Diary of Future Visions adjacency of the presence on the screen that, during the festival, must still happen, er), even while knowing that the visions we by Sergio Grmek Germani and the presence in the theater. We will be we will walk through the “program,” hop- long for but that are still unknown are infi- the first to admit (like Stendhal and Truffaut, ing that this diary will be read by real view- nite. Do yo think they can cure this fire? Why do lovers of actresses) that we would gladly ers, that the inalienable plurality of cinema they have to cure her? She wants to leave the welcome to the red carpet Nicole Kidman, (of desires and bodies) will reach the plu- Thursday, September 18. A place not yet mark of her desire on every living creature Sharon Stone, Uma Thurman, and Charlize rality of I mille occhi – of a thousand eyes. crossed by the festival (the Bay of Duino), in the world. If she was a Caesar she’d do it Theron, that we envy the super-fashionable The program may be seen by a concrete that brings to mind our first year by the sea, with a sword. If she were a poet she’d do it festival of Capri Hayden Panettiere and audience in its integrality, hopefully (and at Molo IV, averting then the indifference with words. But she is Lilith; she has to do it Lindsay Lohan. We are convinced that these certainly not terroristically) since we are a that dominates the pseudo-politics of cul- with her body. presences would be thrilled, as they would one-theater festival that plays around only ture to which we must be connected. The Lilith - Jean Seberg in the film written be with a Warholian icon or the visual ency- through offering several alternatives of film of Breda Beban (that we will speak and directed by Robert Rossen, clopedia of Sacha Guitry, to be beside the informational supplements in the video about by means of a “replica” in the theater) from the novel by J.R. Salamanca presences that come to our festival, next to room (where whatever has no alternative in returns to the location where it was filmed, We will not boast by ourselves (a program the images that appear on our screen. And our theater can be seen, as such, and what- Duino. Inspired by lines from Rilke’s Duino that is ever more rich, the many partners certainly not only the 15 minutes of fame ever does, belongs to a second life that we Elegies, like Lav Diaz’s Death in the Land of collaborating with us, a catalog that con- that a nihilist civilization allows each per- hope will be more than just virtual). Encantos. We will see it as a life perform- tains so much, now also in English, etc.) son, but rather with desire for Glory that This program is directed towards living ance, because we would like to see it since all of this is nothing but a script for a Audiberti elected as a destiny that neither eyes, even when they belong to those who expand beyond the cinema. film to be made. The festival will be real- deceives nor is mistaken. are no longer with us, from our cinephile ized in Trieste from the 19th (with a pre- What is there in cinema greater than its friends like Piero Tortolina, to those in the Friday, September 19. To begin a festival event on the 18th) to the 27th of September, power to not let us forget the bodies? We program to whom we are dedicating our one needs, quite literally, the right title. along with a few marginal notes (in Turin will present in this year’s program several of screenings (“Screening for...,” in which we They Won’t Forget, with its melancholic from October 1-3, and in Trieste again for the greatest beacons of this awareness, from hope that the significance of Mass and the warning to memory, is it. It is also the prop- the Wiseman survey, etc.). Even if the pro- Dreyer’s miraculous Ordet, a central locus lightness of a spectacular screening will be er chronological starting point of our jour- gram and its scheduling are the result of of embodied thought, to Rossen’s final mas- united), and to those whom we can only ney with Robert Rossen, the director whose choices that have determined each film and terpieces, The Hustler and Lilith, that this name: directors of true style, like Dino Risi name is in Roberto Rossellini; we would grouping, we would be fools not to have writer considers among the ten most beau- and Joseph Pevney, the presences of like to honor the hundredth anniversary of learned from cinema – the art of bodies – tiful films of all time, just as Genina’s Tre women (whom the preceding had also his birth, in opposition to the disagreeable that the important thing is to encounter storie proibite is, together with the crowns imagined), like Anicée Alvina, Yvonne De selectivity of celebrations. It is this film that other bodies, to reach their eyes that await of Rossellini and Cottafavi, the absolute Carlo, and also (last year) Deborah Kerr, contains the first Rossenian revolt against an image that can change their lives, like apex of Italian cinema, a film that crashes Hazel Court, Eva Dahlbeck, Cyd Charisse. the sacrifice of female bodies, with an with the crystallization desired by Stendhal into the fate of a civilization that sweeps Our contemporaries and the presences of extremely young Lana Turner, victim of a (De l’Amour). We will avoid the conven- away bodies and opposes them with the our desire, through a festival that rejects (serial?) murder whose true culprits remain tional mystification of false popularity, of a désordre of passion: for us it is a film that, totalitarian thought (cf. Vampyr) – accord- unpunished, sacrificing instead the lamb of public presumed to be settled and interest- centered on a catastrophe that sweeps away ing to which, on one hand, there should be the weak on behalf of a homicidal society. ed, naturally, only in what they already bodies, smashes against the weaknesses of the cinema of conventional “production” From Rossen we have chosen, among the know, impervious to all discovery. We will the present-day civilization, what we accept that would exist for today’s viewers, and on films for which he wrote the script, before not reproduce the fake rituals of fashion- without expression in the television news, the hand, retrospectives aimed at special- he started directing, the most pre-auteur, able events and mass media appeal, pre- but not only there – also in our culpable ized enthusiasts