i mille occhi XVI edition Teatro Miela Trieste 15_21 September, 2017 Festival internazionale del cinema e delle arti Festival internazionale del cinema e delle arti I mille occhi / The Thousand Eyes Festival internazionale del cinema e delle arti / International Arts and XVI: Eros e Priapo Trieste, Teatro Miela, 15 ‡21 settembre 2017 Anteprima a Roma, Cinema Trevi - Cineteca Nazionale, 12 ‡13 settembre 2017

il festival dell’Associazione Anno uno

con il contributo di

main partners La Cineteca del Friuli, FIAF – Archivio Cinema del Friuli Venezia Giulia, Gemona (UD) Centro Sperimentale di Cinematografia – Cineteca Nazionale, Roma

project partners Associazione culturale Cineteca Italiana, Milano L’Officina Film Club, Roma Cineteca di Fuori orario, Roma Anno uno Museo nazionale del cinema, Torino Cineteca Bruno Boschetto, Torino Elliniko Kentro Kinimatoghrafou, Athina Associazione , Fondi Presidente ERT, Athina Fondazione Luigi Micheletti, Brescia Michele Zanetti Hrvatski filmski savez, Zagreb Archivio audiovisivo del movimento operaio e Jugoslovenska kinoteka, Beograd democratico, Roma Vicepresidente Centar film, Beograd Penny Video, Roma Giuliano Abate Werkstattkino, München Ripley’s Film, Roma Kommkino, Nürnberg AFIC, Associazione Festival Italiani di Cinema Direttore Filmmuseum, Düsseldorf Casa del cinema di Trieste Sergio M. Grmek Germani Filmmuseum München Comunità Greco Orientale di Trieste Istituto Luce - Cinecittà, Roma Fondazione Ellenica di Cultura, Trieste Consiglieri Marie-Françoise Brouillet Annamaria Camerini Igor Kocijan čič Olaf Möller Alice Rispoli Dario Stefanoni

fuori orario cose (mai) viste

on the cover c Joanne Woodward and Lee Remick in a film still of The Long, Hot Summer (1958) casadelcinema by Martin Ritt (Anno uno Collection). .trieste ideazione, ricerche e messa in scena catalogo a cura di Si ringraziano Angelo S. Draicchio di Ripley’s Film Sergio M. Grmek Germani Simone Starace tutti i cineasti e i produttori dei film in programma, Giorgio Nogherotto, Rita Ravalico, Guglielmo con la collaborazione al programma di con contributi di tutti gli autori e gli editori dei testi pubblicati, Danelon, Francesco De Luca, Cecilia Ermini Thanos Anastopoulos, Christoph Draxtra, tutti i partecipanti agli incontri, e Daniele Marzona, Michele Sumberaz Sotte, Cecilia Ermini, Sergio M. Grmek Germani, Mila Lazi ć, Barbara Scarciglia, Alice Bensi, Francesco Sacchi, e Fulvio Baglivi, Christoph Draxtra, Mila Lazi ć, project partners e collaboratori Olaf Möller, Simone Starace, Roberto Turigliatto, Olaf Möller, Dario Stefanoni, Gary Vanisian Valentina Molaro di Teatro Miela - Cooperativa CINETECA DEL FRIULI – A RCHIVIO CINEMA DEL FRIULI Gary Vanisian grafica e impaginazione Bonawentura VENEZIA GIULIA Cristina Vendramin Nicoletta Romeo di Trieste Film Festival - Alpe coordinamento direttore Livio Jacob Adria Cinema Margherita Pevere stampa archivio film Elena Beltrami, Alessandro De Zan, Sandi Škerk di Azienda agricola Škerk con la collaborazione di Poligrafiche San Marco, Cormons Simone Londero, Alice Rispoli, Andrea Tessitore Dario Zidari č di Azienda Agricola Zidari č Francesca Bergamasco traduzione del catalogo in inglese si ringraziano per la collaborazione Piera Patat, Maddalena Giuffrida, Walter Stanissa di movimentazione Nicole Jurman Giuliana Puppin, Ilaria Cozzutti, Ivan Marin Agriturismo Juna Luca Luisa traduzioni e interpreti CENTRO SPERIMENTALE DI CINEMATOGRAFIA – un ringraziamento speciale a ufficio stampa e comunicazione online - Erica Bresciani, Isabel del Zotto, Christoph Draxtra, CINETECA NAZIONALE Gabriella Cucchini realizzazioni video Mila Lazi , Paola Sorrentino, Simone Starace, presidente Felice Laudadio ć direttore generale Marcello Foti si ringraziano inoltre Francesca Bergamasco Gary Vanisian Benjamin Albrecht, Christian Appelt, Adriano assistenti ufficio stampa e social team direttore Gabriele Antinolfi proiezioni conservatore Daniela Currò Aprà, Chiara Barbo, Corrado Basile, Maria Teresa Francesca Benedetti, Giulia Terzani, Amine Elcicek, Paolo Venier Bassa Poropat, Sara Bergamasco, Enrique Bergier, Lucia Conti, Ginevra Radivo, Giulia Groppazzi diffusione culturale e programmazione Laura Argento con Maria Coletti, Domenico Monetti, Luca Pallanch, Paolo Bertagni, Matteo Biacca, Claudia Bouvier, sottotitoli Maurizio Cabona, Bilquis Castano, Mohamed ufficio stampa esteri Betina Lilian Prenz Franca Farina, Viridiana Rotondi, Silvia Tarquini, Gloria Zerbinati Cosetta Delfaro Challouf, Sergio Crechici, Alice Cucchetti, Evelyn premio Anno uno realizzato da e lo staff del Cinema Trevi Dewald Caporali, Cristina D’Osualdo, Massimo ospitalità Stefano Coluccio, Canestrelli - Venice Mirrors, Venezia Ferrari, Beatrice Fiorentino, Gabriele Giuli, Toni Mara Guerrini CINETECA BOLOGNA Giusa, Franco Grattarola, Federica Gregori, assistente ufficio ospitalità direttore Gian Luca Farinelli Konstantin Hockwin, Christoph Huber, Rainer Carlotta Pinatti archivio Andrea Meneghelli, Carmen Accaputo Knepperges, Jan Kuhn, Petar Jakoni ć, Giulio selezione vini e omaggi ospiti offerti da sito internet CINETECA ITALIANA Lauri, Paolo Lughi, Jaruška Majovski, André Zenmultimedia Azienda agricola Škerk, Duino Aurisina (TS) direttore Matteo Pavesi Malberg, Bernhard Marsch, Felix Mende, Annalisa Azienda agricola Zidari č, Duino Aurisina (TS) Metus, Federica Naveri, John Oliver, Chiara assistenza informatica Caffè Teatro Verdi, Trieste MUSEO NAZIONALE DEL CINEMA Omero, Norbert Pfaffenbichler, Giulia Pigato, Stefano Biloslavo Sapori Greci - Sorsi e Morsi, Trieste conservatore Claudia Gianetto Enzo Pio Pignatiello, Federico Poillucci, Nenad accoglienza, maschere, infopoint Theresia Mittel Bistrot, Trieste FUORI ORARIO Polimac, Giorgio Rossi, Antonio Rubini, Gianni Giulio Baistrocchi, Farhan Shabbir, Amelia dolce q.b., Trieste enrico ghezzi, Roberto Turigliatto, Fulvio Baglivi, Sadar, Cristina Sain, Giulio Sangiorgio, Tatti Elisa Weffort Peroni Gustò Tipical Triestin Buffet, Trieste Donatello Fumarola, Lorenzo Esposito Sanguineti, Sebastian Schwittay, Silvana Silvestri, Ponteross6, Trieste Vlado Škafar, Francesco S. Slocovich, Daniele video e foto L’O FFICINA FILM CLUB Terzoli, Ghiannis Theos, Fulvio Toffoli, Gianni Luca Innocenti Paolo Luciani, Cristina Torelli Torrenti, Silvia Vallario, Antonella Varesano, assistente video e foto Giorgia Venturoli, Mislav Vinkovi , Loris Zecchin Jacopo Baroni Konstantinos Aivaliotis di Elliniko Kentro ć Kinimatoghrafou e Bernd Brehmer di Werkstattkino Hotel Savoia Excelsior, Hotel Filoxenia, Diana Nenadi ć di Hrvatski filmski savez B&B Amelie, Brass B&B, Cerino b&b, Aleksandar Erdeljanovi ć, Saša Banjovi ć di 0.3 stanze, B&B Empire 1970, Meg Homestay Jugoslovenska kinoteka Ljubomir Popovi ć, Jadranka Blanuša-Vu čkovi ć di Centar film media partners Darko Šimi čić di Institut Tomislav Gotovac Igor Pressel, Kaja Bohor č di Slovenska kinoteka Pier Paolo Poggio, René Capovin, Stefano Guerrini di Fondazione Luigi Micheletti Roberto Cicutto, Maria Gabriella Macchiarulo di Istituto Luce - Cinecittà Outside the Law by Sergio M. Grmek Germani

It’s not my soul, it’s my heart. the protagonist of The Fireworks Woman by Wes Craven

Cinquantaquattro marinai cinesi, minacciati di essere espulsi dal Canada perché – dopo aver subito un siluramento – rifiutavano di riprendere il mare, dichiarando di essersi reincarnati come canadesi. Spiegarono che, dopo il siluramento in pieno Atlantico, erano morti e si erano reincarnati sulla nave canadese che li aveva raccolti. Le autorità canadesi non accettarono questa dottrina, e i cinesi dovettero riprendere il mare. Elias Canetti, Il libro contro la morte , by Ada Vigliani, Adelphi, , 2017

The cinema screen has no frame, according to the invaluable lesson provided by André Bazin; instead, it is a window. Therefore, if I mille occhi choose to frame their program, it is only to broaden it even further. This year, the first and the last of ’s finished films are going to be the first and the last film screened at the festival. They have established themselves as the films intended for that role; the titles alone give it away, not to mention their actual viewing. Because the wandering, erratic, detournante nature of the former is emphasized by the ruthlessness of the latter (and the female char - acters have never before been a comparable target of denied sacrifice as they are in Holt’s filmography, starting from Maggie Smith and Andree Melly in the first film, up to Valerie Leon in his incomplete works) and, in the end, the perilous path of Danger Route Route ends with a freeze frame holding the protagonist, defeated perpetrator of the feminicide, before his exit. There could not be better evidence of why he is such a great film-maker to rediscover, who is certainly part of the perfect poker of British cinema (on which the schematizations of Godard

7 & C. today are less truthful of the marginal curiosity of Marker and Tanner, as well by Paul Schrader, so that the heartbreaking picture of Amanda Seyfried acts as as Dreyer, who included Brief Encounter by Lean in his top ten , apparently a perfect visual incipit for this text. A film completely open to all religions and canonic, but, among others, traversed by a title such as The Petrified Forest by ideologies, to the point where it is possible to include in its Christian universe all Mayo) along with Seth Holt, Alfred Hitchcock, Terence Fisher and Michael Powell the vanishing of bodies and the destruction that many would rather attribute (our precious Olaf Möller, who has been pushing for years on the necessity for exclusively to the Islam extremisms. A film that immediately looked to us like a review of Holt’s work for years, since we homaged the fundamental and mete - a McCarey directed by Wiseman, and in which, of the transcendental trio of oric Michael Reeves, perhaps would omit the first of these three, and in his essay Schrader’s book, the presence of Dreyer turns out to be the most decisive one, he expertly guides us in the esoteric of the underestimated British, to which we despite being the least assimilated by the film-maker at that time. In other words, would add Roy Ward Baker). Seth Holt, born in Palestine and named after the a film that belongs more to the abandon to the unexpected in the choices of third son of Adam and Eve, the one who succeeds the couple marked by the mur - I mille occhi rather than to the mainstream of today’s cinema. der of Abel and Cain, brought into the British Gothic reality and, most specifi - We trust that these choices will be increasingly perceived as actual needs of the cally, into the thriller and horror genres, the same sign of the double of the audience rather than film buffs or subject for discussion among film scholars. Dybbuk of Michał Waszy n´ski and Edgar G. Ulmer (his detour companion). It is comforting to know that this year’s program is marked by the reference to The unfinished nature of this year’s festival program is in fact reflected in the fore - two recent momentous volumes (same publisher) of those I would consider (in going considerations. A work in progress that exhorts us to evaluate all of its spite of the fact that, in the course of my life I have not read as much as I have reviews as a mere first part that needs a sequel. been watching films, and certainly nowhere nearly as much as Bobi Bazlen) the A program consisting, from year to year, of an ever widening network of friends paramount authors of the 1900s. As for Carlo Emilio Gadda’s work, a philologi - and collaborators, towards whom the only difficulty of the festival is not being cally faithful version of the texts that merged into Eros e Priapo has been pub - able to realize all of their stimulating proposals right away. lished, extraordinary book even in its incompatibility with the media, and our A program that originates from the ever growing refusal of the idea that our mod - program, other than incorporating the traces left by the writer in the world of cin - ern cinema is merely made by day-old films. For the first time, many authors from ema (including television), extends to Damiano Damiani’s tv film regarding the past and their works prove to be contemporary in their outdatedness (in the Piazzale Loreto (place in which Curzio Malaparte and Gianikian-Ricci Lucchi con - not so banal meaning of a work that is exceptionally durable rather than imme - verged, film-makers who, in Pays barbare , meet the great cinema of Luca diately consumable). In spite of this, if something actually worth mentioning has Comerio, since Paolo Granata, his nephew, was destined to film the outrage to been missing over the last few decades, that is the capability to go beyond the the bodies trampled by history). decrepit perception of cinema as an already fenced territory: the film industry The other book, more venturing than philological, puts together the various may indeed be overflowing from the cinemas into several widespread media and works that compose the never finished Il libro contro la morte , which covers means of production, such as cell phones and the internet, yet this does not set everything that is essential to the world of cinema (although it does not make it free from the established rules of communication. All you need to do is see, mention of Dreyer). today, a film such as Tod Browning’s self-made audio remake Outside the Law We felt like this book (which we are not going to “present”, but that we highly (recently screened at the Cinema Ritrovato in Bologna) to understand the deep recommend reading) beautifully matched the recent release of a pair of films by truth behind its own title, defiant of any timeworn law. , the most illustrious living Italian film-maker. Let us simply say There are still films like these, fortunately. Just like a few years ago we had con - that, in 2017, the diptych composed of vedete, sono uno di voi and the resurfaced sidered in our catalogue the recent screening of The Canyons in Venice as one of la tentazione del suicidio nell’adolescenza (1968), following the masterpiece “our” screenings, we can certainly do it again with First Reformed , the newest film torneranno i prati, ultimately places Olmi among the indispensable film-makers.

