67,"genre_ids":68,"id":70,"title":71,"original_language":27,"original_title":72,"overview":73,"popularity":74,"poster_path":75,"release_date":76,"softcore":4,"video":4,"vote_average":77,"vote_count":78,"character":79,"credit_id":80,"order":81,"media_type":38},"\u002Fj1R4wGpgfgY219Z7cDDZQJOM6TI.jpg",[24,69],10749,4286,"Masum","L'innocente","On dokuzuncu yüzyılın sonunda geçen film, karısı ile sevgilisi arasında kalan soylu bir erkeğin çaresizliğini konu ediyor. Erkek, karısının bir başkasından olan çocuğunu öldürdükten sonra canına kıyar. Film, sinema diliyle, Visconti estetiğinin son örneği olmasıyla ilgi çeker. Ama yönetmen filmde kişilerin toplumsal konumlarına değil, bireysel dünyalarına ilgi duyar.",4.2774,"\u002F1FJpP0DlksLwnnHa6yIz8ivnJSa.jpg","1976-05-18",6.9,131,"Tullio's Mother","52fe43b8c3a36847f806a89d",2,{"adult":4,"backdrop_path":83,"genre_ids":84,"id":86,"title":87,"original_language":27,"original_title":88,"overview":89,"popularity":90,"poster_path":91,"release_date":92,"softcore":4,"video":4,"vote_average":93,"vote_count":94,"character":95,"credit_id":96,"order":37,"media_type":38},"\u002Fq2ve97XH53hEUaWEUhD9AQcnn1A.jpg",[69,24,85],10752,43195,"Günahkar Gönüller","Senso","\"Günahkâr Gönüller\", 1866 yılında Avusturya işgalinin son günlerinde Venedik'te işgalcilere karşı tepkilerin dorukta olduğu bir zamanda, direnişin başındaki Kont Ussoni'nin evli yeğeni Kontes Livia Serpieri'nin Avusturyalı Teğmen Franz Mahler'le yaşadığı yasak aşkı anlatır. Visconti romandan farklı olarak filminde bu aşkı biraz daha geri plana iterek savaşı ve direnişi öne çıkarmıştır. Ayrıca Visconti teğmenin romandaki Remigio Ruz olan adını filmde büyük besteci Gustav Mahler'e olan hayranlığından dolayı Franz Mahler yapmıştır.  Çöküşü ve çürüyüşü yücelten, bunu yaparken de zerafetle ustaca harmanlayan bu destansı film başta İtalya olmak üzere birçok ülkede sansüre takılmıştı. Film 1968'de ABD'de kesilerek gösterilebildi. \"The Wanton Contessa\" adlı bu İngilizce versiyonun bazı diyalogları Tennessee Williams ve Paul Bowles tarafından yeniden yazılmıştır.",3.8762,"\u002FqLwENVUnmb6ULiUKAh6dzDTwxUI.jpg","1954-03-25",7.2,259,"Laura, la Governante","52fe4633c3a36847f80f2485",{"adult":4,"backdrop_path":98,"genre_ids":99,"id":100,"title":101,"original_language":27,"original_title":101,"overview":46,"popularity":102,"poster_path":103,"release_date":104,"softcore":4,"video":4,"vote_average":105,"vote_count":106,"character":107,"credit_id":108,"order":109,"media_type":38},"\u002F203bXvNwwDajPvYEk9bax80o5RO.jpg",[24],76157,"Il bell'Antonio",3.2691,"\u002FqdD8zS1koGIw80AK334cs7alAps.jpg","1960-03-04",7.1,111,"Rosaria 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şöyle tanımlar: “Po’nun çocukları, her şeye rağmen, Po’dan kurtulamadılar. Mücadele ettiler, acı çektiler, daha da mücadele edecekler, acı çekecekler. Oysa, hiç kuşkusuz, acının itici karakterini, mücadeleye iten yönünü kaldırıp, onu olayların doğal düzenine sokabilirler.” John Berger, Antonioni'nin bu ilk filmindeki çerçeveleme tarzının, yönetmenin sonraki filmlerindeki stilinin habercisi olduğunu öne sürer: \"Sanki ilgisi, her zaman için olayın arkasına yöneliktir. Kahraman hiçbir zaman merkezde değildir; çünkü merkez ne olduğunu tam anlayamadığımız, hatları belirsiz bir hedeftir.\"",1.4855,"\u002F7kEz16wQQtyRnf4vhEfgCRc7tKO.jpg","1947-09-01",51,"Narrator (voice) (uncredited)","666935bdf4f2ce29e7fd17c8",0,{"adult":4,"backdrop_path":240,"genre_ids":241,"id":242,"title":243,"original_language":27,"original_title":243,"overview":46,"popularity":244,"poster_path":245,"release_date":246,"softcore":4,"video":4,"vote_average":93,"vote_count":247,"character":248,"credit_id":249,"order":184,"media_type":38},"\u002FfAchkypcrHG9ng58NsJGgM2FdCJ.jpg",[69,57],56260,"Totò, Fabrizi e i giovani d'oggi",1.9992,"\u002Fk7jKYUY6yxkdDmp9MnQRD0kcdac.jpg","1960-08-18",75,"Teresa 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