and scholars, those that closer even to the magic of the late Rossen cisely because we love so much that cine- neglect of the coexistence of here and else- belong to a “niche” or a “cult,” “fanatics” of than to the tiresome “conquest of the ma is the place of incarnation: for a festival where, in the banality of evil that leads us “candies” and other vacuities. There is none image” (to borrow an expression from desires to revive, through the presence of to constantly accept that, at this very of this in our festival, where everything Cottafavi) of his earlier films. We had to lay the living (and, ordetly, also those that are moment, from somewhere, an untiring appears in the present and nothing is retro- aside two other scripts from our program no more, since, as we have learned from death may be advancing, that the profit spective or presented in a coffin for the (that can be seen upon request, like every- Canetti, Audiberti, and Lang, “death is not a motive may stop the whispering wind. dead. A festival that believes in fidelity to all thing else made by the filmmaker, in the solution”) and the intensity born of the Thus we continue on to a diary of a reality who encounter it (be they cineast or view- video room), Dust Be My Destiny, that we

1 2 would have wanted to add not only for the Two small exhibitions will open, introduc- ing and the closing of the festival, since d’amore, which we thought of projecting marvelous James Wong Howe and the ing Bruno Pincherle and Vittorio Cottafavi, Rivette was among a group of critics who here, but in the end decided to reserve for epochal John Garfield, but also for the who probably never knew each other, even immediately fell in love with Lilith, and in a more appropriate occasion: it is a beauti- enchanting pre-Lilith marriage with the radi- if the two had both met Stendhal. Nor do this masterpiece that soon followed, several ful film to the extent that it is Camerinian, ant Priscilla Lane who returns in successive we know if our fellow Triestine had ever things (the same light, that writing on the and the origin of the source is actually quite Warner Brothers films: and also Edge of seen a film adaptation of Stendhal, which wall that articulates an unconscious) evoke immediate. Darkness, for its Northern European setting we will offer him in this festival. We know, for us Rossen’s supreme masterpiece. With As for Ordet, it is sufficient to refer to that unites Ibsen and the Resistance, however, that he wrote an essay on Alfonso the play within the film, L’Amour fou prel- Rohmer’s text within the catalog, a master- through the vulnerable Polish prostitute Corti, a scientist who studied both the reti- udes the journey that next year we would piece of criticism, also for his personal and Nancy Coleman, and through the esoteric na and the spiral canal of the ear. And that like to dedicate to Racine in cinema. avowed idiosyncrasy concerning the child- (therefore Rossenian) internationalism that Cottafavi dedicated his publishing house to birth scene. Which is a turning point against invites the Resistance fighters to be like the rogue Migliaresi, just like the bandit- Saturday, September 20. The video screen- the falsification of cinematic methods: we steel, in sound and meaning – the word poet Ferrante Palla whose name Pincherle ing of The Roaring Twenties is obligatory for hear the real sounds of childbirth of the repeated for it to be well understood – adapted as a pseudonym to defend himself anyone interested in Rossen: here and else- actress-protagonist, because, Dreyer said, to evoking the name of Stalin: in short, it is a from anti-Semitism (and like this penning a where (Gentleman Jim, Band of Angels) want to oppose death it is necessary to live film that offers itself as a body of evidence Stendhalian edition edited with Bruno Walsh, even when close in theme and ref- reality. We will only add that this film on the for the McCarthyist persecution of Rossen. Maffi, translator of Marx and for a long time erence, appears as incommensurable with word blends together magnificently with The title illustrates wonderfully the antiso- the director of the Bordiga’s journal). Rossen on account of his light and adven- other words in the program: those of cial and revolutionary potential of the clas- The pre-inaugural evening, with Stock turous adhesion to the image. And yet the Mankiewicz, Audiberti, and even Rossen... sic Warner Brothers. advertising, is described in a text within the film that follows in the cinema (A Child Is And that this is the first program of the For a second life in the video room, anoth- catalog. This is not a touch of trash (a term Born) contains not only a Warner return of transversal series Convergenze parallele er title-incipit: De l’Amour, even if we find that may only be used in between quotation cast, with the excellent Gladys George, but [Parallel Convergences], that deliberately this Aurel based on Stendhal via Saint- marks) added to the program, but rather the also from her very own lips, a signature of borrows the verbal invention of the great Laurent (preferable perhaps in his pure and commited wandering across the multiplicity the screenwriter Rossen, who makes her political cinephile, Aldo Moro. “vulgarized” form rather than in conjunction of cinema. Like Audiberti, we believe that sing “Melancholy Baby,” sung in the pre- With La Salamandre, we find again the with Stendhal) less convincing than his many things (like many women) deserve ceding film by Priscilla Lane. Interestingly great Bulle, whom Tanner in fact discov- other, still with Anna Karina, that we will our love. If the age of exclusive love in cin- enough, Walsh’s film became a cinema les- ered in L’Amour fou, and for this reason she see in the theater. ema was a vital period (the age of the great son for Rossen: he told Robert Parrish to be was chosen for the film instead of another In video, we can then follow the Rossen’s critics, especially the French, between the inspired by the film’s montage in order to great Rivettian, Juliet Berto, as Tanner journey with his un-credited script for ‘40s and the ‘60s), then today one may be put in working order the overly long film explains in his wonderful video-statement Seiler, Heart of the North, with his striking inclusive without suffering from