8 9 All these films come from some sort of institutional commissioning (whether it is Our program of paths (we would rather call them this way than individual, closed the Catholic Church, the MIBACT or the Sandoz psychiatric hospital), but then they up sections) opens, this year, with a tribute to our friend Luce Vigo, who was walk outside the law . Tatti Sanguineti, known for his formidable guesses, assumes among us during the first edition of I mille occhi, and who found her father again, that the film remained unpublished in 1968 marked a sort of suicide of the “indus - illustrious film-maker, as a spectator, after living with him for a short time. She is trial film-maker”, becoming for us the most appropriate bridge towards what, in one of the presences who abandoned us since the last festival. Among them we 1968, was not merely semblance. Who recovers the film? The Fondazio ne Luigi remember, in this occasion, one of the most generous people ever lived in Micheletti in Brescia, one of the essential film libraries for the 1900s, which also Trieste, Rosella Pisciotta, and Nereo Battello, who visited us last hear, as well as implements the wonderful Musil project and embraces with enthusiasm I mille a critic who, sadly, we only met at a distance, Michel Delahaye; and also a writer occhi’s proposal of setting the second world screening of the film, after the pre - who, last year, we evoked from the Venetian review, G.A. Cibotto. As well as miere in Basaglia’s native city, in Trieste. Because that film, more than Foucault, some extraordinary film-makers: Jerry Lewis, whom we are able to honor only blows the control that the classic psychiatry has over the affairs of the mortal bod - through an itinerary title, the unbridled Seijun Suzuki, Andrea Tonacci, Radley ies, and ignites in its editing all that blooming of faces, expressions and gazes of Metzger (to whom we indirectly pay tribute through Wes Craven’s hardcore film, Olmi’s cinema, short and full-lenght films, those meant for the theaters and those since he is, along with Gerard Damiano, the other most remarkable author for destined to the television. The tentazione del suicidio [t/n: the temptation of sui - this genre). Death records, this year, reunited George A. Romero and Tobe cide] in the reality as well as in cinema, finds here its subversion contro la morte Hooper, decimating all that new American horror that (similarly to Fulci, most [against death] that pertains the film world more than the real one. notably, in ) was able to find an auroral love in the decomposition of the A rediscovery that gives a strong sense of purpose to the archival work. The fes - bodies. Lazar Stojanovi ć, has passed away, too, Serbian director of few provoca - tival has been working very closely with the most important film archives for a tive films, and we add him to the tribute to the noteworthy exponents of the long time. The Cineteca del Friuli, invaluable channel of communication between Croatian avant-garde who had previously abandoned us. Remarkable actors have us and FIAF, has been our partner from the beginning; this year, the Cineteca passed on as well: , whom we would have liked to have by our Nazionale has enhanced their support towards us, allowing us to screen several side; and John Hurt, Pietro Giordano, Memè Perlini... As well as countless female rare copies of the Italian cinema. But we are on the best of terms also with presences: Teresa Ann Savoy, Elsa Martinelli, Jeanne Moreau, Emanuelle Riva, Cineteca di Bologna, Cineteca Italiana (to which we will devote a tribute in occa - Anita Pallenberg, Mireille Darc, Christine Kaufmann, Margot Hielscher, Carrie sion of their anniversary), Museo nazionale del cinema and all the other archives, Fisher, Rita Renoir, Laura Troschel, Paola Montenero, Solvi Stubing, Gisella Sofio, either public or private, Italian or foreign, essential to German reviews (and for Anna Maria Gam bineri... the Italian and English films held in Germany), and to the Greek and Serbo- Another person who has passed away, in an atrocious series of events of love Croatian reviews, where our long-standing collaboration with Jugoslovenska and death caused by the economic dominance, is a collectionist who some of our kinoteka e Hrvatski filmski savez has been renewed. We would like to reiterate collaborators had the chance to know in person, Giovanni Bartolucci from that the archival work is not a fenced area reserved for scholars and “profession - Ferrara. Besides the sorrow for all these people, the recent news reports bring als”, nor does it mean staring with eyes fixed on the past. If we have any future, our attention to the secretly extreme nature of a significant part of the cinema even without embracing the dream of the great cosmist Fëdorov to recreate the born in those lands. In last year’s program, the beautiful Gente così by Cerchio, bodies of the past, this is our starting point. The always brilliant Bernardo also proving to be an actual co-direction of Giovannino Guareschi, allowed us to Bertolucci has recently remarked: now that you got so good at restoring films, understand the whole universe, anything but superficial, of the latter (not for you may as well try to do the same with film-makers (and with the audience, we nothing admired by an empirist and dowser scholar such as Mario Manlio Rossi would add). from Reggio Emilia). But the radical cinema of Vittorio Cottafavi comes from

10 11 Emilia-Romagna as well. And Bolognese are also the three most intimate film- ing could have been the same: the great authors (among whom Zurlini, Damiani, makers of all the Italian cinema: , , Ferdinando as well as the “social” De Santis and his pupil Giraldi) were able to navigate it Maria Poggioli, of whom, this year, we discover the correspondence, that no one with the freedom of all their cinema; as for the others, only the tics of the climate seems to have highlighted, with the Genoese : a Genoese who made of that time prevailed. A name we would still like to talk about is : his such only few characters and, in fact, the protagonists of Il testimone and La decima vittima, A ciascuno il suo and Indagine su un cittadino al di sopra di Gioventù perduta allude to these origins, and the Paul Muller of La città si difende ogni sospetto make a wonderful triptych, whereas with Un tranquillo posto di would want to come back to it from his nowhere to go . Poggioli and Germi, a campagna it seems to us that some sort of disproportion between ambitions and homosexual and a homophobe who find themselves deeply intertwined (perfect realization is setting in, which, perhaps, was there in his early films too, as well parallelism with the Pasolini-Zurlini relationship) in the world of cinema, even as the latter, we are afraid: but we might be wrong. stood in for each other: Germi, in fact, has never made any Ligurian nor Genoese The mention of De Santis allows us to understand that stateless nature that often film, but rather Venetian, Sicilian or Roman films, and his Amici miei , before traversed the Italian cinema, of which the Yugoslav and Russian sets of De Santis’ being translated in Florentine language by Monicelli, was meant by Germi to be cinema have been emblematic. a Bolognese film, whereas Poggioli realized the most remarkable Ligurian film, A film such as the last by Laurel & Hardy, not only most relevant comedians, but Sissignora . Which is also one of the most incredible Italian films of all time (only most remarkable film-makers as well (sprouted from McCarey), at that time Mario Orsoni and Gianni Buttafava realized it back then), as well as the film with unfairly mistreated by the critics, is today among the most consistent acts of the the most heartbreaking ending of all the history of cinema along with Some Came stateless nature of cinema. Enzo Pio Pignatiello carefully studied its geopolitical Running by Minnelli and Imitation of Life by Sirk. contexts in his publishing released in occasion of the festival, which presents his The multiannual review of the Germination was born from an increasingly pas - attempt to reconstruct the Italian full version, with the last amazing by sionate exposure to the great Italian cinema, outside the law , and we hope it rep - Sordi and Zambuto. And Laurel & Hardy unexpectedly turn out to be among the resents a chance to discover, in addition to those adequately highlighted by the great film-makers of the Gerat War, with the writing 1917 that opens both Il com - festival (Rossellini, Zurlini, Cottafavi, Comerio, Genina, Camerini, Matarazzo...), pagno B... and Venti anni dopo . other film-makers in their prime for the present times. Germi received many post- This year’s program also contains two key pieces of a too less known interna - mortem attentions, which, however, could not welcome a brilliant and unbridled tional side of the Italian cinema, the German one, the cinema of Roger Fritz, with film such as Le castagne sono buone . The flourishing of his cinema opens to us the review curated by Draxtra and Vanisian, and that of an actress not only radially: Poggioli, the great minor Bianchi, and most notably Damiano Damiani, among the most beautiful, but also splendidly incline to come across some of the whose report by Enrique Bergier (picked up by Simone Starace) reveals his strong most audacious moments of the Italian cinema, from the erotic to the horror, of relationship with Germi. As for Damiani’s work, a beautiful tribute-review was which she assembles bestiaries worthy of Borges ( La lupa mannara , Black Cat , made back when he was still among us, at the CEC in Udine, featuring an excel - W la foca ), and even when she is not the protagonist (where such role is taken, lent volume by Alberto Pezzotta, but perhaps only today (due to our insufficient for instance, by the surprising Annik Borel), she leaves an unforgettable mark on receptiveness, evidently) he reveals himself in all his strenght, to the point that a the film. late film for Mediaset tv, L’angelo con la pistola , breaks any sort of tv fiction Another stateless author is the Egyptian Tewfik Saleh, whose film traverses, from boundary. the old border between Syria and Iraq, the entire world of the exile, coming Back to what was said about Olmi, 1968 probably was not, as remarked by across the exiles throught the Italy of Pietro Germi (exemplarly in Il cammino Zurlini (in Gianni Da Campo’s interview), «a year like any other. It comes after della speranza , which traverses the peninsula of Paisà not from the perspective 1967 and before 1969». For the Italian cinema, it was also a year after which noth - of the “liberators”, but from that of the strangers). Talking today about the

12 13 To Luce Vigo Egyptian Saleh, which was able to start from an universalist pan-Arabism, is also our way not to forget Giulio Regeni. Just a few words for two extraordinary reviews, which can be found in the cata - logue: that one dedicated to Dimos Theos, by Cecilia Ermini, and that about the Croatian and Serbian avant-garde, in which Mila Lazi ć gathered extremely rare wonders.

14 15 Anno uno Award

CROSSING PATHS WITH LUCE VIGO Director, cinematography, editing: Jem Cohen; contributions: Luce Vigo; pro - duction: Punto de Vista/INAAC/Gravity; origin: Spain, 2010; format: video, col.; length: 12’. Digital copy from production.

LUCE , À PROPOS DE JEAN VIGO Director: Leïla Férault-Levy; cinematog - raphy: Reanud Personnaz, Robin Fresson; editing: Amrita David; contri - butions: Luce Vigo, Nicolas Sand, Émile Breton; production: La Huit/Gaumont/ BIP TV/Ciné+; origin: , 2016; format: video, col.; length: 67’. Digital copy from production.

LUCE VIGO Born on June 30 th , 1931, Luce Vigo is left orphan of her father Jean at the tender age of three years, in 1934, also losing her mother five years later. In 1951, on the occasion of the birth of the Jean Vigo award, Luce starts approach - ing the figure and the work of her father, partecipating, at a later time, to the organization of film clubs and col - laborating to publications such as «Jeune Cinéma», «Regards» and «L’Humanité». In 2002, she writes a biography of her father, Jean Vigo, une vie engagée dans le cinéma , published by the Cahiers du Cinema. In the same year, she is host in Trieste for the Mille Occhi Festival. She dies in Paris on February 12 th , 2017.

16 Today, the viewing of the last full-lenght film directed by Dimos Theos is, along with all the emotion it conveys, along with the extremely personal Dimos Theos, beauty through which it inherits the entirety of the Greek cultural uni - verse (and, therefore, that of the West), also a merciless indictment Stranger of , I towards the mechanism of the film industry, its decrepit hierarchies (let aside the so called regulations). Because Eleatis xenos is an absolute mas - terpiece, that I mille occhi were lucky enough to come across during their roaming around the world of cinema, which often acquires a dowsing nature, albeit more because of other people’s demerits than due to our own merits. An Anno uno Award consequent to our capability to welcome Werner Schroeter, Paulo Rocha, Thomas Harlan, Klaus Wildenhahn, Marc Scialom, Vítor Gonçalves, and in general, within the festival, Vittorio De Seta, Nico Papatakis, Jacques Baratier... whom we consider all contempo - rary film-makers on par with the young ones we admire. We would want that this first screening outside Greece, anything but situational, of a film that combines profound Hellenic roots and a pronounced stateless nature, appropriately pointed out by the Turk (!!!), Hungarian and Belgan co-productions, could open at least one thousand eyes for the world. A heartbreaking film, a search for the father, the eternal defeat of love, a film that turns out to be stranger in its own homeland, as hinted by its title later echoed by Hölderlin (the one who best understood Greece, along with Nietzsche and Giorgio Colli), with a debuting Brazilian as protago - nist, dubbed by a German voice... and, beside her, Eleni Maniati, who links it to all the greatness of Stavros Tornes, whose last full-lenght film, Enas erodhios ghia ti Ghermania , perfect twin of Theos’ film, had had as pro - tagonist, nine years before, the dazzling “German ornithologist” Anna Wich, here filmed in a lesser, unrecognized role. Because the isolated, estranged attitude of Theos towards the Greek cinema merges into his other peaks: Kierion , his first full-lenght (screened in Venice and in Langlois in 1968, but released in Greece only at the end of the dictatorship) had as actors Kostas Sfikas (twin of Theos’ anarcho- Trotskyism), Stavros Tornes, Tonia Marketaki – namely the greatest – along with a significant part of the relevant Greek film-makers. The almost complete solo show we realized (next year with footnotes) is a deserved tribute to a film-maker just like us, Greek and foreign at the same time. Associazione Anno uno September, 2017 19 THE STRANGER OF GREECE aiming to impose the authority of the EKATO ORES TOU MAI by Cecilia Ermini State and the strenght of law ( nomos ). Hence the Myth itself becomes a time - Director: Dimos Theos, Fotos Lambri- It may happen, sometimes, that a single less dimension directly connected to nos; cinematography: Takis Kalatzis, film conveys the fundamental idea the modern age, while Antigone takes Yannis Kalovyrnas; production: D. behind a whole philosophy of cinema the form of a veiled mirror in which the Theos; origin: Greece, 1963; format: and, at the same time, it ends up con - film-maker and his future characters 35mm, b/w; length: 19’ taining the “tragic” fate of its own will later identify. In fact, all of Theos’ Digital copy (from 35mm) from author. maker, although unintentionally. heroes will intuitively, rather than in a This is the case of Dimos Theos, film- programmatic way, walk along Antigo - The last hours of Grigoris Lambrakis, maker as well as open minded thinker. ne’s deadly path: Grigoris Lambrakis in killed by the members of an extreme By the mid-’60s, thanks to the heritage Ekato ores tou mai , Zadik the student in right-wing political organization with of noir fiction, , nou - Kierion , Meitanos in Kapetan Meitanos, the complicity of local police, during a velle vague and documentary cinema, i eikona enos mythikou prosopou and political rally in May, 1963. The docu - he came up with a sort of “assimilia - lastly, Hannah in Eleatis xenos. These ment features materials about the social tive” renewal of Greek cinematography origin of parastatal organizations and (anti)heroes are all variations of Antigo - Stavros Tornes in Kierion by making the first openly political ne’s tragedy, as they fight to express their connections with the mechanisms film, Kierion (1968-1974), in contrast the same request, a plea for freedom of power. The events leading up to the with the previously predominant local and self-knowledge, and they keep murder are alternate with scenes of cinema. By setting Kierion in modern struggling until an overwhelming force the crowd crying for the pacifist hero. times, even though the film revolves ultimately extinguishes their élan vital The same incident has subsequentially around the famous “Polk case” of 1948, (with reference to Posidonius, rather inspired Costa-Gavras to his film Z Theos collocates the action into a time - than Bergson). Lastly, the “myth” of An- (1969). local politics and the oil companies. less limbo fit for highlinthing and tigone sadly expresses the comparable The police ends up arresting a Jewish denouncing the atemporality of the fate that the film-maker has reserved collegue, who will later be killed. The social structures. This new time of con - for himself and his own work: Very lim - KIERION journalist realizes that the local author - nection in Diadikasia (1976) becomes ited circulation (in Italy, only a couple Director: Dimos Theos; screenplay: D. ities are trying to conceal the truth to not only the emblem, but the actual showings of Kierion and the presence Theos, Costas Sfikas; cinematography: manipulate the public opinion, there - epiphany of a whole new existence. of Diadikasia at Pesaro Film Festival), George Panoussopoulos; editing: Van- fore he decides to keep investigating The Myth of Antigone does no longer censorship ( Kierion was not circulated gelis Serdaris; cast: Dimos Starenios, on his own... The film is inspired by the fulfill a mere artistic or cultural role, but during the Regime of the Colonels), Elly Xanthaki, Stavros Tornes, C. Sfikas, “Polk case”, the murder of George Polk becomes an instrument to analyze the countless filmmaking issues in Greece , Anestis Vlachos, in 1948, an American journalist who inner workings of the constitutional (four full-lenght films in almost thirty Tonia Marketaki; production: Giorgos went to Greece to interview Markos order, which Theos sees as a real foun - years, not to mention the time gaps Papalios, D. Theos; origin: Greece, Vafeiadis, member of the Communist dation for tragedy, particularly with between one film and another), so 1968-1974; format: 35mm, b/w; length: Party of Greece. The film was not cir - regard to the modern age. The core of much that Theos himself takes the 90’. culated during the Regime of the the Sophocles play consists in the con - place of Antigone and, finally, he turns 35mm from Elleniko Kentro Kinimato- Colonels, whereas it was shown at the flict between two different worldviews. into the Eleatis xenos , the Stranger of ghrafou. in 1968 and broad - On one side we have Antigone, fragile, Greece. cast by German TV at a later time. It yet morally unshakeable, willing to A journalist is accused of murdering an was released in Greece only in 1974, respect the unwritten laws of nature American colleague went to Greece to featuring new scenes and a brand new (physis ). On the other hand, Creon, investigate some issues concerning the editing.

