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Known For

Pupi Avati is known for:

  • Salò, or the 120 Days of Sodom
    Four corrupted fascist libertines round up 9 teenage boys and girls and subject them to 120 days of sadistic physical, mental and sexual torture.
  • The House with Laughing Windows
    A young restorer is commissioned to save a fresco representing the suffering of St. Sebastiano, which was painted on the wall of a local church by a mysterious, long-dead artist.
  • The Friends at the Margherita Cafe
    Bologna, 1954. Taddeo, a young man of 18 whom everyone calls Kid, dreams of becoming one of the regulars of the mythical Margherita Café, located under the portico across from his family's home. Through a ploy, he manages to get work as the chauffeur for Al, the neighborhood's most glamorous and mysterious resident. Having been taken under Al's wing, Taddeo gets to witness the adventures of Bep, who is in love with Marcella the entraineuse; the trials and tribulations of Gian, an aspiring singer and the victim of a horrible practical joke; the crazy behavior of Manuelo, a small-time robber with a sex phobia; the meanness of Zanchi, inventor of the elastic necktie; and the bizarre manias of Sarti, a ballroom dancing champion who wears his tux day and night. And Taddeo's home life is no less out of the ordinary, considering his mother is being led on by the family physician while his grandfather has fallen head over heels for a well-built piano teacher.

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Biography

Pupi (Giuseppe) Avati was born in Bologna in 1938. After attending school and studying Political Science at the University of Florence, he started working at a frozen food company. At the same time, he developed a passion for jazz, becoming a proficient clarinetist. In the second half of the 1950s, he formed and played in the Doctor Dixie Jazz Band, of which Lucio Dalla was also a member.[3] Although he initially intended to be a professional musician, Avati felt he lacked the necessary talent. In the mid-1960s, he decided to dedicate himself to cinema after seeing Federico Fellini's 8½ and its portrait of the role of a director.[4] Avati's passion for music, as well as his love for his hometown, which was the setting of many of his films, were to become recurrent themes found in his productions.