eclecticism All the King’s Men. that we will see before the film. Tanner, anti-nihilist determination in the scene of The day ends with the unabridged long ver- And while for a second life we have in the who even if he has up to now not been the old man who takes revenge after the sion of L’Amour fou by Jacques Rivette video room the most recent television physically present, will return to our festival killing of a tree. (already as a critic one of the greatest of the movie version of Le Rouge et le Noir, with with another of his series centered around While in the cinema we have the first great), in the presence of Bulle Ogier: one worthy performances by Judith Godrèche women, the triptych with Myriam Mézières Baratier of the period that we are focusing of the most beloved presences in the histo- and Carole Bouquet, in the cinema we have that we presented in our first year, in her on this year, from the late ‘50s to the early ry of cinema (perhaps only with Natalie no choice but show A Child Is Born, which presence. ‘70s: Goha, a film with multiple versions Wood is a filmography so filled with mas- in turn demands a sequel in Ordet, since it Dragées au poivre is not only Baratier’s that will be projected this year using the terpieces, and each passes through her, ends on a wish for resurrection, with a provocation to the nouvelle vague and filmmaker’s personal print. With a young fully an actress and yet distinctly herself: childbirth that kills the mother – precisely cinéma direct, it is also one of the most man Omar Sharif, an extremely young truly Bulle toujours, not only in order to what Dreyer could not accept. There are enjoyable (and we attach great importance Claudia Cardinale who emerged from a recall Oliveira’s absent masterpiece that other things in Bacon’s film that affect us to this word) films of the ‘60s, with an contest as the “Most Beautiful Italian Girl in glosses Buñuel, the director who brought through Rossen, such as the character of the enchanting plurality of presences, including Tunisia,” and with the appearance of char- Bulle closer to cinema). We may say straight pre-lilith madwoman. We should point out the anthropologist-stripteaseuse Rita Renoir acter actors such as Lauro Gazzolo and away, moreover, that with L’Amour fou we that the film (or rather the text that inspired in a Bacchante scene that is sure to be Daniel Emilfork. are looking for a rhyme between the open- it) was remade by Camerini, Una storia engraved into your memory.

3 4 We will be able to present the only existing Beginning at 7:30 PM a marathon of female (together with Bourvil, De Funès, etc.) whose cinema moves across religious cul- copy of the film, thanks to the permission climaxes. Five segments directed by Breda upon whom it is worth lingering. The fea- tures, collecting desires but with the con- of the Italian co-production (praise to them, Beban, evoking Saint Teresa of Avila ture film is based on Audiberti and intro- viction that their responses will arrive more with further multiplication of presences, through orgasmic close-ups. duces us to the universe of one of the great- from the nature of cinema, the art of bod- among them the splendid Caprioli); it is the The diptych of Cottafavi, with women who est French writers, completely ignored and ies, than from transcendence. company of Tonino Cervi and connected to kill the male killers of love, is among the seldom translated in Italy. Also a great While in the video room one may integrate Piero Vivarelli, and for this reason we want- absolute pinnacles of Italian cinema. The writer on cinema, as one may gather from the para-Stendhalian texts of Brancati, in ed to add the pleasure of a contemporane- construction en abîme of the first film, with several articles that we have translated for the cinema we will encounter Ornella Volta, ous film directed by Vivarelli that had the the protagonist who refuses the fate of the our catalog. a fundamental figure connected to Trieste. same production. Butterfly, just like at the end the woman Regarding Tre storie proibite, it has already We are referring to her long and engrossing who avoids repetition refuses the fate of been said how highly we regard this film, autobiographical text, within which it is Sunday, September 21. The day begins with Karenina, and with Lianella Carell who both in the beginning of this text as well as hard to choose which of the lives she lived Bulle, and a tender documentary dedicated learns from Lidia Cirillo (who in the film in an essay included within the body of the left the most fertile mark (the mythology of to her. relives her own true story of being charged catalog that attempts to trace the various horror, the columnist of May 1968 and sin- As for the second life, there is a Stendhal with murder), returns in the second film threads contained in the program. It is ister plots in Italy, the Felliniesque, the improperly handled by Christian-Jaque (and with Carell in the same role of a rejected enough to add, as further confirmation of Satiean...), just as we admire the clarity in which was going to replace a literary adap- model who was Cirillo’s character in the the film’s exceptional nature, how it is able her choices of life, the rebellion against the tation by Aurenche, just as Autant-Lara’s first film. There is also music (Renzo to unite a body-center (the sublime totalitarian murder of the Rosenbergs, and later project will not be seen), but with an Rossellini and Tchaikovsky), words from Eleonora Rossi Drago, to whom we are so forth. With Ornella Volta, I mille occhi interesting cast however (seen also in the the Bible, as in Rossen and Dreyer, the cel- dedicating the screening) with a plurality of hopes to continue a long journey of dia- Italian version: in each version the foreign ebration of inexistentialists like in Steno’s presences, meeting at the location of a logue and cooperation. actors are dubbed with other voices). film that would be Dreyer. In short, the catastrophe and in the interwoven fictions Piège, in which she collaborated (distilling And in the cinema Baratier takes over, with greatness of Cottafavi, that only a blind man of the episodes: in the first, another pres- fantastic mythographies), is an excellent his pre-’68 Eden Miseria (which at the time would be permitted not to