20 21 THE ORIGIN * There’s no other sign. We are back to the newspaper office where (S OME NOTES ABOUT KIERION BY DIMOS THEOS ) Tonia Marketaki * There’s no other title. Vagenàs works. The director is reading the by Thanos Anastopoulos Pantelis Voulgaris * front page aloud, looking for the headline. We only hear someone talking about the Soulis Spanos Kierion: Ancient city of near wonderful opportunities offered by the Director: Giannis Fafoutis , Dimos Theos’ hometown. It was at society of wealth and consumism. -And the headline? What about the head - first inhabited by ; then Aeolians Assistant directors: line? We are sitting in an amphiteatre, listening to came, Thessalians, and many other con - “Thoughts about a historical coup d’ètat!” querors, through a consummate history of Pantelis Voulgaris * an American technocrat’s speech. domination, submission, humiliation ... until Sakis Maniatis A Greek journalist stands up. recently. Maniatis His off-scene voice serves as guidance for In another office, the editor in chief asks Christos Paligiannopoulos * the cinematic storytelling: Vagenàs about the headline for the report Fifty years after its making, Theos’ film has Takis Hatzopoulos * on the American technocrat’s speech. The never ending story. been classified a documentary evidence of Kostas Koutsomytis * Americans have shown up here, one by one. Editor in chief: a whole age, a prophecy and an inauspi - Alida Dimitriou * cious legacy. Architects of geopolitics, geologists ... man - -What’s the headline? Additional production: agers ... The film starts with a sequence of images of Vagenàs: ordinary life. People walk down the streets, Theodoros Angelopoulos * Greek journalist: -Consumism = Plenty for all. Stavros Tsiolis * -Please, Sir, do you believe the theory of while the names who collaborated to the Vagenàs flips through the day old newspa - Diamantis Leventakos consumism is ideal for our country? film scroll above them . per. Iannis Fafoutis Those names share a common objective. American technocrat: He browses over a reportage about demon - Probably a group of friends. But it is deeply Screenplay -I speak from the point of view of a strations. touching for us to read those names today. Dimos Theos * - Kostas Sfikas * technocrat. On the opposite page, a shot of Brigitte Your question is of a speculative nature. Bardot in a bikini. In fact, at no point in Greek cinema history Cinematography Therefore I’d suggest you ask a prophet. we can find so many future directors partic - Yorgos Panoussopoulos * Editor in chief: ipating in the making of a single film. Here -Would you be able to prove that Editing they are, just like they are shown along An attendant approaches the Greek re - Cleopatra used to smoke Marijuana? Vangelis Serdaris * with the people leisurely walking through porter. That would immediately interest half the streets of the unidentified town. Production a million readers. Attendant: Giorgos Papaliòs - Dimos Theos Anestis Vlachos -Mr. Vagenàs, there is a phone call for you. And the headline? Kyriakos Katzourakis * Director Aimos Vagenàs answers the call. He is told What about the headline? Eleni Theofilou Dimos Theos about the arrival of his American colleague Another excerpt of Vagenàs’ voiceover: Dimos Starenios George Morgan (just like George Polk). * Then a black sign with white letters Elli Xanthaki “A journalist should always militate in favor appears: * George Polk was an American journalist Stavros Tornès * of social truth. At that time I had no doubts (an extract of Strabo’s Geography ) for CBS who was murdered during the Kostas Sfikas * about using big words. They intrigued me ... , in 1948. Within months of Grigoris Massalas “... Aeolians entered first, then generations Later on, I figured out that those words were his death, a group of American journalists Gianni Detone of resolute landowners arrived to lay the militating as well, inextricably linked to created the George Polk Award for out - Theodoros Angelopoulos * foundations for a new civilization, although something else. Thus, ideologically entrapped, standing radio or television journalism. Titika Vlachopoulou mantaining some elements of the previous I realized that I was alone. Without any Ritsa Barka culture. After that, Thessalians came, send - We assist to the arrival of George Morgan at social protection ... And the fault was my Stavros Kostantarakos * ing the locals away and changing the city the airport. The following scenes take us own ... I thought about dropping everything Iason Giannoulakis name to Kierion. down the road, which winds along the while I still could, while I wasn’t yet guilty Yorgos Katakouzinos * And then...” cemetery of the fallen allies of World War II. ...”

22 23 At this point we realize this is a deliberate - Today, fifty years later, a strange feeling of ma systematically explores the paths and In this respect, the film has had a double ly fragmentary film, a formalist, iconoclastic, familiarity sneaks up on us. the ramifications of the original point. It fol - birth, concealed by seven years of silence. and therefore deeply political film, totally in Shortly after after that scene, we discover lows the social mechanisms at the base of A double birth and several different read - contrast with the Greek cinema of that peri - that George Morgan has been murdered. history and myth. ings. od. Aimos Vagenàs (etimologically, his name And the headline? When it is finally presented in Greece in And the headline? derives from “aima = blood” and “vageni = What about the headline? 1974, the film is a confirmation of every - What about the headline? barrel”) is arrested, accused of being The film ends the same way it started. thing that has already happened, but the [t/n: In the original article, both involved in the murder of the American People leisurely walking (unaware? uncar - same film in 1967 literally foretells the dic - “Headline” and “Title” are referred to by journalist. Vagenàs cannot be proven guilty ing?) around the nameless town. tatorship that is yet to come. the same term. Therefore: “And the title? and he is released. He starts to investigate A prophecy and, at the same time, a confir - What about the title?”] the case for which he has been arrested, There are no closing credits. mation. The title of the film is not mentioned. whilst the police “assemble” another culprit, The film ends the same way it started. A nightmare, and a paradoxical legacy. the anarchist Jewish student Leonìdas Zadìk Just like a nightmare we cannot wake up The location is not specified. A film ahead of time, yet intimately tied to (which comes from “zadìk = righteous”), from. Just like the time is never clearly defined. its origins. who will commit suicide in his jail. The film ends without even making men - Vagenàs’ voice seems to suggest that all of tion of its title. During the film, the judges cannot gather Vagenàs tries to convince some witnesses this has happened in the past, but nothing The story itself is in a constant search for its evidence to request a crime reconstruction, to speak to the detective, but the main else. His storytelling does not take the form title. therefore said reconstruction remains witness, a maid forced into prostitution, of a journalistic report. It rather resembles a Kierion is not the title of the film. incomplete. bunch of scattered notes. Nontheless, the gets killed, whereas the official line argues Kierion is not the location of the film (nei - style is contemplative and detached, devoid it is a case of suicide. The lingering ques - ther literally, nor metaphorically speaking). Once again, watching the film evokes the of emotional investment. The tone of his tions about the crime continue to multiply Kierion is the name of those who have lost same feeling. voice is bitter and resentful. and, at the same time, they remain unan - their identity. Its virue is lost in a sense of incomplete - swered. ness. So what is Kierion ? Kierion is the story of a failure. Its heritage is the search of the ongoing The crime reconstruction cannot be com - It’s a detective film. A story about the inability to break the truth. pleted because of insufficient evidence. A Greek noir fiction. scapegoating system. The same applies to society and the gener - The Public Prosecutor’s Office blackmails A political fiction. A story about the frustration of such a pro - ations of artists. The first explicitally political film in Greece. him into finding a scapegoat. longed effort to find the truth. He is oredered to accomplish his duty. A story about the unshakable feeling of A few years after Kierion, Theo Angelopou - Z by Vassilis Vassilikòs was published in Vagenàs attempts to solve the mystery. los (who, in the film, plays the role of a 1963. In the same year, Dimos Theos and connivance of a town dweller who cannot He, too, is trying to fulfull his duty. prevent this concealment. journalist collegue) his “ reconstruction of Fotos Lambrinòs co-directed Ekato ores To unveil the truth. the crime ” [ Reconstitution , 1970], which will tou Mai (100 Hours in May), which Costa- To make his contribution to justice, yet Kierion was shot between 1966 and 1967 emerge as an emblematic film of a whole Gavras watched countless times before unsuccessfully. with a sense of urgency resulting from the age. making his own Z (1969), just like Dimos And, before the concealment of the truth, political upheaval of the time, giving many Theos had watched Salvatore Giuliano After which ... he find himself a helpless accomplice. artists a common starting point. The advent (1962), by , before making After which many film directors have fol - The mood remains chill and gruesome. of the dictatorship forced Dimos Theos to Kierion . Cross-fertilization is common in the lowed, creating what will be later referred A threatening, frightful atmosphere perme - move to England, where he addressed the arts, especially during fruitful periods. as the New . ates the city. editing. Banned by the Colonels, Kierion was presented at Venice Film Festival A siren sounds ... It is certainly worth it to read the names list - What we are looking at is a nightmare from in 1968, winning the special mention. In his hotel, George Morgan looks out of ed in the film once again. which we cannot awake. Featuring a new mixing, it was first intro - his balcony. He stares with excitement at They have all been trying, with varying duced to Greece after the fall of regime and the ongoing demonstration down in the The search for thruth, both through the sub - degrees of success, to unveil the truth. awarded at the International street. ject and the form, represents a continuous They have witnessed this turbulent period Film Festival in 1974. His look communicates a sense of urgency. challenge for Dimos Theos’ work. His cine - firsthand. 24 25 Today, many of them have passed away, the sense of ancient tragedy) religion. Creon does not listen to him but their works endure. The need to support (even against the and commands to confine Antigone Kierion exhorts us to recongnize our ori - power) what is right and true. into a cave, where she will be buried gins. The film encourages us to reflect, to reor - alive. In this regard, the current generation of ganise. It calls us to action. Greek film-makers is, either knowingly or It provokes us to explore the paths of truth. unconsciously, heir to this age. The responsability is ours, KAPETAN MEITANOS , I EIKONA ENOS But it is a legacy full of debts. just like the connivance. MYTHIKOU PROSOPOU As a result of history’s ramifications, we’re all in debt, somehow. Director, screenplay, editing: Dimos Theos; cinematography: Yannis Var- And possibly the only way to return it is to DIADIKASIA varigos; cast: Giulio Brogi, Giorgos get back on track, to swim upstream, to leave our murky and rusty waters. Director, screenplay: Dimos Theos; Michalakopoulos, Eleni Maniati, Alex- cinematography : , Aris andors Veronis, Panayotis Botinis, Anyway, as we have learnt from Pre- Stavrou; editing : Andreas Andreakis; Menelaos Daflos; production: Dimos Socratic philosophers, it is never the same cast : Eleni Maniati, Kostas Sfikas, Ange - Theos/Greek Film Centre/TSA Hellenic river. It is never the same water. los Sfakianakis, Nikos Kouros, Yorgos Broadcasting; origin: Greece, 1987; for - Diadikasia You have to keep heading upriver, where Balis; production: Cosmovisions; ori - mat: 35mm, colore; length: 120’. the springs are. gin: Greece, 1976; format: 35mm, col.; 35mm from Elleniko Kentro Kinimato- And the closer you get, the more hidden length: 110’. ghrafou. underground the water will be. Digital copy (from 16mm) from author. So, as the idea for a film is born (as Theo A retired diplomat is in search of mate - Angelopoulos once said), we will grope our Radio/TV; origin: Greece, 1989; format: way through the grass, feeling for the mois - 1400 b.C. On an island in the Aegean rial for his book about captain 16mm, col.; length: 37’. ture in the ground, in search of the water Sea, two brothers, Polynices and Meitanos, an ambiguous and mysteri - Digital copy from ERT. from which everything flows. Eteocles, meet death fighting against ous man lived in 17 th century who each other: Eteocles is a hero to his spent his life leading bands of rebels The extraordinary and complex figure In the distance, we hear the sound of a under Turkish rule, eventually dying siren approaching ... city, Polynices dies as enemy of his of the film-maker Stavros Tornes, brother and the city itself. While funer - during an uprising attempt. Dimos Theos’ associate and friend These are the last words from Vagenàs’ nar - als are held for Eteocles, Creon (who The hero’s adventures unfold around since the 1960s, is outilned a few years ration: the mystery of a sacred icon, seen by holds power) forbids any celebration in after his death, thanks to Theos himself. the diplomat in a monastery, that rep - “My right to back out is forever lost. the name of Polynices. Their sister Theos makes use of various materials I should keep searching in the dark, resents the key of the whole story, Antigone confides to her own sister and clips from Tornes’ repertoire, inter - among the uncaring crowd, just like an Ismene her will to contravene Creon’s while Captain Meitanos’ personality, his accomplice. spersed with a debate with the poet decree: According to the young lady, it actions and his life are handed down I should keep looking for accomplices. by some monks lived many years later. Dimos Agrafiotis, the film-maker Dimos And, just like an accomplice, I’ll always keep is right to follow the tradition estabil - Adveliotis and the scholar Nikos searching”. ished by religion. Caught in the act of Alexandropoulos. burying her brother’s body, Antigone is Dimos Theos trusts the audience. arrested by Creon’s guards, and then [T ECHNE KAI POLITISMOS ] S TAVROS He has faith in their sensitivity, their culture, prosecuted. Haemon, Creon’s son and TORNES , O PHOTOGRAPHOS TIS DIAS - their education. PORAS KAI TOU EPHIMEROU ELEATIS XENOS The experience of immersion in his film Antigone’s betrothed, respectfully asks does not require any mediation. his father to reflect on the injustice of Director: Dimos Theos; cinematogra - Director, screenplay, editing: Dimos There is only a need for disobedience (in his law, which opposes humanity and phy: Sotiris Pifeas; production: Greek Theos; cinematography: Costis Gikas, 26 27 Castles of Sand. Hanna begins investigating the cause of his death and, despite contradictory The Croatian Avantgarde and the informations, she manages to outline the figure of a poet who strikingly resembles her father. Driven by a pri - Bridges with the Serbian Avantgarde, I mal need of identity, Hanna pretends to be the murdered poet’s daughter, failing to foresee the tragic conse - quences of her choice.

Regina Remencius in Eleatis xenos

Costis Papanastasatos, Akis Kersanidis; music: Kostis Theos; cast: Regina Re - mencius, Telemachos Krevaikas, Tage Larsen, Yannis Nezis, Renos Mantis, To - nia Botanaki, Angeliki Girginoudi, Eleni Maniati, Katerina Razelou, Anna Wich; production: Greek Film Center/Studio 1/Asya Film/Focus Film; origin: Greece/ Belgium//Hungary, 1996; for - mat: 35mm, col.; length: 130’. 35mm from Elleniko Kentro Kinimato - ghrafou.

Hanna Bluemart, 24 years old scholar, travels to to find her father. Shortly after her arrival, she discovers that the man who is likely to be her father has just died under mysterious circumstances.

28 29 EXPERIMENTAL CINEMA IN CROATIA young prospective film-makers, initiat - GEFF a 10 hour selection of American subsidy system was re-oriented (subsi - ed energetic discussions concerned avant-garde was presented by P.A. dies being granted to persons and their From the end of ‘50s and throughout with the idea of “anti-film”. They initi - Sitney. projects and no longer to the state stu - the ‘60s there was a surge of mod - ated a discussion comparing all known The festivals were quite exciting dios), and the new system of “author- ernism in Croatian art which was contemporary (and historical) mod - events, with large audiences, and cinema” became dominant and relative - encouraged by the loosening ideologi - ernist tendencies, with special empha - organised discussions which were fre - ly open to new-comers and to (milder) cal “hug” of socialist-realism and the sis on the cultural environment around quented not only by filmmakers (from modernist tendencies, many of the gradual, more general liberalisation of them (“anti-theatre” shows in Zagreb, all parts of Croatia, and Yugoslavia), avant-garde artists were assimilated to the socialist system in Yugoslavia after new music at Zagreb International but also by film critics, film theoreti - the mainstream cinema. Consequent ly, the break with Stalin in late ‘40s. Some Music Biennial founded in 1962; home cians, philosophers, artists, musicians the late sixties and the seventies wit - robust “avant-garde” tendencies sprang movement and the international exhibi - and literary figures. Stimulated by the nessed a dispersion of the avant-garde up in the various artistic fields, among tions of modem art, and the “new ten - festival and the general atmosphere, film movement in Croatia, leaving only them the cinema, specially in the cine - dencies” in Gallery of Modern Art in even non-avant-garde filmmakers made few pioneering filmmakers irregularly ma-clubs. Zagreb, from 1961 on; French “nou - some remarkable playful, often ironi - producing new avant-garde work (Go- All modernist phenomena, and notably velle vague” films, and new Italian cally conceived, avant-garde contribu - tovac, Martinac, Petek, e.g.). Ironically: those of the avant-garde, were organi - films, “Zagreb animation school” films tions. The two main centres of avant- the success of modernism in main- sationally marginal within global cul - etc.). The discussions were accompa - garde film-making were cinema clubs stream cinema, and the predominance ture, though they possessed high nied by a surge of more “procedural” in Split and Zagreb, but there were fre - of “author cinema”, entailed the waning “excitement value” as well as cultural avant-garde film-making, some of it quent festival and personal contacts of the avant-garde film movement. attractiveness. The extremely marginal anticipating a later trend to structural with the filmmakers of similar orienta - The second half of the ‘70s, however, position of modernist manifestations film. Examples are to be found in tion in other cinema clubs in Yugoslavia witnessed a slow recovery of avant- was quite important - it made mod - the powerful personality of Tomislav (in Ljubljana, Slovenia; in Belgrade, garde activity, and a widening of the ernism possible within the still restric - Gotovac, the eclectic experimenter Serbia; and Sarajevo, Bosnia and field. Cinema-clubs and amateur film tive and biased ideological surveillance Vladimir Petek and the later, radical Herzegovina). The more prominent festivals were still available to host any - of a communist regime. The position “anti-film” -work of M. Pansini). Analo - artists in Split during ‘60s and ‘70s were, one who wanted to create avant-garde of amateur film-making, sustained by gous to the Zagreb Music Biennial, besides Ivan Martinac who was the works. But the conceptualist, “new art” widespread cinema-clubs (with rudi - Pansini established in 1963 the bi-anni - most influential personality, also Ranko environment (museums of contempo - mentary 8mm and 16mm equipment, al avant-garde film festival, named Kursar, Vjekoslav Naki ć, Andrija Piv če - rary art, art galleries) became an impor - stock, and laboratory services available GEFF (Genre Film Festival). “Genre” vi ć, Ante Verzotti, Lordan Zafranovi ć as tant source of experimental film “new - free of charge which were part of “peo - her stood for experimental film-making well as others. In Zagreb, besides comers”: e.g. Mladen Stinilovi ć, lvan ple’s education” socialist programme), according to the UNICA classification. Pansini, Gotovac and Petek, Tomislav Ladislav Galeta (Zagreb), lvan Faktor made it possible for modernism to The festival brought together every - Kobija, Ivo Lukas, Andelko Habazin, (Osijek), Želimir Kipke (Zagreb). make its appearance quite early. In the thing with a hint of modernism and the Goran Švob and others were active. Moreover, the introduction of video at mid- and late ‘50s a few stimulating avant-garde and all cinematographic In spite of the GEFF-induced impres - the beginning of ‘70s attracted some of individuals (e.g. Mihovil Pansini, a stu - disciplines in existence in Croatia (ama - sion of avant-garde vigour, amateur the artists and they eventually became dent of medicine, in Zagreb, and Ivan teur films, professional feature “author conditions were highly inadequate, important video-artists - Sanja lvekovi ć, Martinac, a student of architecture, in films”, documentaries, animated films poverty-stricken technically and finan - Dalibor Martinis, Goran Trbuljak, and Split and Belgrade) shot some ambi - etc.). Programmes of the European ‘first cially, and, outside of GEFF and ama - later on the late Hrvoje Horvati ć e tious “poetic’’, “atmospheric” - “state of avant-garde’ and contemporary sam - teur film festivals, almost neglected. No Breda Beban. mind” - films, that later on stylistically ples of the ‘second avant-garde’ were long-term subcultural ambience arose Hrvoje Turkovi ć, in Croazia. marked the “Split Circle”. At the begin - also shown. There were four GEFFs in to sustain filmmakers, and no systemat - Onde dell’altra riva , cat. Alpe Adria ning of ‘60s, Pansini, joined by other 1963, 1965, 1967 and 1970. At the 1967 ic support was ensured. When the state Cinema 1998-99 30 31 IVAN MARTINAC selves, but all of them agree to some and they stayed longer in front of the ple, in Belgrade, those who witnessed (1938-2005) extent: they make their films for the nudes and then in front of the generic that period of time are still impressed audience and they are glad if one or photos, whereas no one was stopping by his cinematographic personality and Well when I’m dead and in my coffin two millions people get to see them. by my photos. So they told me: «Oh, by the influence he had over the With my feet turned toward the sun But if one delves into this so called man, you take photos nobody is inter - Serbian film-makers. They went so far Come and sit beside me darling phenomenon of the audience, they real - ested in, that means they have no sense with their statements to claim that Come and think on the way you done . ize that it is not possible to make a at all». And then, one morning, and I’m Martinac somehow enhanced the (House of the Rising Sun) work for the public en gros . I do not see not making anything up, it actually famous Serbian Black wave , influ encing myself as smarter than the others, they happened, a gentleman came; he its most notable exponents, such as Artist and intellectual, film-maker, may very well be intelligent, but then, quickly passed next to the other pho - Žika Pavlovi ć, Dušan Makavejev and screen writer, editor, cameraman, mas - why do they claim otherwise? It is clear - tos, he took the chair and sit in front of Želimir Žilnik. Later on, because of pri - ter of amateur cinema, poet, journalist, ly senseless to make a film for yourself my photos. He stayed the whole morn - vate reasons, Martinac comes back to architect, designer, painter, astrologer, – in which case you do not even need ing. He came back the following day Split, although he intended to complete chess player, debater... he believed that to make it, you can create it inside your and, once again, he stayed the entire his studies at the school of cinema in an artist should never be limited to a mind, shoot it with your invisible cam - morning. That was enough for me. Belgrade and to shoot some films there. single means. He claimed that he had era. But, on the other hand, the author Author’s declarations, When he returned to Split, he found does not make the film for the public worked as architect just because, as Split, 1980, in Ranko Muniti ć, the Kino Klub very neglected. He such, he could have worked at his own with the capital P, the cinematic artwork Martinac , Hrvatski filmski savez, 2011 quickly took its reins and he started conditions, without interference, realiz - is something different. with cinema lessons, he founded the ing films that would meet his own cri - I compared the cinematic work, or any film library... He created the whole teria. He realized seventy-one short other work of art, to a specific antibiot - MARTINAC (čISTI FILM ) atmosphere around cinema and he is ic. For example, if you catch a cold, no films, one full lenght film, dozens of Director, screenplay: Zdravko Musta ; considered the founder of the School of film-related books and nine collections one is going to give you Ceporex, as ć Alternative Film in Split. He is one of Ceporex is an expensive antibiotic. If cinematography : Boris Poljak; editing: of poems. Damir u i ; contributions : Ivan Ladislav the most prominent chroniclers of Split you have a cold, they will give you č č ć and Croatian cinematography». aspirin. They will give you Ceporex Galeta, Ješa Denegri, Joca Jovanovi ć, Zdravko Musta ’s declarations , only if you actually need Ceporex. If Sava Trifkovi ć, Marko Babac, Predrag ć THE NEED FOR CINEMA Dokumentarni , 25 th April, 2016 you need films, you should be given Popovi ć, Želimir Žilnik, Dragoslav Authors of films and other works of art, films, if you don’t need films, you Lazi ć, Andrija Piv čevi ć, Ante Verzotti, but most notably those who belong to Lordan Zafranovi , Dunja Ivaniševi , should be prohibited from watching ć ć MONOLOG O SPLITU the world of cinema, have often spoken films. For people who need films, those Hrvoje Turkovi ć, Diana Nenadi ć, Ivan nonsense about the public/audience who find films therapeutic, those who Obrenov, Ivica Bošnjak, Mirko Krsti- Director, screenplay, cinematography, phenomenon. I don’t know whether it are kept alive by them: it is for these čevi ć, Mirko Petri ć, Drago Šimundža, editing: Ivan Martinac; music : Bolero di is due to circumstances or habits, or people that fims are made. In 1955 or Petar Opa čić, Marin Bariši ć, Tonko Ravel; production: Kino klub Split; ori - perhaps to something different – I 1956, we three or four of the architec - Maroevi ć, Vjekoslav Naki ć; production: gin: Yugoslavia (Croatia), 1962; format: watched and listened to what people ture university realized a photography Hrvatski filmski savez; origin: Croatia, 16mm, b/w; length: 7’21” 2 frames. say, in the newspapers, on television, group show. I exhibited some weird 2016; format: HD, col.; length: 62’. 16mm from Hrvatski filmski savez. and the most interesting fact is that, photos of strange interiors, the other Digital copy from Hrvatski filmski savez. intentionally, they are the ones activat - collegue exhibited some nudes and the Personal and subjective document about ing such relationship between the last one different kinds of photos, more «Martinac used to be very important... It Split, made of 169 shots, it is a mosaic author and their public. It is promoted generic. I remember that the students would be better to start chronologically film, an interweaving of simple, com - by the author or the interviewer them - marched through the exhibition spaces from his work in Belgrade. For exam - mon moments of everyday life, realized

32 33 Digital copy (from 16mm) from Jugo- slovenska kinoteka.

«In Lavirint , the boy and the girl want to come closer to each other, but a third mysterious man shows up at each of their attempts, keeping them from realizing their wishes. Constantly dis - turbed, they eventually separate. Such is the subject of this little symbolic story. We made it during the gray days of 1960. [...] For the role of the young man I chose Ivo Martinac, handsome boy of manly appearance from Split, member of KinoKlub Beograd, amateur Frames from Fokus Ivan Martinac and Snežana Luki ć on the set of film-maker whose theoretical reason - Lavirint ings were more convincing than the films he had made». through a contrived editing. Three par - «Fokus is a film about the mere death hates them. Ugly people die of Živojin Pavlovi ć, Planeta filma , allel locations (beach, square and Mediterranean death in the sun. Fokus old age. Zepter Book World, graveyard) represent three fundamental is a purist film. Fokus is a film about fix - Question n. 4: How do they see death? Belgrade, 2002 segments of the colorul and multidirec - ation. When I pressed the shutter but - Answer n 4: Thier faces are pointed tional human existence; and, thanks to ton of the Cameraflex starting with towards death, the back of their heads LAZAR STOJANOVI the scissors, they all share the same Fokus , my intention had a name: death. towards the spectator. The intention is ć (1944-2017) common denominator. Martinac com - Death walks around the world, from to fix their attention on death. Fokus is pares the film to a vitrage of the grey south to north, along all the meridians all about fixing. The net of the film, ONA VOLI cathedral. The multicolored vitrage is and the parallels, yet, to me, no death which we call fragments of the film, is part of the architectural behind which seems closer to the man than the daily, used to catch fishes - framings». Director, screenplay, editing: Lazar there is always one idea, the idea of normal Mediterranean death in the sun. Analiza vlastitog filma. Fokus Stojanovi ć; cinematography: Velibor kada i kako , Vidik, Split, 1968 modesty. Quoting the Croatian poet A.B. Question n. 1: Which Death? Answer n. Andrejevi ć; cast: Dragomir ćumi ć, Šimi: «Tiny, we walk under the sun». 1: The death in the sun. Branka Petri ć; production: Akademija Question n. 2: When Death? Answer n. za pozorište, film, radio i televiziju; ori - 2: When the man and the woman are LAVIRINT gin: Yugoslavia (Serbia), 1968; format: FOKUS so intimate that they do not seem too Director, screenplay: Živojin Pavlovi ć; 35mm, b/w; length: 11’. Director, screenplay, cinematography, close. The man and the woman are cinematography: Aleksandar Petkovi ć; 35mm from Jugoslovenska kinoteka. editing: Ivan Martinac; music: Joan Baez casual observerers of death. editing: Ivan Martinac; music: Zoran (House of The Rising Sun ); cast: Tatjana Question n. 3: Which man and which Simjanovi ć; cast: Snežana Luki ć, Ivan Ona voli is the first film made by the Martinac, Lordan Zafranovi ć; origin: woman? Answer n.3: Beautiful man and Martinac, Mile ćorovi ć; production: student Lazar Stojanovi ć, enrolled for Yugoslavia (Croatia), 1967; format: beautiful woman, because only beauti - Kino klub Beograd; origin: Yugoslavia the direction at the Academy of film, 35mm, b/w; length: 7’26” 3 frames. ful people have intimate knowledge of (Serbia), 1961; format: 16mm, b/w; theatre, radio and tv in Belgrade, in the 35mm from Hrvatski filmski savez. death; ugly people hate death and length: 3’. class held by Aleksandar Saša Petrovi ć. 34 35 It is the portrait of a young woman into 1968, the brutality of police, Tito’s from graduating (he will make it only fashion, beat music and Julie Christie. speeches, the period of fascism, of the in 1976, with the film Presuda ). Ustaše and the Chetniks, etc.) with Tom’s moments of everyday life (a PLASTI čNI ISUS Zagreb man in Belgrade, film enthusi - TOMISLAV GOTOVAC ast, broke, taken care of by women, (1937-2010) Director, screenplay: Lazar Stojanovi ; ć distrustful, with little respect towards editing: Lazar Stojanovi ć; cast : Tomislav regime, power and leader of the state), EVERYTHING IS MOVIE Gotovac, Svetlana Gligorije vi , Vukica ć undoubtedly expressed the troupe’s by Tomislav Gotovac Djilas, Kristina Pribi čevi ć, Živojin and the director’s point of view. Gligorjevi ć, Malanija Bugainovi ć, Mida At the Architecture Faculty I met a per - Furthermore, Plast ični Isus introduced, Stefanovi ć; production: Akademija za for the first time in the Jugoslavian cin - son who meant so much to me, and for pozorište, film, radio i televiziju; origin: ema, taboo subjects such as homosex - whom I meant as much. It was Ivan Yugoslavia (Serbia), 1971; format: uality and promiscuity, presenting a Martinac, in 1955. That year, we started 35mm, col.-b/w; length: 73’. male nude for the first time. After the a conversation about cinema on our 35mm from Jugoslovenska kinoteka fall of communism, in 1990, the film is own terms, we started to create our (by Centar film’s permission) rehabilitated, and it 1991 it wins the cinematographic world, therefore the FIPRESCI award at the Festival des world in general. We talked about films With Plast ični Isus Lazar Stojanovi ć, in films du monde de Montréal. in a way that was not officially recog - 1971, completes his studies of film nized. During that period, those in the Lazar Stojanovi ć’s fate cannot but touch direction at the Academy of Belgrade Tomislav Gotovac, his friend and col - business of writing about films were: with highest honours. It is the first col - league, creative partner with whom in Rudolf Sremac for «Narodni list», if I re- laboration between the Academy and 1969 he had realized the film Zdrav member correctly, for «Vjesnik», instead, Centar filmskih radnih zajednica, which podmladak (Healthy Youth), confiscat - it was Mira Bogli ć, Ive Mihovilovi ć for used to award each year its best stu - ed afterwards. Until then, Gotovac, as «Ilustrirani vjesnik», Vicko Raspor, Vlada dent by financing their first full-lenght he himself declared in several occa - Petri ć, Vladimir Poga čić for several film. The provisional title for the film sions, spent the best years of his life in Bangladeshi newspapers and periodi - was Putovanje u mestu [Journey on the Belgrade. For him, Belgrade was the cals. They used to talk mostly about Spot], become Plast ični Isus in the final symbol of friendship and freedom, and sociology, psychology and message, version. Shortly after the exam, the film the political events only contributed to whereas we discussed almost exclu - is confiscated, the author prosecuted such effervescent wellness. After the sively of how (the film was made). It and, in 1973, sentenced to three years subpoena, Gotovac is frightened, book- seemed like we only debated over of detention. Many of the professors ed by police, expelled from Student- techinque. For example, the film we who constituted the selection board servis, he can’t find employment and loved so much in that period was Rear went back on their previous decision, he feels like having been manipulated Window by Hitch, which we watched claiming that the version they had by his friend... Lazar Stojanovi ć, by several times. We discussed about assessed and approved was different, now, is “the star of the dissidents”, structure. Jimmy Stewart is often filmed unfinished. Indeed, the version was whereas Gotovac is “the victim”. Sto- through close ups or choker shots, not complete in its post-production, janovi ć exploited the story of his life to whereas, for the other visible elements, From the film Plast ični Isus , scandal film also yet it does not lack the contents which, referred to as “the plastic bomb”. In these frames: create a character with his same name, wide or various mid shots are used. by combining the material from the Tomislav Gotovac, Vukica Djilas and Ljubiša but who is not truly him. For political There is one thing that is not easy to archive (student demonstrations in Risti ć. reasons, Gotovac will be prevented explain or, perhaps, that I find difficult 36 37 to describe. It is how we started giving Akademski kino klub; origin: Yugo- importance not to the content of the slavia (Serbia), 1964; format: 16mm, film, nor its genre, but to the rhythm b/w; length: 8’ 18”. that a given character brings into each 16mm from Hrvatski filmski savez. film, their blood circulation, their breathing. We perceived how behind [B EOGRADSKA TRILOGIJA ] every film, provided the film is worthy, PLAVI JAHA č (G ODARD - A RT ) there is a character who might be, for Director, screenplay: Tomislav Gotovac; example, nervous, and therefore this cinematography, editing : Petar Blago - peculiarity inspires the movements of jevi ć; music: The African Beat di Art the camera, of the dolly, of the close Blakey; production: Akademski kino ups; in other words, they define the klub; origin: Yugoslavia (Serbia), 1964; rhythm and the angle... this is what we format: 16mm, b/w; length: 14’ 24”. were talking about. The actual content 16mm from Hrvatski filmski savez. interested us only in relation to some action. George Stevens is at the core of [B EOGRADSKA TRILOGIJA ] all my thoughts about cinema. I feel KRUŽNICA (J UTKEVI č - C OUNT ) like thanks to him (and to his example) I would be able to explain everything Director, screenplay: Tomislav Gotovac; cinematography, editing : Petar Blago - Tomislav Gotovac on the set of Pravac , At p. 38, three sketches by Gotovac representing about a film, about any film. I started the first film of the Beogradska trilogija the camera’s movements in the three films . watching A Place in the Sun in 1952, jevi ć; music: Sent for You Yesterday and I could watch it everyday. There is (and Here You Come Today) , Big Orchestra Count Basie, Jimmy Rushing; everything in that film... through II) in the Mosor restaurant – PRIJEPODNE JEDNOG FAUNA produ-zione: Akademski kino klub; Sve je to movie , «Film», 1978 were made in Belgrade from the Director, screenplay, editing: Tomislav origin: Jugoslavia (Serbia), 1964; for - Albanija palace, on the Boulevard rev - mat: 16mm, b/w; length: 10’ 2”. Gotovac; cinematography : Vladimir Pe- olucije and in the city taverns. Petar 16mm from Hrvatski filmski savez. tek, T. Gotovac; production: Kinoklub BEOGRADSKA TRILOGIJA Aranòelovi practically prevented me ć Zagreb; origin: Yugoslavia (Croatia), (Belgrade Trilogy) from becoming an assassin, Kru žnica «But when God shuts all the doors, he 1963; format: 16mm, b/w; length: 9’ 23’’. still leaves a small window for you, and and Plavi jah ač became my first prop - 16mm copy from Hrvatski filmski er films, as well as cult films. They the film-maker Petar Aranòelovi ć from savez. Belgrade, for me, respresented that are the first truly structuralist films, as window. When I complained with him only in 1967 Micheal Snow will shoot Undisputed winner of the GEFF award about what had happened, he told me Wavelength , which granted him world - (1963) under all the categories. to go to Belgrade. So all the films I wide fame and glory. Makavejev, for «The structure, in Faun , was program - intended to make in Zagreb – Kru žnica example, after watching Snow’s films, matic, It was like Jonas Mekas’ mani - [B EOGRADSKA TRILOGIJA ] should have been shot from the top of commented: “But this has already been festo for underground , like dada ’s PRAVAC (S TEVENS - D UKE ) the Neboder (Skyscraper) in Zagreb, made out here, in 1964.” When he told manifesto. I wanted to create some - Director, screenplay: Tomislav Gotovac; Pravac on the Maksimir-Dubrava tram - me about this episode, I said to myself: thing that would eventually become a cinematography, editing : Petar Blago - way and Plavi jaha č (which inspired “It is nice that you told them so, but you flag. I entitled it Prije podne jednog jevi ć; music: The Creole Love Call by Lordan Zafranovi ć for his renowned could have shown my films, at least.”» fauna [Antimeridian hours of a faun], Duke Ellington, Kay Davis; production: Ljudi u prolazu II – People passing «Film», n. 10-11, 1977 as a tribute to Mallarmé and Debussy, 38 39 who I was really fond of. And to mother’s last name). It is a compilation demonstrate that this is nothing but of four student films ( Peeping Tom , movie that we usually can find in a cin - Willem II , No. 187 and Slani kikiriki ), ema, I included Godard’s soundtrack in from the inserts of his Obiteljski film I the first part and George Pal’s sound - and Obiteljski film II , inserts of Tom by track in the second one. And, for me, Tanja Živanovi ć Ferro, edited with the “antimeridian hours” represented archive material about Belgrade of the desire, nostalgy, because in that period 1930s, parts of Diango Reinhart’s con - I had no chance to go out, I used to certs and scenes from Vivre sa vie , work everyday from 7 a.m. to 2 p.m. Bande à part and Les cara biniers by Practically, I didn’t know anything of Godard. The film’s title, made of two Zagreb in those hours. The city was parts (the first in phonetic transcription) mine during the afternoon, evening is drawn from the history of jazz (which and night». was one of Gotovac’s obsessions/pas - «Film», n. 10-11, 1977 sions): from Quintette du Hot Club de France, the quintet Diango Reinhart performed with from 1934 to 1939, as HOT KLAB OF FRANS ILI SALT well as from The Salt Peanuts , one of PEANUTS Dizzy Gillespie’s greatest successes. Director: Antonio G. Lauer [Tomislav Go tovac]; cinematography: Juan Carlos MIHOVIL PANSINI Ferro Duque, T. Gotovac, Slobodan (1926-2015) Šijan; editing: Boško Prostran; cast: Juan Carlos Ferro Duque, Zlata Bili , Larry ć MIHOVIL PANSINI - B RODOVI NE Johnson [Lazar Stojanovi ć], Lepo sava Kangrga, T. Gotovac, Rajko Škarica PRISTAJU Rezon [Gojko Škari ć], Sofoklo Rusovski Director, screenplay, editing: Milan [Rusomir Bogdanovski], Vanda Ericsson Bukovac; cinematography: Boris Zegnal, [Danica Mirkovi ć], Anna Karina; produc - Dušan Vugrinec-Vugi; production: tion: Akademski kino klub/Dom kulture Hrvatski filmski savez/utorski studio ffv Studentski grad Beograd; origin: Serbia (Zoran Tadi ć); origin: Croatia, 2008; 2007; format: video, b/w-col.; length: 59’. format: video, b/w-col.; length: 49’. Digital copy (from 16mm material) Digital copy (by Beta SP) from Hrvatski from Institut Tomislav Gotovac and filmski savez. Hrvatski filmski savez. Mihovil Pansini, master of amateur The film Hot Klab of Frans o Salt cinema, otorhinolaryngologist, scientist Peanuts is the last work by Gotovac, and innovator, recalls during a long who in 2003 has officially changed his interview his childhood in Kor čula, the name and, from now on, signs himself arrival of the to the island, the Antonio (his first name) Lauer (his period of his studies in Zagreb, his pas - Tomislav Gotovac and Slobodan Šijan 40 41 Jackie Raynal, sion for films, the birth of Genre Film SCUSA SIGNORINA (A NTIFILM ) Festival (GFF), the gathering of the authors of Sperimental Cinema. Director, screenplay, cinematography, from Zanzibar to Trieste editing, music: Mihovil Pansini; pro - duzione Kino klub Zagreb; origin: Yugoslavia (Croatia), 1963; format: ZAHOD 16mm, b/w; length: 13’. Director, screenplay, cinematography, 16mm from Hrvatski filmski savez. editing: Mihovil Pansini; music: Billy Holliday (song Gloomy Sunday ); pro - Scusa signorina was originally intend - duction: Kino klub Zagreb; origin: ed to be entitiled S guza signorina Yugoslavia (Croatia); 1963; format: (Young Lady with Butt) but, later on, 16mm, b/w; length: 16 57”. the author considered it too vulgar. Digital copy (by 16mm) from Hrvatski Mihovil Pansini always believed that filmski savez. human beings, as part of the environ - ment, possess the ability to express Dedicatd to Dušan Makavejev as a themselves in a wide array of manners token of appreciation for donating the and that, being supported but the envi - film. Zahod is shot in Kor čula, Pansini’s ronment, they are able to resist. native island, on the 26 th of July, 1963. Technology is another indipendent tool The protagonist is an elderly man who through which humankind communi - n e