recognize. ence with a tactile voice, Lia Amanda Baratier from ‘68, where beside the was paired with Le Désordre à vingt ans, In the end, Aurel’s beautiful Lamiel from (whose mother is played by one of the first superbly fetishistic Bulle (here the more- though we know that both Baratier and his Stendhal via Saint-Laurent, with an emo- carnal divas of the ‘30s, Isa Pola); in the sec- than-actress Bulle finds playful and physical producer Dauman happily played around tional Anna Karina who encounters the fic- ond (dubbed by Rosetta Calavetta, the abandonment, like in Barbet Schroeder’s several times with the variable combina- tion of “and so, this is love? Is there nothing Italian voice of Marilyn) a brilliant and sen- Maîtresse, and even in a Salce film that must tions of short films or film segments) and more?” in other words of one of the places sual Antonella Lualdi, who stands out be recovered) we meet Bernadette Lafont, the post-’68 erotic film with the beautiful in literature that is already great cinema and among the key presences in this festival, another icon of the nouvelle vague who Nathalie Delon and Muriel Catala. We a great mirror to life. Still, we would like to given that we find her again in both of with Bulle lived a parallel fate of personal would have liked to combine Vous have seen realized the literary adaptation Autant-Lara’s Stendhal films. We will merely trauma that stole the life of their lovable intéressez-vous à la chose? with Cicero’s that Jean Aurenche wrote with Paul Gégauff add that the sacrifice of Eleonora Rossi actress-daughters, and our Jackie Raynal in Ultimo tango a Zagarol, since both parody in 1960 for Chabrol. Drago is among the most absolute traumas the role of actress, not to mention a story- Bertolucci: we already presented Cicero’s of cinema (but Geninian sacrifices, from telling Arrabal in the frame-story (the circu- film a few years ago, yet only limitations of Monday, September 22. In the morning we Louise Brooks to Ines Orsini and Marta lar Prologue of the film). space forced us to hold back here, although present on video a work that is quite well- Toren, were not welcomed by the direc- Les Vamps fantastiques summarizes, with it stood out as a fitting response to the known, but perhaps one of Dario Argento’s tion), as if in Griffith’s Intolerance, in which several holes (for example Ferronis’s Le recent manifestations of the most overrated most underrated films, with Asia Argento as a man condemned to death would not be baccanti), the female fantastic, interviewing Italian director and festival director. the lead actress: even if its connection to able to save himself: already in Griffith the the mythographer Volta, among others. Following an encounter with and on Stendhal is “arbitrary,” it seems right to Christian myth of election (in a film that The evening is the inaugural and central Baratier, we will screen his directorial present it within the context of this survey. begins with Christological sacrifice) is moment of our survey of Stendhal: in which debut, the short Désordre, several times re- Though it will be advisable not to miss the almost parodied; in the presumed man of the postponement of the “Italian Chronicles” edited (even this seems to be the second double Baratier program in the cinema, order, Genina, the myth is nullified. Only is inevitably an arbitrary act, but necessary version, “critiqué par Paul Guth,” replacing which is also a tribute to the great Jacques from here can begin the word of Dreyerian given the scale the program has taken, the earlier comment by Gabriel Pomerand). Dufilho, one of the French comedians resurrection, that is to say, of the director beginning “by chance” out of our desire to

5 6 insert it within the tribute to Pincherle, Rohmer (after Zucca). This film of unusual Dreyer. The habitual reading of Audiberti satin), together with all his anthropological whom the other great Stendhalian, length based on a story, a film much was one of the merits of Truffaut, the inven- “documentaries,” of which Le Désordre à Trompeo, called the “most passionate of all admired by Bazin and Breton, reveals the tor of criticism, just as the writer showed a vingt ans is, after all, a variant, a film that Stendhalians.” Naturally there were other Stendhalian source of Surrealism, and we considerable fidelity to Beniamino Joppolo, already this year, if we are lucky, we will be great Stendhalians, in Italy (Foscolo discovered that the director of photography a Sicilian comedy writer who was reinvent- able to present with the most recent re-edit- Benedetto) and in France (Martineau, is the great Schuftan, who collaborated with ed by Audiberti in translation, brought into ing by the director. Michel, and Del Litto), and they like the Rossellini and filmed Rossen’s two final contact with Rossellini and Godard. And then to bed, but only after the 2ème great writers returned to this great work masterpieces. In the video room we will screen a British- époque of Lucien Leuwen. (see the summary volume by Sciascia). The combination with The Barefoot Australian television version of Le Rouge et Among these scholars, Pincherle interests Contessa, a film with a remote Stendhalian le Noir, while in the cinema we will have a Wednesday, September 24. In the video us not only because he is from Trieste, but source, allows us to bring together the marathon of three films by Cottafavi, that room, two versions of Le Rouge et le Noir, also for his Rossellinian claim for the dilet- reviews evoking Stendhal by Bazin and the we hope will inaugurate more ample sur- the first an experimental television movie tante, of the “craft of man” applied to schol- rebellious son Truffaut (both are found in veys of the author (well introduced this (but Pierre Cardinal is not déraciné like arship. Beloved pediatrician, a politician the catalog). And concerning the incredibly year by a monographic issue of “Bianco e Cottafavi as a television director), with the with integrity (to use a Sankarian concept), beautiful film by Mankiewicz, we write pas- Nero” and a dossier from “Filmcritica,” to beautiful Micheline Presle and Marie the Stendhalian Pincherle places himself in sim (also in the text about Genina), and it is which I would refer the reader, also to find Laforet, and the second by Autant-Lara