tirelessly brings water from the shore to cates. With his camera that freely hangs h o C

the public toilet, continuously washes it on his back, filming moments of every - a i r

and keeps doing so even after the word day life in Zagreb, without any interfer - o t c kraj (the end) shows up, four minutes ence from the author, Pansini makes i V

©

before the actual end of the film. his experiment in line with the “antifilm” o t

Tomislav Gotovac, huge jazz enthusi - spirit. The camera is left “autonomous”, o h ast, has never forgiven Pansini for hav - free to choose what to focus on, during p ing been the first to use Billy Holiday’s the entire filming process. music (the song Gloomy Sunday ). At the KinoKlub Zagreb, just like in com - parable locations of the avantgarde BRODOVI I DALJE NE PRISTAJU scene in Europe and in America, dis - Director, screenplay: Ivan Ramljak; cin - agreements among authors were by no ematography: Smiljka Guštak; editing: means uncommon (for instance, the Ivor Šonje; suono: Hrvoje Radni ć; pro - conflict between Gotovac and Petek duction: Restart; origin: Croatia, 2017; led the former to Belgrade in order to format: 16mm, col.; length: 2’45’’. make his famous trilogy), although 16mm digital copy from author. Pansini has always considered the ambience of the KinoKlub friendly and A heartfelt tribute of the great-nephew stimulating. Ivan Ramljak to the great-uncle Mihovil Pansini.

42 43 Seth Holt, UN FILM 1988/2018 - J OURNAL DE (1963), Héraclite l’obscur by Patrick JACKIE Deval (1967), La Concentration by Philippe Garrel (1968), Détruisez-vous: the Wandering Gothic, I Director: Jackie Raynal; origin: France le fusil silencieux by Serge Bard (1969), 2017; format: video, b/w and col.; La Maman et la putain by Jean length: 26’. Eustache (1973). Among the films she Digital copy from director. made: Deux fois (1968), New York Story (1984), Hôtel New York (1984), Notes on It’s a journal of my rather adventurous Jonas Mekas (2000), Bandes à part life, which includes my travelling to (2001), Around Jacques Baratier (2002), New York, Trieste, Zanzibar, Paris, New Portrait of Simon Lazard (2003), La Orleans and to the Stromboli island Nuit de l’ours (2005), Gougnette (2009), along with Nigel, my French bulldog. Elliott et Bulle (2013). The film mainly focuses on what Nigel sees during my many meetings with my friends, family, colleagues and business partners! The “cast” includes: André S. Labarthe, Lazslo Szabo, Bulle Ogier, Elliot Stein, Ann Rice, Jonas Mekas, , David Bowie, Julian Schnabel, Daniel Pommereulle, Joe Saleh and many others. (Jackie Raynal)

JACKIE RAYNAL Born in Poilhes in 1940, Jacqueline Raynal was as an actress, and especial - ly as a film editor, a presence that con - nects some of the most intense figures of the Nouvelle Vague: Jean-Daniel Pollet, Eric Rohmer, Philippe Garrel, but also the heretic José Bénazéraf. She created and performed in several films that, as those still currently under way, are multi-year works in progress. Among others, she collaborated to the editing and directing of Merce Cunnin - gham by Etienne Becker, Jackie Raynal, Patrice Wyers (1963), Cover Girls by José Bénazéraf (1963), La Carrière de Suzanne by Eric Rohmer (1963), La Boulagère de Monceau by Eric Rohmer