with profound agreement with Stendhal, the difficult to add anything essential in just a there texts that project onto Cottafavi much Gérard Philipe (to whom we dedicate a writer of passion (in love, politics, and aes- few words, other than that the barefoot of my own passion for cinema). It would be transverse tribute in our program), Danielle thetics). In cinema he perhaps did not find Cinderella Ava Gardner is, together with her a waste of time at this point to recall the stu- Darrieux and Antonella Lualdi. We are the author’s rage that both Rivette and role in Lewin’s Pandora, one of the won- pidity with which Venice received Fiamma expecting next year to track down a 35mm Rohmer dedicate to Balzac… or perhaps he ders of creation, worthy of the che non si spegne, rivaled only by Chiarini’s print of this beautiful film, within a first did, because Autant-Lara has to be discov- Mediterranean myths that she embodies. rejection of Lilith. At this point the diptych segment dedicated to Autant-Lara that we ered in his greatness, like Aurenche and The evening ends with the 1ère époque of on paternity and maternity, made up of this would love to pair with Leo McCarey’s Bost, and he chose Stendhal to be his one Lucien Leuwen by Autant-Lara, a rare work film and Nel gorgo del peccato is so above “genius of Catholicism.” This year’s exami- god. Stendhal teaches that love can pass that we are pleased to present in a video the average level – that we love too (up nation is thus only a symbol of our desire: through hatred, that the Truffautian deni- master made from the 16mm original. until the ‘70s) – of Italian cinema, that it we could not have left out, at least in video, gration of quality cinema, critically so fer- dazzles and it moves us. To see Maria Zef perhaps the most interesting film adaptation tile, had decidely chosen mistaken targets to Tuesday, September 23. In the morning we directly afterwards, the great film whose from Stendhal. Of which the behind-the- shoot at, or perhaps they were like the shot will try to learn from the greatness of mirror Friuli could not endure, would be scenes action is quite prominent, as Autant- fired by Julien Sorel at his lover. Indulging Audiberti, taking a look at the few audiovi- almost unbearable, even for us, were it not Lara much insisted, of Bazin responsible for ourselves, from the dilettantes unworthy of sual documents with his presence (we have for the extension across three films of so the production cuts. Pincherle to Stendhalian wandering, we already seen him in Baratier’s Le Désordre à radical a beauty. The screening will be ded- And so let’s go to the cinema to watch have discovered marvels among the vingt ans), and statements by people who icated to Siro Angeli, the Friulian writer who Shirley Clarke’s The Cool World, the first Stendhalian destinies of cinema: it is were close to him and loved him – among must absolutely be discovered, a decades- film (as producer) of Frederick Wiseman enough to consider that two masterpieces them, Baratier is among the most faithful. long friend and collaborator of Cottafavi. (that will therefore draw attention to the of fantastic cinema, Wiene’s Caligari and The radiant testimonies of Sophie Matti and La Ville Bidon is the second version, the survey in November in which I mille occhi Dreyer’s Vampyr, had Stendhalian origins, Françoise Vatel in Portrait d’Audiberti form only one that can be seen today, of a 1968 is pleased to participate, included within a the first in the viewing of one’s own funer- one of the most beautiful responses to the film by Baratier, La Décharge, that places tribute to Basaglia), based – the primary al, borrowed from San Francesco a Ripa, request of Audiberti, that one should deny itself immediately beyond the social reason for its inclusion in the program – on the second in the very name Caligari, which death, words that he directed towards fem- upheaval. Our discovery of Baratier will be a play by Rossen, a confirmation of how Carl Mayer (who also wrote the script for a inine looks; even if, as Claude Nougaro says interrupted here with this screening, a jour- our director was, in his final phase, beyond Vanina) had found in the letters of in the same television portrait, for him ney that began last year upon the brilliant Hollywood. Stendhal. In addition, another great “women were a key that was getting suggestion of Jackie Raynal and that will Regarding the survey of John Gianvito that Stendhalian, Michel Crouzet, revealed the jammed inside the lock.” And one may add hopefully continue next year with the redis- we will inaugurate with a program of his origins of Mina de Vanghel in Honoré more to this by comparing Audiberti’s covery of films that still elude us (Le Métier short films and those of contiguous direc- d’Urfé’s Astrée, recently rewritten by rewriting of Jeanne d’Arc with that of du danseur, L’Or du duc, L’Araignée du tors, chosen by him, we refer the reader to

7 8 texts in the catalog by Olaf Möller, who has title, already fascinating merely as a title, trocution of Lilith. It is easy to observe that also distant from a fondness towards show- curated the survey and is one of the most clearly takes after that of Bava, whom Luc Kazan, Polonsky, the sublime Boetticher of business, a Veneto film that was co-written free and discerning critics of our day (who Moullet had acutely brought closer, though Bullfighter and the Lady, and at times also by Piovene, a cult film with the songs of we are proud to have as a member of the his carte blanche, to Cottafavi’s Maria Zef: Wise (only Robson is undeniably lovable Bernardo Noreiga, the music of Rota and festival’s terrific artistic committee), by Jurij in short, it will be noted that some of our because of his vulnerability) are, as already Lavagnino, and the choreography of Meden, the first one to propose the idea titling are slips in the program (De l’Amour said for Walsh, more “transparent.” And that Katherine Dunham. A film that lives off of and write about it in his brilliant magazine migrated from Stendhal to Cottafavi, who as Ford’s political films are more decisive than the unscrupulousness of Italian cinema, Kino!, as well as by Federico Rossin. It is an editor published that treatise). It is a slip All the King’s Men (which John Wayne, the produced by Ponti and De Laurentiis, to the enough for us to add that the diversity of that this bizarre film by Bennati, containing producer of Boetticher’s great Mexican film, point that it becomes difficult to trace the the director’s films, as Möller suggests, rare images of the moment after Lumumba’s hated with all his might); while naturally film back to an auteur-director. And yet, if accompanies well the diversity of Dreyer’s assassination, with Kasavubu and Mobutu, Aldrich, Fuller, and Losey win on the field we are not mistaken, there is cameo (to be cinema (“to find a style for each film”), and then propagandized by an uncontrollably of turgid sickness, Preminger in orchestra- confirmed) by Rossen, playing one of that psychiatric setting of the magnificent propagandistic film by Roger Kwami tion. And so, is Rossen condemned to a Gassman’s colleagues at the casino who What Nobody Saw continues Shirley Clarke, Mambu Zinga (of which Marina Mottin has lesser destiny? It seems to us that in the informs him about Rennie’s hemophilia. seen just earlier. rediscovered materials that we will include directorial work of Rossen, a path was cho- There is a sense of the fatality, perhaps also It was necessary to postpone our tribute to next year in a retrospective), with the pres- sen towards the dazzling bursts that introduced by Piovene and Perilli, but cer- Matjaž Klopčič, but we wish to realize it ence of the Lilithian Jean Seberg, very dear explode in his two final masterpieces that, tainly congenial to Rossen. The curious indirectly at least. Clément’s Monsieur to us, and later militant of Black Power. We as much as we are aware of the superiority thing is that, while the Italian version is Ripois, which Audiberti suggested as a pro- would have also screened the actress in of Ford or Walsh or Dwan, we will not hold longer and more complete (the American logue to Autant-Lara’s Le Rouge et le Noir, Garrel’s Les Hautes solitudes, which unites back, not in exchange for any other work, version lacks, among other things, the most whose ending brings to mind that of her with Nico and Tina Aumont, that we from ranking it among the greatest, and for hilarious and politically incorrect musical Ophuls’ Le Plaisir, and a return to both in remembered last year. us indispensable, films. In this path towards number, with the “negro” Silvana the ending of Ljubljana je ljubljena, At the end of the evening, the 3ème époque dazzling explosions, the encounter of two Mangano), the true original version, with Klopčič’s last film, that we presented two of Lucien Leuwen. women in his debut film Johnny O’Clock, a the voices of Silvana, Gassman, Rennie, and years ago and that stirs us each time with film which is, by the way, extremely beau- Shelley Winters, is precisely that “interna- greater force as a free work about the tyran- Thursday, September 25. The informative tiful, like a bachelor clock machine, when tional” American version, the voices being nies of political history. Without forgetting video screening of the American version of they encounter in the pre-finale, one leav- dubbed in the Italian version by Lydia the brilliance of this Anglo-French film by Mambo by Rossen (while in Turin they will ing, the other arriving, to the man they both Simoneschi, Emilio Cigoli, Giulio Panicali, Clément (outside of a time that will lead to project the Italian version) leads us here to loved left dead, exchanging the glances of Dhia Cristiani, (and the presumed Rossen swinging London), we will use it to re- a flashback/flashforward of Rossen’s jour- strangers unaware of what unites them, it is by Carletto Romano). evoke Klopčič’s love-hate relationship with ney as a director, which in Turin one can an unforgettable trace. Similar to this is the In Rossen’s following three films (even with Slovenia (with the appearances of women become fully acquainted with. Born in a lightness of Lilli Palmer in Body and Soul, the director’s script in at least two of them, that turn it towards love). We may also critical moment in the history of blacklist- the fatality of All the King’s Men, the uni- and the other one self-produced) his direc- observe, given the combination with ing, Rossen’s work intersects with other fig- verse of fragility and arbitrary violence in tion seems to lose control of what had Ophuls’ film, that Maupassant appears in ures, from Dmytryk to (via Garfield) Kazan The Brave Bulls, in which the corrida (hated become a incredibly spectacular machine cinema, and perhaps also in literature, as a and Abraham Polonsky, who wrote the by Rossen, loved by Boetticher) is the last (that also somewhat weakened Ray and fragmented mirror of the Stendhalian script for Body and Soul, a film that speaks stop of unsustainable sacrifices of the two Mann in the Bronston universe, and only Romanesque. from a distance with the boxing diptychs of splendid female presences, the Jewish Mankiewicz knew how to portray the Lumumba, Ecology of a Crime, was the Robson and Wise, just as The Brave Bulls Czech and displaced Mexican Miroslava ratage of the superb Cleopatra, even if he name we wanted to give to our African sur- confronts the bullfighting triptych of [Stern] (as beautiful as in her role in didn’t believe in Hawksian or Walshian vey in progress, with this year only a trace, Boetticher (and, if we like, with the unfin- Buñuel’s film) and the latina Charlita. transparencies). The vulnerability of Claire unfortunately, due to the impossibility of ished Cottafavi on the corrida). It is easy to Rossen’s displaced period prompted him to Bloom and Danielle Darrieux in Alexander holding a retrospective for the talented give reasons for cataloging Rossen as less move from Mexico to Italy, for this Mambo the Great, and of Dorothy Dandridge, Joan Congolese director, Balufu Bakupa- than meets the eye, confirmed by Andrew that naturally is, first of all, a splendid Fontaine, and Patricia Owens in Island in Kanyinda, who could have joined the polit- Sarris and substantially strengthened by the eccentricity of Italian cinema, a documen- the Sun (the most successful of the three ical figures of Lumumba and Sankara. The Cahiers du cinéma, before the sudden elec- tary about Silvana Mangano attracted to and films) leads to the theorem on the traitor of