44 45 I D O NOT REGRET THIS JOURNEY ... and sycophants, let’s be realistic: If Holt human; Socialist Realism!, MacMahonism!, underrated British auteur post WWII, Holt by Olaf Möller faced a lot of difficulties along the way then where are you when we need you the sees society in essentially nihilist terms; still, this was partly due to a lack of reasonable most?). both cared enough about life to wage war During his lifetime, Seth Holt (1923-71) was commercial success (especially after Danger Then again: It’s only in television that Holt with their works at a bourgeois world the perennially unrealized hope of British Route , 1967), partly to his infamous temper, held back, focused on getting the job at whose pettiness and passion for backstab - film, the epitome of a cinema never to be in and partly to his drinking; Holt was not an hand done – while in cinema, he unleashed bing they despised. Both, curiously enough, a culture where, as Christopher Wicking easy man to deal with – and with the title furies of style and substance each and every were born abroad – Holt in Mandatory had it, singularity counted for more than credit motive of Danger Route , he rue- time. If we leave his splendidly morbid cum Palestine, Guillermin in France; for neither, originality – the genius Movie ‘s writers while sardonically admitted as much: unrepentantly brash Bram Stoker-adapta - Britain ever became home. dreamt of; in death Holt became nothing Snakes and Ladders; in all that, he resem - tion Blood from the Mummy’s Tomb aside, Let’s take it as a premonition, an apt symbol short of a legend, the idea of auteur mau - bled an earlier master maudit whom Holt fate lend Holt’s movie œuvre a curious sym - for Holt and his cinema, that early in dit made British flesh – a Tarkovskij of not only worked with (as editor on The metry: Nowhere to Go and Danger Route are his apprenticeship at Ealing, working on genre, lurid and wise where the venerated Spider and the Fly , 1949) but was in fact icy essays in noir existentialist loneliness, Charles Frend’s Scott of the Antarctic (1948), Soviet director was grandiose and religious related to: Robert Hamer. Also, while his the former in a more quietist gris key, the he became the voice of a mortal storm – the (did anybody ever discuss Tarkovskij along career as a director was short, he did get to latter disguised as an exercise in brooding blizzard that finished of this vainglorious auteur maudit -lines; or is that a concept work with some consistency: only between while nasty espionage thrills; Scream of endeavor in Empire. reserved for the low budget entertainment Nowhere to Go (1958), his feature debut, Fear and The Nanny (1965) both belong to sphere?). Holt’s was not a lonely case: Let’s and Scream of Fear (1961), the sophomore that tres 60s trend of vulgar Sade’an family mention (in honor of Wicking’s splendid effort that made his name, ditto between auto-annihilation Euro Gothic rooted in NOWHERE TO GO The American Vein , 1979) unheralded Danger Route (1967), the last production Henri-George Clouzot’s Les Diaboliques minor masters like Gordon Hessler and Holt completed on his own, and the Michael (1954), escalated in the States by Robert Director: Seth Holt; story: from the David Greene, Robert Day and John Carreras-finished Blood from the Mummy’s Aldrich with Whatever Happened to Baby novel by Donald MacKenzie; screen - Llewellyn Moxey, genre specialists all with Tomb (1971), did several years pass by Jane? (1962), and turned into a filone ‘sque play: S. Holt, Kenneth Tynan; cine - prolific careers between cinema and televi - without the release or airing of a piece say - subgenre back again in the Old World by matography: Paul Beeson; editing: sion, GB and the US, who were yet unable ing “Directed by Seth Holt”; otherwise, the likes of Jimmy Sangster (with his Harry Aldous; music: Dizzy Reece; cast: to find their proper places in Borehamwood which is to say between 1961 and ’67, he Hammer works) or Alfred Vohrer (with his George Nader, Maggie Smith, Bernard or Bray. Holt, in contrast, had always trou - was constantly on the job, if not for the Edgar Wallace-variations); in the middle, Lee, Geoffrey Keen, Bessie Love; pro - ble just staying afloat; carving out a niche movies then in television where he used his there’s a lone obelisk of adventure, exotica, duction: Michael Balcon for Ealing; ori - recognizably his very own; getting personal impeccable skills to good anonymous avail delirium with Station Six - Sahara (1963), a projects - ao. a Bakunin biopic and a mod - on episodes for Danger Man , Espionage huit clos in violent sunshine, rude and lewd gin: UK, 1958; format: 35mm, b/w; ern(ized) take on Thomas Middleton’s and Court Martial (self-effacing efficiency in spirit while of an almost brutal coldness length: 89’. Women Beware Women (1657) - funded; being a virtue only too rarely appreciated in in execution. 35mm from Werkstattkino. escaping the shadow of having been an edi - filmmakers, too often derided as mere tech - Holt’s art is angular, determined, unre - tor of almost inhuman abilities who single - nique, impersonal and boring: while lenting, tightly wrought and paced with «Seth Holt, Hamer’s brother in law, [...] handedly whipped several pictures now Andrew Sarris in The American Cinema , a clockwork-like precision. Actors are makes his debut, after an apprentice - deemed classics into shape (most famously 1968, judged Holt justly enough Expressive arranged, positioned, fixed in rooms and ship as editor lasted almost 15 years, Karel Reizs’ Saturday Night and Sunday Esoterica, he describes him in terms that landscapes, like sculptures, in Scream of with Nowhere to Go , according to the Morning , 1961, but also, uncredited, Tony stresses his extraordinary craftsmanship in a Fear and Station Six - Sahara to especially author’s definition, the “less Ealing film Richardson’s The Entertainer , 1960), making way that makes his artistry feel almost acci - disturbing effect. Of and on, objects resem - ever done”, [...] as it repudiates the idea him the studio-trained old school craftsman dental – somewhat similar, in fact, to the bling primitive fetishes more than anything of community and solidarity (even who saved the Free Cinema hotshots whose way Betrand Tavernier & Jean-Pierre practical and useful get the kind of screen reputation was based on a disdain for Coursodon deal with the great Peter Yates time commonly reserved for stars (just among criminals) as a consequence of exactly these abilities and the poetry they in their 50 ans du cinéma américain , check out the fur coat in Station Six - a story of desperate solitude and it could bring forth. But before we get into a 1991…; in the end, they all fall for one of the Sahara ). At the edges of Holt’s aesthetics, erases any impression of reassuring martylogue that sounds like the jeremiads oldest clichés of 19 th century bourgeois real - Surrealism in all its satirical splendor lurks. familiarity from the typical characters too often heard from Tarkovskij’s acolytes ist literature and theatre: that imperfection is Like John Guillermin, the most horribly and settings. London neighborhoods 46 47 and Wales countryside are pieces of an music: Clifton Parker; cast: Susan the men suddenly try to kill each other. atrocious trap set for the protagonist, a Strasberg, Ronald Lewis, Ann Todd, A feeling of desolation and filth robber escaped from prison, hunted by Christopher Lee; production: J. Sangster impregnates the film, making it more police and abandoned by the under - for Hammer; origin: UK, 1961; format: incisive than any piece you may read in world, both trying in vain to recover 35mm, b/w; length: 81’. the “National Enquirer”. The editing the robbery proceeds locked in a safe - 35mm from Werkstattkino. and the use of layered sounds are truly ty deposit box. The rhythm of the story wonderful, also due to the fact that becomes “metropolitan”, fragmentary, «Du ring the great excitement associated Holt had started his career as editor. alienated; the sequences are not with the British new wave, from Room You immediately grasp the tangible Susan Strasberg in explained, but they acquire meaning at the Top to A Kind of Loving , back sense of what it means to be in such as the narration continues; the camera when every six months there used to be place or, rather, to be trapped in such does not hold back in front of the some new “revelation” to discuss, Taste place. And you learn about the signifi - antinaturalism, but rather it actively of Fear by Seth Holt slipped away com - cance of living among a group of peo - searches for disturbing perspectives. pletely unnoticed. It was a horror/ reveals, in several occasions, a director ple away from civilization. Far away». Seth Holt, who has always maximized mystery with some unsightly content capable of cinematographic creations, Martin Scorsese, Martin Scorsese’s the creative relevance of editing, owes such as decomposing corpses. And, in whereas the others settle for illustrating Guilty Pleasures , «Film Comment», much to Hamer and his ability to read respect of the most rigorous standards, their script». September-October, 1978 the ambiguity showing through the sur - perhaps it was not a particularly good V.F. Perkins, The British Cinema , face of stories and objects; however, he film. Nonetheless, we are convinced «Movie», n. 1, June, 1962 replaced Hamer’s humanism (author of that, if some visible hope for the English THE NANNY cinema does actually exist, it resides in refined literary culture) with a more Director: Seth Holt; story: from the visually immediate impact, tense, inde - Holt’s film rather than in that of a rival STATION SIX -S AHARA such as Reisz. To put it in simple terms, novel by Marryam Modell; screenplay: cipherabile in the terms of traditional Director: Seth Holt; story: from the Jimmy Sangster; cinematography: Harry narrative. In short, he is a modern Saturday Night and Sunday Morning was a good film, yet, on the basis of this by Jean Martet; screenplay: Brian Waxman; editing: Tom Simpson; music: filmaker, a creation of the linguistic proof, we cannot imagine Karel Reisz Clemens, Bryan Forbes; cinematogra - Richard Rodney Bennett; cast: Bette reassessments estabilished by the late making something significantly better in phy: Gerald Gibbs; editing: Alastair Davis, Wendy Craig, Jill Bennett, James 1950s, influenced by his own admis - the future. Taste of Fear , instead, is a McIntyre; music: Ron Grainer; cast: Villiers, William Dix, Pamela Franklin; sion by Lang’s crime films and Warner’s film went wrong, but it suggests us that Carroll Baker, Peter van Eyck, Ian production: J. Sangster per Hammer; old gangster B movies, comparable to Holt possesses the talent needed to Bannen, Denholm Felmy, Mario Adorf; origin: UK, 1965; format: 35mm, b/w; the French Melville for his stylization of make a true masterpiece. [...] The story production: Victor Lyndon for CCC length: 91’. the characters and his overexcited nar - designed by Jimmy Sangster, as in The Films; origin: UK/RFT, 1963; format: 35mm from Werkstattkino. ration». Criminal , is a specious amalgam of var - 35mm, b/w; length: 101’. Emanuela Martini, Storia del cinema ious already seen thrillers. In this case, 35mm from Werkstattkino. «The Nanny is, first and foremost, a film inglese. 1930-1990 , Marsilio, the most relevant influences are found about the incommunicability that grows Venice, 1991 in the script of Les diaboliques , although «A group of men lives alone in an oil between a temperamental kid and the the screenplay results notably inferior station in the middle of the desert. adults around him: his father, a busi - because of several plot holes. Yet it is There is an intense homosexual sug - nessman overwhelmed by his work, his TASTE OF FEAR certainly plausible to prefer Holt’s film gestion between the characters until, mother, affected by a nervous system Director: Seth Holt; screenplay: Jimmy to Clouzot’s. Which is the main differ - during an extraordinary sequence, a disease and, most notably, the “Old Sangster; cinematography: Douglas ence in comparison to the other English siren shows up (Carroll Baker) accom - Nanny”, accused by the boy of wanting Slocombe; editing: Eric Boyd-Perkins; films? Merely the fact that the staging panied by her husband, whereupon all to kill him. The eventual surfacing af a 48 49 The Cinema long hidden traumatic memory can only tion: and Milton remind us of the catharic violence in Subotsky for Amicus; origin: UK, 1967; Marnie (1964). But Seth Holt and Jimmy format: 35mm, col.; length: 92’. of all the Deceived. Sangster get credit for not mistaking 35mm from Werkstattkino. themselves for some new Hitchcock. They are concerned with the psycho - «A way too intricate tangle to be devel - For a Retrospective of Tewfik Saleh, I logical motivations of their characters oped into a good film without a rele - rather than the distressing effects, vant personality behind the camera. An avoiding an excessive simplification of English agent specialized in taking out the narrative mechanisms and main - his enemies by breaking their neck taining a background ambiguity during with one slap, who becomes involun - the entire story. In the first part of tary accomplice of a group of traitors the film, in fact, no element is suffi - nestled in the secret service. These ciently emphasized to let us distinguish people entrust him with some appar - between Normality and Abnormality. ently “clean” tasks (such as the elimi - The madness originates from a perfect - nation of a Russian Scientist escaped ly respectable daily life, guarded as from his country and ended up into the much as ossified. When the kid, in ter - hands of the Americans who, however, ror, starts to organize his life to defend seems to be playing a double game in himself from the Nanny’s “attentions”, favor of Moscow) but, in reality, help - his parents, accustomed to being ful for the Soviet espionage. [...] We find served, prove to be incapable of react - ourself in the “dejected espionage”, but ing. The characters still belong to that far away from the models adopted by aristocratic Victorian England of which Le Carré, also because Richard Johnson behaves in an unbearably childish way. Joseph Losey and Harold Pinter per - The film, however, does not lack some fectly described the slow decadence in moments of tension, which make up The Servant ». for its overall banality. Here we have a Gilles Gressard, Confession wonderful Diana Dors, definitively fat à un cadavre , «Positif», n. 187, November, 1976 and exhausted, and the character actress with plenty of lead in her pencil». DANGER ROUTE «Film Mese», n. 18, June-July, 1968 Director: Seth Holt; story: from the Andrew York’s novel; screenplay: Robert Banks Stewart, Meade Roberts; cinematography: Harry Waxman; edit - ing: Oswald Hafenrichter; music: John Mayer; cast: Richard Johnson, Carol Lynley, Barbara Bouchet, Sylvia Sims, Gordon Jackson, Diana Dors; produc -

50 51 Germination. AL -M AKHDU ’UN best Arab films of all times as estabil - Les Dupes ished by a critical survey achieved Correspondence thanks to the financial and political Director, screenplay: Tewfik Saleh; story: support from Assad’s Syria, you lose from the novel by Ghassan Kanafani; the opportunity to get to know, in less between Italian Film-Makers, I cinematography: Bahgat Heidar; edit - than two hours, the class conflict ing: Farin Dib, Saheb Haddad; music: between the Arab proletariat – and Solhi El-Wadi; cast: Mohamed Kheir- Palestinian, in particular – and the Halouani, Abderrahman Alrahy, Bassan Saudi and Wahabi aristocracy, merciless Lofti Abou-Ghazala, Saleh Kholoki, cultural and religious guardian of the Thanaa Debsi; production: National Maghreb and Marshreq areas – which Film Organization; origin: Syria, 1972; population is not exclusively Arab – format: 35mm, b/w; length: 107’. since the post-World War II. As you can 35mm from Challouf archive in Cineteca see by analyzing today’s clashes around Italiana. Tahrir Square, the rich Qatar and Saudi Arabia (plus Kuwait and the United «Yesterday, a living legend of world cul - Arab Emirates) are always the ones ture passed away at the age of 87. moving the military, whether it is due Tawfiq Saleh, Alexandrine and cosmo - to an order from above or not, in the politan, illustrious Egyptian film-maker 20 th century as much as in the 21 st cen - of the marxist (anti)nasserian left wing. tury. Three Palestinian workers of the He wrote and directed beautiful films diaspora, expelled from their homeland of profound and educated realism, by the Israeli and representative of always devoid of shouted slogans, three different generations, are looking wonderfully narrated, revolutionary in for El Dorado or “the promised land” in their historical and social foregrounds Kuwait. Humiliated, offended, deceived and backgrounds, text and context by all their Arab friends, either rich or and... by now, nowhere to be found. poor, of the Palestinian community, The strong, extreme subjects covered they undertake a dangerous journey as in his seven works surpringly resulted illegal immigrants, inside the empty to be more exciting and seducing than tank of a truck; and they will find an the stars of the “Hollywood on the atrocious death. A film, according to Nile” themselves. [...] If Europe has Le the author, “against despair and against salaire de la peur and America has shrinking from responsibility”, drawn Convoy and Duel , Africa has got its from the novel by the Palestinian writer thriller as well, an almost political hor - Ghassan Kanafani, murdered in Beruit ror of astounding emotional power, in 1972». which travels through History chasing a big and dangerous truck... And without Roberto Silvestri, il Ciotta Silvestri , 18 th August, 2013 watching this film, the road-drama Les Dupes (Gli ingannati ), Tawfiq Saleh’s masterpiece in 1973, among the ten

52 53 NOUS NE SOMMES PLUS DES ENFANTS force that drains it is time, the enemy very Po, under the trees, in placid com - lights of the movement, probably links which cannot be opposed. This posi - plicity with the Valentino Park. In to the newer developments, to him Director: ; story: from tion, deep down quite conventional, is Poggioli’s film there was, specifically, unintellegible, of art. Among these cases Léopold Marchand’s comedy; screen - confronted with honesty and revived an atmosphere, an ambience, a sugges - of young painters in search of affirma - play: L. Marchand; cinematography: by Gaby Morlay, who was able to con - tion inciting the spectator to guess, not tion, or in any case young people crav - Harry Stradling, Robert Le Febvre, Paul vey, through her expressiveness and without goodwill, by listening through ing for success, there are some reveal - Mercanton; editing: Léonide Moguy; her features, so intense and Latin, the the echo of a carefree song of revelry. ing episodes: the young man who music: Marcel Lattès; cast: Gaby most spontaneous – let’s say the And, lastly, there are some characters, shows the beach home movie sped up; Morlay, Claude Dauphin, Jean Wall, newest as well – spirituality of this old figures outlined through affectionate the failed American coreographer who, Pierre Larquey, Marcelle Monthil, drama». warmth as well as biting credibility, disenchanted, observe the young peo - Pauline Carton; production: Pierre Vice, «Il Piccolo», 30 th June, 1936 Maria Denis’ Dorina and, particularly, ple dance; the wedding banquet played Geoffroy; origin: France, 1935; format: Adriano Rimoldi’s Alfonso, who, per - out as a joke; the newspaper that launch - 35mm, b/w; length: 80’. haps, remain the most inspired among es Gajoni as “primitive” painter, whilst 35mm from Cineteca Nazionale. ADDIO GIOVINEZZA ! these actors’ interpretations». she has someone paint even her own self-portrait; Ms. Lualdi who works as «This film, similarly to Anna Karenina , Director, editing: Ferdinando Maria Giulio Cesare Castello, Retrospettive , «Cinema», n. 39, 30 th May, 1950 dubber in spite of the fact she wanted ends with a departing train: and if we Poggioli; story: from Sandro Camasio’s to be an actress or a fashion model; the observe that, whereas the protagonist and Nino Oxilia’s comedy; screenplay: girl who tells Blain he looks like James of this film ended up run over over by Salvator Gotta, F.M. Poggioli; cine - VIA MARGUTTA such train, Gaby Morlay disappears in matography: ; music: Dean in order to seduce him... This is a second-class compartment, we find Giuseppe Blanc, Salvatore Allegra; cast: Director: ; story: from the that awaits the Minnelli of that such is the point of divergence Maria Denis, Adriano Rimoldi, Clara Ca- Ugo Moretti’s novel; screenplay: Franco Two Weeks in Another Town ». between the two films; one of which is lamai, Carlo Campanini, Bella Starace Brusati, M. Camerini, Ugo Guerra, Sergio Grmek Germani, Ennio De Concini; cinematography: Mario Camerini , La Nuova Italia, tragic, the other one merely distressed. Sainati; production: ICI/SAFIC; origin: Florence, 1980 The analogy between them, most evi - Italy, 1940; format: 35mm, b/w; length: Leonida Barboni; editing: Giuliana dent in their second parts, occurs sev - 94’. Attenni; music: Piero Piccioni; cast: eral times in the drama of the woman 35mm from Cineteca Nazionale. Gérard Blain, Antonella Lualdi, Claudio SISSIGNORA who feels like the love of the man to Gora, Yvonne Furneaux, Cristina Gajoni, whom she sacrificed her peace and «For his first ambitious work, Poggioli Spiros Focas; production: Documento/ Director: Ferdinando Maria Poggioli; honor is fading away, most notably in had, in fact, put his hands on the most Le Louvre; origin: Italy/France, 1960; story: Anna Banti, Emilio Cecchi, Alber- some scenes, such as the tiresome known and sweetly dramatic of all the format: 35mm, b/w; length: 105’. to Lattuada, F.M. Poggioli, from the leisury trip to Italy, in the tragic, emaci - scripts. A lot of nerve, in a sense. 35mm from Cineteca Nazionale. novel Sissignora by Flavia Steno; ated interpretation of the protagonist. Trying to give relevance to characters screenplay: E. Cecchi, A. Lattuada; cin - The plot – drawn from a comedy by such as Mario, Dorina, Leone, the after- «In the years of La dolce vita , Camerini ematography: Carlo Montuori; music: Marchand – narrates the love story of work sunday good times [...]. It was stages another part of Rome in Via Felice Lattuada; set design: Fulvio Paoli two unsettled and passionate young some kind of gamble, and Poggioli Margutta , where the French co-pro - [Fulvio Jacchia]; cast: Emma Gramatica, people, mercilessly separated by life, won it. He was able to evoke, through duction and the artistic setting reveal Irma Gramatica, Maria Denis, Evi Mal- which, even more mercilessly, makes appropriate means, a time, a climate, the Documento Film. The film widely tagliati, Rina Morelli, Leonardo Cortese, them rejoin each other when they are an aura. Turin of the students and the covers and bears testament to the Dhia Cristiani, Jone Salinas, Dora Bini, no longer young. Love, so far sustained steamstresses, with its freshman parties, symptoms of degradation, which Ca- Anna Carena, Elio Marcuzzo, Roldano by hope and faith, fades away without its exuberances, its short loves, its merini, passionate about figurative art Lupi, Giovanni Grasso; production: Li - any resistence from them, since the melancholy strolls along the lazily sil - and brother of one of the late leading bero Solaroli for ATA; origin: Italy, 54 55 1942; format: 35mm, b/w; length: 86’. [F INCHÉ DURA LA MEMORIA ] «In May 1955, Carlo Emilio Gadda, cul - La cognizione del dolore and Le mera- 35mm from Cineteca Nazionale. PIAZZALE LORETO tural programs editor at RAI, was tired viglie d’Italia. of the Third Channel, of the the Director: Damiano Damiani; collabora - «Sissignora by Poggioli adapts Flavia reproaches and the witty remarks of his tion: Enrique Bergier; cinematography: Steno’s novel, at first published in director Cecè. [...] Gadda left his office Nino Celeste; editing: Enzo Meniconi; OFF SCREEN episodes, under the name of Vittoria in June 1955. Right at that time, on a prodizione: RAI; origin: Italy, 1980; for - Greco and the title La servetta di Ma - proposal from Alvise Zorzi, I was invit - L’ AMORE CANTA mat: 35mm, col.; length: 65’. sone , in the Genoese newspaper “Il ed by the RAI TV Program Direction to Digital copy (from 16mm) da Anno Uno. Director, editing: Ferdinando Maria Lavoro”, in 1940, and then as volume prepare the text for a documentary Poggioli; story: F.M. Poggioli, from the under her true name as well as its What remains of the events of Piazzale about the Tiber to be included in a film Swing it Magistern ; screenplay: definitive title, in 1942. Here, too, simi - Loreto? And those who were there on series of television transmissions Grandi F.M. Poggioli, Pietro Germi, Salvator larly to in La maestrina and T’amerò that day in 1945, how did they react? I fiumi d’Europa , with the collaboration Gotta, cinematography: Carlo Montuori; sempre , the plot revolves around a sin - had a chance to scout ahead thanks to of the various “broadcasting companies music: Ma rio Nascimbene; cast: Maria gle mother, Cristina (Denis), and the the collaboration with some Milanese of the Western Europe and the Denis, , Jone Salinas; three stages – actual “stations” – of her who used to work at RAI, and we start - Mediterranean Basin”. In 1974, Zorzi production: Roberto Dandi for Realcine/ progressive “sacrifice” (as the hypocrit - ed gathering reports from people who published an amusing article in “Il ICI; origin: Italy, 1941; format: 35mm, ical Sister Valeria tells her, Rina Morelli). were in Piazzale Loreto. It was the Mondo”, telling about such events, b/w; length: 90’. At the service of three families that, 1970s and there still were some sur - between Gadda’s interest in his pay - likewise, represent accurate pictures of vivors at that time, whereas today there ment, his conception of work as pure the middle class of that time, Cristina is are no more. In the film, we actually and simple inconvenience, as well as IL TESTIMONE an “innocent woman” who falls in love the “scrupulous diligence in slow left very little of the copious material Director, story: Pietro Germi; supervi - with Vittorio (Cortese), the handsome we had collected, but there are some motion”, dealing with the film-maker sailor nephew of the Robbiano Giuliano Tomei». sion: ; screenplay: dreadful testimonies. Oftentimes, peo - Diego Fabbri, P. Germi, Cesare Za- (Emma and Irma Gramatica), without Giulio Cattaneo, Il villino del tranviere , ple can unconsciously display extreme vattini, Enrico Ribulsi, Ottavio Alessi; realizing that who is truly capable of cruelty, without even realizing it. In this «», 29 th January, 1992 sharing her fate and “save” her is her cinematography: ; editing: documentary, we see people laid bare Gisa Radicchi Levi; music: Enzo fellow countryman Emilio (Elio Mar - as they tell about what they witnessed. cuz zo). Through Emilio and through [S ULLA SCENA DELLA VITA ] Masetti; cast: Roldano Lupi, Marina It was a particularly harsh as well as Berti, Ernesto Almirante, Sandro her friends, housekeepers just like her, CARLO EMILIO GADDA touching experience, but also a history Ruffini, Arnoldo Foà, Vittorio Cottafavi; Poggioli gives us a glimpse of popu- lesson. (Enrique Bergier) Director: Ludovica Ripa di Meana, Gian - production: Orbis; origin: Italy, 1946; lar, if not proletarian, life, also thanks carlo Roscioni; contributions: Carlo format: 35mm, b/w; length: 98’. to a masterly use of the Genoese set - Emilio Gadda, Eugenio Montale; pro - 35mm from Cineteca Nazionale. ting (the markets, the provincial dance [G RANDI FIUMI D’E UROPA ] duction: RAI; origin: Italy, 1972; for - halls)». IL TEVERE mat: 16mm, col.; length: 62’. «Germi’s first film, Il testimone , opens Adriano Aprà, Il formalismo e il suo oltre Director: Giuliano Tomei; text: Carlo Digital copy (from 16mm) da Anno Uno. with a voice over. Certainly it is not in Scuola Nazionale di Cinema, Storia del cinema italiano, 1940/1944 , Emilio Gadda; cinematography: Mario “God’s voice”, nor is it the regime by Ernesto G. Laura, Bonicatti; editing: Renato Poccioni; Broadcast on May 5 th , 1972, on the sec - voice, typical of documentary, news - Marsilio/Bianco & Nero, music: Italo Fischetti; production: RAI; ond RAI channel. Featuring pages from reel or television service speakers. The Venice/Rome, 2010 origin: Italy, 1958; format: 16mm, b/w; Eros e Priapo (Enzo Siciliano version), invisible, nameless narrator speaks length: 28’. Giornale di guerra e di prigionia , Quer informally to the audience with an Digital copy (from 16mm) da Anno Uno. pasticciaccio brutto de via Merulana , unexpected “you”: “Here, have a look.

56 57 This is the man whose life is at stake. IL CAPPELLO DA PRETE LA GELOSIA Universalcine/Cines; origin: Italy, 1942; Let’s have a closer look. If only we format: 35mm, b/w; length: 86’. could read something on that face, go Director: Ferdinando Maria Poggioli; Director, screenplay: Augusto Genina; 16mm (from 35mm) from Cineteca down to the bottom of his conscience story: from Emilio De Marchi’s novel; cinematography: Ferdinando Martini; Bruno Boschetto. and know... innocent or guilty?” [...] screenplay: Sergio Amidei; cinematog - cast: Bianca Virginia Camagni, Luigi Serventi, Tranquillo Bianco; produc - This voice is an odd-sounding one, raphy: Arturo Gallea; editing: Mario «After the memorable La morte civile , tion : Milano Films; origin : Italy, 1915; and strange is the story told by Germi, Serandrei; music: Enzo Masetti; cast: Poggioli elevates the prestige of his format: 35mm, b/w; length: 25’. too. In prison, after being initially con - Roldano Lupi, Lida Baarová ( voice own film-maker taste, literary in some 35mm from Museo nazionale del cinema victed, Pietro listens to Andrea’s confi - Lydia Simoneschi), Luigi Almirante, kind of way, and turns to the narrative dences. The reverse shots of the two Carlo Lombardi, Riccardo Billi; produc - in verse of the late 1800s: Il marchese «The young Augusto Genina directs men through the bars, made even tion: Sandro Ghenzi for Universalcine/ di Roccaverdina by Luigi Capuana is with enthusiasm this marital comedy, more claustrophobic by the off screen Cines; origin: Italy, 1944; format: his text of choice. From the adaptation guessing the right tone and the right sounds, coming from the outside 35mm, b/w; length: 90’. of such material, littered with naturalis - rhythm. The counts of Valmonte are a world, from which they are excluded, 35mm from Cineteca Nazionale (Ripley’s tic premises, not so far from the Zolian nice and close couple, but he spends seem to suggest more than a mere anal - Film’s authorization). lesson, but still securely anchored to too many nights at the club, in her ogy: an identity, as if the two were the reality of Sicily, a film was born, opinion. Is there something going on? observing their own reflections in front «Il cappello da prete (1944) by Poggioli, Gelosia (1942), which, perhaps, remains from the novel Il cappello del prete Between scented letters full of suspi - the most relevant, if not the most of a mirror. For Pietro, closed and cions and postprandial arguments, the laconic, without a past nor a future, it (1888) by De Marchi, is set in the accomplished work by Poggioli. Once Neapolitan area, but shot, apparently, countess decides to take action and again, the screenplay was not suffi - is like he is renouncing his own identi - implement a plan to catch her unfaith - ty, like Andrea is lending him another nearby Rome. Through this, forcedly, ciently supportive to the director. The last film, the film-maker takes to ful husband in the act. The conse - character, feudally egoistical, of the one. By fulfilling the meeting with quences will turn out to be unexpected Linda (), the girl Andrea extreme consequences the tendency to marquis, was not analyzed in-depht in subvert the “calligraphism”. An uni - and difficult to handle. Genina’s work his rich, sour and finally upset physiog - told him about, Pietro literally takes confidently relies on his cast, particu - the place of the other man. Such scis - verse of shadows – more than once nomy. More defined and persuasive impressionistically highlited – pushes larly on a Bianca Virginia Camagni in resulted to be, instead, the figure of sion of his personality is further com - excellent shape». plicated by a third presence: the elder - from behind the classical composure of Agrippina Solmo, the peasant woman the staging and, in the end, it domi - Stella Dagna in Il Cinema Ritrovato , who consacrated, without any regret, ly accountant (Ernesto Almirante), the Cineteca di Bologna, Bologna, 2016 witness on whom Pietro’s life depends. nates, uncontested. Lupi (the baron of with the animal loyalty of a slave, her [...] The dilemma raised by the voice Santafusca, in some sort of way broth - blooming youth to his egoism. Also er of Malombra even in the name) and merit of a wonderful Luisa Ferida, in over, “innocent or guilty”, is eventually GELOSIA solved, not in the typical way of a his devilish alter ego Luigi Almirante her primal, warm incandescence of a crime story, but in that of a psycholog - (Don Cirillo) sculpt – barely concealed Director: Ferdinando Maria Poggioli; superbly and passionately humble ical thriller, whose mysteries are not by the “costume” – a rotten, crazed story: from Luigi Capuana’s novel; creature. Hence, rather than the story hidden in the plot, but rather in the Italy, on the road to ruin. The golden screenplay: Sergio Amidei, Vitaliano of the marquis’ remorse for the crime most subtle details of the dialogues, the cage of wealth has open wide, and Brancati, Sandro Ghenzi, Angelo he has committed, this film represented framings and the editing, similarly to there is no longer any alibi for self- Besozzi, Gino Sensani; cinematogra - the story of Agrippina’s silent, tena - Hitchcock’s or Lang’s films». complacency». phy: Arturo Gallea; editing: Mario cious and disinterested love, behind Adriano Aprà, Per una revisione di Germi , Adriano Aprà, Il formalismo Serandrei; music: Enzo Masetti; cast: which a barely outlined feudal Sicily, in Lino Micciché, Signore & Signori di e il suo oltre , op. cit. Luisa Ferida, Roldano Lupi, Ruggero rugged and sunburnt, is projected. I Pietro Germi. Uno sguardo ridente s Ruggeri, Elena Zareschi, Bella Starace recall a blinding whiteness of walls, on ull’ipocrisia morbida , Lindau, Turin, 1997 Sainati; production: Sandro Ghenzi for which Agrippina’s black silhouette 58 59 standed out in its introverted sadness constant admonishments carved into to exploit the public success of Un play: Bruno Di Geronimo, Marco Leto, (not a sign of decorative gratification, the framings. It is not true that the film maledetto imbroglio without making it E.M. Salerno, Lina Wertmüller; cine - but rather indicator of observance of lacks rhythm or quality of language; it a mediocre repetition, but rather mov - matography: Dario Di Palma; editing: formal values)». lacks its own author. There is all the ing on an autonomous dimension. [...] Mario Morra; music: Riz Ortolani; cast: Giulio Cesare Castello, Sicilian Germi with his fabulous land - In Il rossetto , we know who the killer is Maria Schneider, Florinda Bolkan, Retrospettive , op. cit. scapes and his faces of documentary since the beginning, although the end - Catherine Spaak, Tom Baker, Jean portraitist in it, without Germi». ing sequence reserves us the surprise Anderson; production: Carlo Ponti for Mario Sesti, Tutto il cinema di Pietro of the reason behind the crime through Champion/Les Films Concordia; origin: GELOSIA Germi , Baldini & Castoldi, Milan, 1997 an unexpected plot twist. The point of Italy/France, 1973; format: 35mm, col.; length: 94’ . Director: Pietro Germi; story: from Luigi view, instead, becomes that of a little 35mm from Gary Vanisian. Capuana’s novel; screenplay: Giuseppe girl in the typical age of transition, IL ROSSETTO Mangione, Giuseppe Berto, P. Germi; when she wears lipstick in secret from her mother and experiences the first «London, the hippies, a commoner, an cinematography: Leonida Barboni, Director, story: Damiano Damiani; experimental theater group; not having Amedeo Trilli, Gustavo Serena; editing: screenplay: Cesare Zavattini, D. Damia - romantic emotions, a girl who lives the coming and going of the police as if it received any news for months, an Rolando Benedetti; music: Carlo ni; cinematography: Pier Ludovico Italian mother looks for her daughter in Rustichelli; cast: Marisa Belli, Erno Pavoni; music: Giovanni Fusco; cast: was a game and unconsciously becomes part of said game trying to seduce the such setting, finds her, understands her Crisa, Liliana Gerace, Vincenzo Pietro Germi, Laura Vivaldi, Pierre need to live her own experiences to the Musolino, ; production: Brice ( voice Paolo Ferrari), Bella Darvi, young man we already read as guilty. Damiani, without surrendering to a cer - fullest. “I intended to describe the con - Excelsa; origin: Italy, 1953; format: Georgia Moll; production: Europa/ flict between two generations” explains 35mm, b/w; length: 86’. Explorer/CFPC; origin: Italy/France, tain rhetoric of “lolitism”, outlines a teenager with several contradictory , at that time in 35mm from Cineteca Nazionale. 1960; format: 35mm, b/w; length: 93’. Turin in order to present Cari ge nitori , 35mm from Cineteca Nazionale. aspects typical of that age, without get - ting off track, without necessarily aspir - his second film as director. “It is the «Dominated by melodramatic registers, sequel of the research about family Gelosia finds in the doctrine of excess «Un maledetto imbroglio by Pietro ing to the “great” character. Therefore, the events unfold with the confidence started with Anonimo Veneziano . That (linguistic, narrative, as well as psycho - Germi represents the remarkable effort time it came down to a married cou - of expedients and joints between the logical) its own tonal key. Excess of to propose an average production ple’s crisis, whereas here it is about the two dimensions, the psychological folklore (the close up of the agave capable of positive developments. [...] irrimediable fracture between parents analysis and the police investigation, plant, the folk dance [...]), excess of The fact that it was an average film to and children”. Salerno has six children. revealing some sharpened directing emotions (the anger and the violence work on was evident from the immedi - The older is 21, the youngest 15. “I skills as well as a remarkable narrative of the protagonist, the submission of ate realization of Il rossetto , a second found the most authentic inspiration the female protagonist and that of the “Giallo” with a police commissioner balance, talents which allow to include right in my own life” says the actor baron’s trustee), excess of technique who, albeit not named Ingravallo Damiani among the most fruitful dis - director. “Somehow, I wanted to repre - (the quick editing, the staging always because of copyright reasons, repeats coveries of the new Italian cinema». sent the character I interpret every sin - isolating figures and background). The his characteristics and is, once again, Ernesto G. Laura, gle day: that of the father. [...] I want to bleak despair of the hindered and out - interpreted by Germi with undimin - La stagione delle mele d’oro , tell about real life facts and I consider «Bianco e Nero», March-April, 1960 raged love drags the entire film in the ished cordiality. The director, Damiano myself an artist, albeit with a lowercase land of the melodrama, fed, in an Damiani, is one of the first timers of a, one who produces what he feels on almost gothic manner, by the shadows that season, after having been among a personal level”. Enrico Maria Salerno CARI GENITORI of the sacristies, by the corridors of the our documentarians of genius; getting stays loyal to his formula: “Remarkable aristocratic estates, by the omnipres - started with a “number two” was Director: Enrico Maria Salerno; story: writers and painters often repeat them - ence of the sacred images resembling extremely risky, yet Damian managed Giuseppe Berto, E.M. Salerno; screen - selves in order to delve deeper into