9 10 They Came to Cordura, where Gary Cooper among the images that we have chosen before on television, amazed by the beauty In the evening, two films in which we is less flagrant than elsewhere, and the vul- these past years, none of them conforming of that film. Even on television the beauty enjoyed finding the echo of female names nerability of Rita Hayworth is too prominent to a rule or a figurative domain but all of of that black-and-white scope reaches us, (The Mad Songs of Fernanda Hussein, The for a role of treachery. But from this is born them belonging to that body with that name: and perhaps not even commercials can Strange Love of Martha Ivers). The longer the dazzling Rossen in his final phase. Jean and Lydou Vigo, Leni Riefenstahl, Jean destroy the sense of suspended time in the film by Gianvito is Griffithian, and it is not With Address Unknown Gianvito supervises Seberg, Amparo Matiz, Dawn Addams, film. Although over the decades it has by chance that the second chapter is enti- a “planned” film directed in several Belinda Lee, now Piper Laurie, and perhaps become an American classic (badly high- tled Orphans of the Storm, like the first, cho- episodes with other directors. At the same next year Sylvia Lopez. lighted by the Scorsese’s sequel), the film sen as an exergue from Pavese. As we time in the video room, Visconti’s Senso The projection of The Hustler is also for has not yet been perceived in its maximum write, we still do not know what will hap- (that, although admiring Alida Valli, one can Anatole Dauman, who distributed the film greatness. A greatness united with beauty: pen in the American presidential election, only consider essential because of Marcella in France and who also loved Lilith (chosen light, interiors with those parentheses of an nor have we asked Gianvito what he thinks Mariani), which blends well with by him, and also Vecchiali, as one of best external landscape of real sound, and music (we can do this at the festival), but mean- Bertolucci’s Prima della rivoluzione as a films of the year in the Cahiers) We want by Kenyon Hopkins (who like Shuftan while we detect in this oppositional film a variation starting from Stendhal. But the also to recall Claude Ollier’s beautiful returned in the next film, while the un- political gesture, compared to which poli- day’s program offers multiple alternatives: review of The Hustler, a first step towards encoded editing by Dede Allen becomes tics still seems extremely backwards. Thus a the project Cinema con i giovani [Cinema winning the attention of the lofty French more apparent in comparison with the free- film like this exists in America, while in Italy with the Young] at the Cinema Ariston, car- critics. dom found in Aram Avakian’s montage). we have seen nothing analogous. Our Anno ried out with conviction and innovative The film is among the greatest points of an And there still remains the 4ème époque of uno Prize, in its fifth year, after being spirit by Mila Lazić, as well as the first seg- anti-sacrificial discourse, perhaps by Lucien Leuwen. awarded to Kira Muratova, Mircea Daneliuc, ment of our tribute to Landolfi in the video metaphor also the most beautiful film on Werner Schroeter (who now even Venice room. the Shoah, together with Munk’s contempo- Friday, September 26. In the video room, knows how to honor) and Paulo Rocha, has We are preparing for a memorable evening. raneous Pasaz·erka. A film that, without three Stendhalian variations, the notable decided that the awardees can be masters To unite, from the work of Straub following confining itself to the dominion of the film by Clair, the frankly annoying one by of all ages. We will continue making the the death of Danièle Huillet, his beautiful Le moral battlefield, denies the acceptability of Vadim (that, alas, also weakening La Ronde selection without imposing binding rules, Genou d’Artemide to The Hustler is, it crime. The final image that Piper Laurie sees takes pleasure in quoting De l’Amour, but the only certainty is in our conviction to seems to us, to perform a gesture towards in the film is that of a mirror on which she while in Le Désordre à vingt ans he reveals nominate fruitful cineasts (as was also the cinema that we augur with great intensity. writes the words not of suicide but of the himself as a pleasant storyteller, and while case with Vittorio De Seta, almost implicitly To the Rohmerian Le genou de Claire (con- impossible flight from an imposed death as a talent-scout of female presences, from awarded an Anno uno Prize). The film noir tinuing with other Cambrure), to the un- sentence, of the mocking underlining of her BB to Sirpa Lane, he has been invaluable, of Rossen, his last important script before fetishized sensuality of the bodies of Jean- own handicap. And there one of those as a director he is frankly irrelevant), and becoming a director, is truly one of the Marie and Danièle in Geschichtsunterricht, caesurae of death with which Rossen denies that of Visconti which is the third film with heights of his career. We are dedicating its we join together now the hobbling gait of every deception. Soon afterwards this role Claudia Cardinale in our program (Goha, Il screening to Lizabeth Scott, still living, since Piper Laurie in the fiction (although strong- that was so intensely lived, Piper Laurie bell’Antonio, Il Gattopardo). this actress of Slovakian origins, of a sensu- ly lived) of The Hustler, revealing that curve withdrew to private life, abandoning cine- In the cinema we will meet again the group al face that some wanted to select as a les- of the knee with a close-fitted skirt, discov- ma, to which she returned many years later of Italian directors Malastrada, who have bian icon, seems to us one of the most ered by chance in a set photo, that we have in the role of an oppressive mother in had the merit and the tenacity to direct a thrilling vulnerable women of Rossen’s cin- chosen to be the image of the festival, from Carrie by De Palma (a director who film for Thomas Sankara. A film rightfully ema (she also later appeared in one of a film four years earlier, Robert Wise’s Until strangely intersected Rossen also by casting present at more than one festival, being Rossen’s collaborations, Desert Fury, in They Sail, in which she already meets Paul his daughter, Carol Eve Rossen, who had productively possible precisely because of color, while this film is one of his numerous Newman and performs the role of a melan- already performed in Kazan’s The the support of festivals, that I mille occhi black and white film noirs, among which is cholic nymphomaniac killed by her jealous Arrangement, in The Fury, while the other wishes also to confirm in the future. Cromwell’s Dead Reckoning fascinatingly husband: with a chance discovery of the daughter, Ellen, appeared only in her The program that unites the film of Gianvito given the Italian title of Solo chi cade può body that we worry may be of a double. A father’s Alexander the Great). with Tom Conser and the film of Conser risorgere, with open sensuality, where one film that we would have certainly tried to I still remember when one day, many years (who is no longer with us) is of a special speaks of her husky voice and of her scent project, had we discovered it earlier. This ago, my dear friend Marco Melani spoke to intensity, and the Artaud quotation in the of jasmine, and then in the double role of fantastic set photo will suffice, a worthy step me about having seen Lo spaccone the night first is appropriate here. Stolen Face, with our much loved Terence

11 12 Fisher). In Milestone’s film a biblical eso- pering wind, a journey through the America feigned, is one of absolute flagrancy); tericism is exalted which Rossen completes of the sacrificed, including Griffith, who in a immediately after the film (which in the in Lilith: the two hotel bibles are like books few days we will see at the Giornate del beginning contains an extremely short on the encounter of love (while the other cinema muto, the Silent film festival in Por- cameo by Ovidie) we will see her in a lumi- vamp, Barbara Stanwyck, says to Heflin, denone, his late films, and perhaps his most nous video interview by Didier Noisy, who “you know your Bible,” in other words, she beautiful, especially the last, The Struggle, a directed the Making of the preceding film minds her business, but it is also a parody). radical film if there is one here. by Martin Cognito, starring Ovidie, with her In the end, the repeated phrase “Sam’s Lilith Night: what will come of it? Can the in a small role: in the interview, already wife,” by the bride and groom of the final woman sacrificed as we exited the history with her face stripped clear of the film’s les- marriage, prolongs the Rossenian nuptial of myths once again be made flesh? In the bian fetishization, with a different hairstyle, rites (Dust Be My Destiny, Lilith) with the masterpiece of Straub (with Huillet as the it is hard to decide where she is most beau- desire that the ritual become flesh. co-screenwriter and co-producer), per- tiful and true, though here we see her formed by Fassbinder, and Lilith Ungerer bright smile, perhaps the most inalienable Saturday, September 27. In the morning, the becomes Marie in the theater. element of a woman’s face; and then in the second appointment with Landolfi: for this Concerning the film by Rossen, the most Making she says playfully that, in her role segment of the program, in which we have precious film of all, if there is one (and we of one of the two Dalmatiennes/Dalma- had a lot of faith, we refer to the text in the are referring here to all of cinema), it is dif- chiennes, she truly became a dog. Perhaps body of the catalog. The friends whom we ficult to add anything in so few words com- she also truly became Lilith. (“Did you see? mention elsewhere have helped us in a cru- pared to what is available in our catalog I became Lilith,” Jean Seberg told Fieschi, as cial way to realize this double tribute to from the 2004 festival, where the film was he met her for the last time, many years Tommaso Landolfi and Idolina Landolfi. screened already (including texts by myself, after Rossen’s film). The first projectable version of Le Rouge et Jean-André Fieschi, and Jean Seberg, also The possible moment of truth has already le Noir, by Righelli: we hope to track down with unpublished materials, with many passed. At midnight one can choose to go for next year additional works based on the photos). the party at the bar, watching the Lilith Fair Stendhalian novel that has been most Let us speak then about the Lilith (Diane, concert out of the corner of one’s eyes, or filmed, both earlier (Bonnard) and later (the perhaps) who has adopted this name for perhaps to stick around in the theater to sound Righelli version, Gerasimov). Which her career as an actress of hardcore films, watch Ovidie’s Lilith, somewhat routinier, must then be followed in the video room performing a role in Axelle, a work of as one calls a hardcore film with no notable with the longer version of La Certosa di apparent personal involvement, and who flagrancy. Parma, with Marthe Keller, stolen unfortu- seems to have decided to withdraw from Tomorrow morning we will wake up a bit nately from Autant-Lara who hoped to com- cinema. As we write this diary of future sad, if in the meantime nothing was born. plete the Stendhalian triptych. Comencini visions, we still hope that on the night of refused it, and it turned to Bolognini, a spe- September 27 she will be embodied in the cialist in films designed by others (La vera theater, and that she will give a real sense storia della signora delle camelie was sup- of how much has happened during the fes- posed to be the third Cottafavian version of tival. Gloria Morano, in the catalog note, the character). In the cinema, Altromondo, wisely speculates that this Lilith crossed a medium-length film of the Triestine Katja through cinema looking for a personal Colja, whose scene of the Academy of mad- experience, and then accomplished this ness won us over, where in the couple of outside of cinema. Perhaps she has never Claudio Misculin & Valentina Sussi there seen Ordet, Gertrud, or Vredens dag, per- occurs something of that nihilist threat to haps not even Rossen’s Lilith, that at last love that is linked with the evening film by tonight she would see. At the moment we Rossen. can only add that the relationship between The last program of John Gianvito, with his mimesis and experience in her performance latest, fantastic Profit motive and the whis- is moving (the deflowering scene, even if

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