60 61 their own themes”. Once again, he It is a world where the space is tra - Collins rushed over in order to provide LA STRADA LUNGA UN ANNO chose a story conceived by Giuseppe versed by vans laden with bodies, men some gags that the film desperately Cesta duga godinu dana Berto and asked for Florinda Bolkan to and women looking out the train win - needed when the shooting was cover the role of the protagonist. In the dows with trepidation and hope, and resumed, after Laurel had undergone Director: Giuseppe De Santis; story: G. cast, along with Spaak, there is Maria everything seems touched, for the first delicate surgery the previous year, in De Santis, Elio Petri, Gianni Puccini; Schneider, the audacious and much dis - time, by an anxious and extremely sen - January. The director, a Mr. Johanon, or screenplay: G. De Santis, E. Petri, G. cussed actress of Ultimo tango a Parigi . sitive gaze. Perhaps due to this reason, Johannon, Leo by first name, used to Puccini, Maurizio Ferrara, Tonino “She was the girl I was looking for to this film was so loved by Nicholas Ray see himself as the “maker” of the film Guerra, Mario Socrate; cinematogra - phy: Marco Scarpelli; editing: Boris entrust her the part of the rebel daugh - (“the most lyric film I’ve ever seen” he and demanded to be never forgot. Tesija; music: Vladimir Kraus Rajteric; ter” says the director. “Bertolucci rec - once told Enzo Barboni)». According to Hardy, although Atoll K cast: Silvana Pampanini, Eleonora Rossi ommended her to me during the edit - was set on an island in the middle of Mario Sesti, Tutto il cinema Drago, , Bert Sotlar, ing of his own film. I saw some di Pietro Germi , op. cit. the sea, the director spent three days Gordana Mileti; production: Ivo Vrho- sequences and I immediately had the shooting pictures of a lake, simply vec for Jadran; origin: Yugoslavia, 1958; impression that she was the right per - ATOLLO K because he found it photogenic. “He format: 35mm, b/w; length: 162’. son for my story”». Atoll K / Utopia was shooting a tourist film”, added Laurel behind a shy smile. “He used to 35mm from Cineteca Nazionale (ar- s. cas., Un film di Salerno sui “Cari Director, story: Léo Joannon; screen - chive in Associazione Giuseppe De genitori” , «La Stampa», 9 th February, 1973 wear some riding clothes along with a play: Piero Tellini, John Berry, John D. military helmet and he always had a Santis). Klorer, René Wheeler, Monte Collins; megaphone with him”, tells us Hardy. cinematography: Armand Thirard; edit - «La strada lunga un anno – written IL CAMMINO DELLA SPERANZA “Not just one megaphone, but several ing: Raymond Isnardon; music: Paul megaphones of various sizes, for any starting from 1954, but realized only Director: Pietro Germi; story: Federico Misraki; cast: Stan Laurel & Oliver eventualities”, specifies Laurel. The four years later in Yugoslavia under the Fellini, Tullio Pinelli, P. Germi, from Hardy ( voices Mauro Zambuto & film, in English, is an Italian-French co- title Cesta duga godinu dana – is, due Nino De Maria’s novel; screenplay: F. ), Suzy Delair, Max Elloy, production. Laurel and Hardy per - to the difficulties arisen during its pro - Fellini, T. Pinelli; cinematography: Félix Oudart, Adriano Rimoldi; produc - formed in English, whereas the rest of duction, one of the most agonized films Leonida Barboni; editing: Rolando tion: Raymond Eger per EGE/Fortezza/ the cast, including Suzy Delair (“one of by Giuseppe De Santis and yet, ignored Benedetti; music: Carlo Rustichelli; Franco London/Sirius; origin: France/ the brightest female French stars”) per - by the production, one of the least cast: Raf Vallone, Elena Varzi, Saro Urzì, Italy, 1951; format: 35mm, b/w; length: formed in French. Their voices will known by the general public, in spite Franco Navarra, Liliana Lattanzi; pro - 90’. later be dubbed for the American ver - of the fact that the director considers it duction: Luigi Rovere for Lux; origin: Digital copy (from 35mm and 16mm sion. The plot sees Laurel as an his most “personal” film. Emigration, to Italy, 1950; format: 35mm, b/w; length: from 35mm) from Enzo Pio Pignatiello. Englishman who received a large inher - him, means finding in the foreign coun - 105’. itance and Hardy as his financial advi - try the landscape (“the pebbles, the 35mm from Cineteca Nazionale. «The writing of Atoll K was, from my sor, but both are victims of a ship - mountains, the sea, the streets”) as well understanding, an international affair, wreck, ending up on an atoll in the as the ambience, the men and the «This film, too, similarly to In nome del - and its realization in France certainly middle of the sea. Along with several women, the emotions and the desires, la legge , seems to spring from a foreign was not a pleasure trip either. It was international companions, they organ - the passions and the rebellions that ani - author who carefully studied both the the first film to be shot abroad by the ize a state with no laws or taxes but, as mate one’s archetypal world, pivoted Soviet and the American classics, as couple, and it did not take that long Laurel anticipates, “it is not going to on the models, the traditions and the well as someone with a profound before transoceanic distress calls work”». myths of the rural society. Watching it understanding of the neorealist age, in occurred. The first to respond is the Philip Scheuer, Hardy Perennials Wins today, we are surprised by a cinema of which each individual carries, carved in film-maker Tim Whelan (who, howev - Laurels , «New York Times», 8 th July, 1951 rare technical mastery and high expres - their past, a violent and recent trauma. er, could not participate), while Monty sive profile, mindful of the lesson of

62 63 the classics (Grigorij Aleksandrov, L’ ONOREVOLE ANGELINA at her home and when she appeared destined from the beginning to fail at Nikolaj Ekk, Sergej Ejzenstejn, Jean on stage she really was Angelina; she their attempt to get rich the easy way Renoir, King Vidor, John Ford), as well Director: ; screenplay: Pie - internalized the character and the sub - by running off the stadium with the as the inventive energy that pushes it ro Tellini, Suso Cecchi D’Amico, L. Zam - urbs of that day». loot (the anticipations in Germi’s work pa, ; cinematography: towards the wide fresco where the Luigi Zampa, in Franca Faldini and about these weak men can be found hybridization of the stories and the Mario Craveri; editing: Eraldo Da Roma; Goffredo Fofi, L’avventurosa storia in Il testimone , 1946, as well as in genres (the inquiry, the melodrama, the music: Enzo Masetti; cast: A. Magnani, del cinema italiano raccontata Gioventù perduta , 1947). [...] It seems , , Ernesto Al- comedy, the western too, and even the dai suoi protagonisti (1935-1959) , clear to me that the choice of the actors mirante, Agnese Dubbini, Franco Zeffi - Feltrinelli, Milan, 1979 musical) enshrines the chorality of the and the actresses is coherent with relli; production: Ora/Lux; origin: Italy, whole, the unusual plurality of voices Germi’s purpose of contrasting the 1947; format: 35mm, b/w; length: 90’. and settings. The story of the construc - weakness of the former with the 35mm from Cineteca Nazionale. È NATA UNA STELLA tion of the road that leads from the strenght of the latter. Not only that. The small town of Zagora to the sea is artic - Director: Giorgio Moser; cinematogra - film is littered with lesser presences of «It was the moment of the political reor - ulated in four narrative cores, which phy: Antonio Busia; editing: Virgilio Chiti; intense characterization, faces that ganization and we interviewed a overlap and intertwine in a sort of folk - cast: Cosetta Greco, Pietro Germi; pro - appear for few minutes, yet they woman who lived in Città Giardino, a loristic song marked by the succession duction: Cines/Omnibus; origin: Italy, imprint in our memory (such as those, commoner who told us that the day of the seasons. [...] The film’s utopia, in 1951; format: 35mm, b/w; length: 11’. just to make one example, of the smug - when the bread was not distributed which the eros is foundation and the Digital copy (from 35mm) from Cinete- glers who incriminate Guido and then with the badge, she had led everybody woman essential point of reference, ca Nazionale. strangle him): almost as an intention to to occupy the buildings, and that after appears naive and systematic, at times, make the opaque presence of the four such episode everyone wanted her in yet we cannot forget that La strada protagonists even weaker. [...] It is not the Parliament, but she opposed the lunga un anno intends to retrace from LA CITTÀ SI DIFENDE actually a town that defends itself from idea since she was barely able to write the inside the long-estabilished contra - the criminal, but rather a town become and read. They accused me of a con - Director: Pietro Germi; story: Luigi Co- dictions as well as the trepidations hostile and estranged towards them as formist ending, I know. But we simply mencini, , Tullio Pinelli; of rural society’s redemption through a consequence of the criminals becom - complied with reality, and perhaps it screenplay: F. Fellini, T. Pinelli, P. Ger- the disarming simplicity of a fable. ing hostile and estranged towards the was a mistake. [...] There was no need mi, Giuseppe Mangione; cinematogra - Through the excess, the emphasis, the town. It may well be “inhabitable”, and for costume designers, make-up artists phy: Carlo Montuori; editing: Rolando enchantment, and yes, even through even beautiful under many aspects, if or special expedients for Anna Magnani Benedetti; music: Carlo Rustichelli; cast: only the four fugitives wouldn’t tra - the naivety and the schematic approach to become any given character. Anna Renato Baldino, Cosetta Greco, Tamara to the land at the heart of the repre - verse it while in the grip of their fear, was such an extraordinary actress that Lees, Paul Muller, Gina Lollo brigida, Fau - their disheartenment, their paranoia». sentation. Through Chiacchiera’s guitar, she defined and searched by herself sto Tozzi; production: Cines; origin: Italy, unique metaphor of master Fondi’s cam - Adriano Aprà, Un film sottovalutato: everything she needed in order to per - 1951; format: 35mm, b/w; length: 84’. La città si difende , in Luca Malavasi, era, of his captivating camera move - form at her best, without the need to 35mm from Cineteca Nazionale. Emiliano Morreale, Il cinema di Pietro ments, the engaging camera shots, the reharse. For L’onorevole Angelina , we Germi , Centro Sperimentale di upwards and downwards twirls of the went together to the suburbs and, «One of the reasons why the film Cinematografia/Sabinae, Rome, 2016 beloved crane». inevitably, we were surrounded by a remained in the shadows might be the Orio Caldiron, La vertigine e l’utopia , in group of women who had recognized fact that the four male actors were, and Marco Grossi, Giuseppe De Santis. La her. She noticed that one of them was still are, relateivley unknown to the ROMA ORE 11 trasfigurazione della realtà , Centro Sperimentale di Cinematografia/ wearing a simple dress. “That one” she general public. [...] None of them bene - Director: Giuseppe De Santis; story: Associazione Giuseppe De Santis, said. “That is what I want to wear!” So fits from some heroic status; on the from an inquiry of Elio Petri; screenplay: Rome/Fondi, 2007 we bought it for her, she had it washed contrary, they are all “men of straw”, Cesare Zavattini, Basilio Franchina, G. 64 65 De Santis, Rodolfo Sonego, Gianni elaborated camera shots, but it is possi - of the South, a core of values and his sensuousness consists in his mod - Puccini; cinematography: Otello Mar- ble to attribute to this “circle” the value beliefs that acted from the inside of the esty, which is style, verbal modesty, but telli; editing: Gabriele Varriale; music: of a declaration of intent from the culture and the conscience of the indi - also a form of reticence towards the Mario Nascimbene; cast: Lucia Bosé, director Giuseppe De Santis. He him - viduals, manifests, in the civilized and things and the “words” of the senses. It Carla Del Poggio, Maria Grazia Francia, self will clearly reaffirm so years later in opulent North, as an inner circle of seemed to me that such sensuousness Delia Scala, Elena Varzi, Raf Vallone, an article for “Cinema Nuovo”, where people capable of piloting any power represented the volonté de jouissance Massimo Girotti, , Eva he distinguishes between his own and any institution in order to work out of A ciascuno il suo . It is, in fact, in this Vanicek, Paola Borboni, Irene Galter, approach to work and the Zavattinian and repress every “discreditable” case. novel that Sciascia’s sensuousness gives Teresa Pellati, Marco Vicario; produc - theories: more fictional than descrip - This makes the satirical tension more itself away the most, and in the entire - tion: Paul Graetz for Transcontinental/ tive. And I may also say: more formal - toxic than ever, and the pessimism that ty of its seduction. In A ciascuno il suo , Titanus; origin: Italy/France 1952; for - istic than neorealistic». underpins it devoid of redemption. the whole mistery of seduction is mat: 35mm, b/w; length: 107’. Adriano Aprà, Il cerchio e la linea: Roma Friendship is a semblance contradicted focused on the character of a woman 35mm from Cineteca Nazionale. ore 11 , in Marco Grossi, Virginio Palazzo, by complacent conformism, love is the and more properly in her body and her Roma ore 11. I 60 anni di un capolavoro , disguise for a neurotic and obsessive attire; and the protagonist fails to solve Ass. Giuseppe De Santis, Fondi 2012 «Roma ore 11 (1952) opens a film erotic antagonism, family a system of it, as he is incapable of understanding, inquiry. Newspaper headlines and clip - inhibitioin and supervision, wellness a through the woman and her sexuality, pings, superimposed writings, the pres - the language of reality. Sciascia projects SIGNORE & SIGNORI pleasure seeking ritual consumed ence in the cast, as lesser roles, of three between dance halls, parties, adulteries, on the woman a light that casts a wide actual victims of the collapse of Via Director: Pietro Germi; story: Luciano seductions, carefree sadism, compared shadow all around, clouding every - Savoia 31 on January 15 th , 1951, repre - Vincenzoni; screenplay: L. Vincen zo ni, to which even the absolute patriarchal thing. [...] I made A ciascuno il suo in sents a warranty of veracity concerning Age, Scarpelli, P. Germi; cinematogra - immobilism of the South acquires an order to be the sensuous and ironic the facts about to be told. And, in fact, phy: Alvaro Mancori; editing: Gisa unexpectable tragic dignity ». portrait of a sexually incompetent an actual inquiry is conducted on Radicchi Levi; music: Gianni Ferrio; Mario Sesti, Tutto il cinema humanist intellectual. The political behalf of the by a young cast: Gastone Moschin, , di Pietro Germi , op. cit. nature of the book, as far as I’m con - Elio Petri (who appears in the film Alberto Lionello, Beba Loncar, Gia San - cerned, essentially consisted in this wearing short pants in the role of one dri, Patrizia Valturri, Giulio Questi; pro - confusion of sexuality and inner reality. of the building’s residents). But the duction: Dear/RPA/Les Films du Siècle; A CIASCUNO IL SUO Admittedly, the fact that the book, on Zavattinian turn that the film could origin: Italy/France, 1966; format: first reading, represented a strong and have taken ends here. The insert of a 35mm, b/w; length: 118’. Director: Elio Petri; story: from Leonar- deliberate civil and political denounce, classified ad takes the events to a non- 35mm from Cineteca Nazionale. do Sciascia’s novel; screenplay: E. Petri, was true, but perhaps of secondary existent Largo Circense 37. Right after Ugo Pirro; cinematography: Luigi importance. The Church was the insti - that, a 360-degrees extremely wide «Signore & signori is one of the direc - Kuveiller; editing: Ruggero Mastroianni; gator of the murders. In the shade of tracking shot of roughly 2’ raises from tor’s most politically involved films, in music: Luis Enriquez Bacalov; cast: the Church, politics and crime paid, the newspaper article accompanying the sense that the authorities and the , Gian Maria Volontè, while the killer remained unpunished. the first person arriving to the appoint - powers that be configure into the , , But, above all, it was in the long and ment, the young and shy Gianna (Eva coherence of a dominant and impreg - ; production: Giuseppe sensuous shade of the Church that Vanicek), along the whole square, a nable block, in which the defense of Zaccariello for Cemofilm; origin: Italy, Laurana received her “detached educa - visible studio reconstruction, to then the social balance causes a massive 1967; format: 35mm, col.; length: 99’. tion on sin”, her sexual and political move onto the second person, the “girl and sympathetic mobilization, whose 35mm from Cineteca Nazionale. incompetence». from Viterbo”, as we will later get to dynamics are described by its author Elio Petri, Brevi considerazioni (a proposito know (Maria Pia Trepaoli). The film with almost ideological scrupulousness. «Sciascia is a modest man. That is true. di A ciascuno il suo e Todo modo) , «Bianco temporarily refrains from adopting What used to be, in the archaic society But he is also a sensuous man. In fact, e Nero», n. 554-555, January-August, 2006 66 67 LA MOGLIE PIÙ BELLA of girls. Among them there was Claudia real news report subject... “Correct. to write Cristiana and, after that, a Rivelli, who, at that time, was approach - Happened some time ago, but not series of erotics... The appreciable com - Director, story: Damiano Damiani; ing her majority. She came in company much, right here in Sicily. In the film, mercial success of the first film encour - screenplay: D. Damiani, Sofia Scandur- of her little sister. As soon as I saw that though, the emphasis is placed on aged me to make a sort of “sequel” ra, Enrico Ribulsi; cinematography: girl, I said to myself “this is our charac - some peculiar aspects of the Sicilian with Cristiana monaca indemoniata , Franco Di Giacomo; editing: Antonio ter”. Her name was Francesca Rivelli spirit. But always in an ironic key. In a which was originally meant to be enti - Siciliano; music: Ennio Morricone; cast: but, since Damiano was in love with the style that is reminiscent of Divorzio tled La vocazione . As a consequence Ornella Muti, Alessio Orano, Tano name Ornella, we renamed her Ornella all’italiana . The , in fact, is of a traumatic experience in her life, a Cimarosa, Pier Luigi Aprà, Enrique Muti. She didn’t like the stage name Giannetti, the same of Pietro Germi’s young woman takes her vows, but Bergier; production: Explorer 58/Atlas; much, but it brought her good luck, I film. Giorgio Bianchi, other than the she doesn’t have what it takes to fulfill origin: Italy, 1969; format: 35mm, col.; would say . (Enrique Bergier) director, is also the film producer. He the duties imposed by her costume. length: 108’. brought with him to Sicily an impres - Actually, I’m not entirely satisfied with 35mm from Cineteca del Friuli (Fondo sive cast of actors. The female protago - the ending, which gives rise to an Hunsrück). ASSICURASI VERGINE nist is Romina Power, recently awarded excessively gratuitous provincial comi - with the “Maschera d’argento” as “the cality when Cristiana ends up working The first film I made with Damiano in Director: Giorgio Bianchi; story: Ales - most promising young Italian actress”. the streets. I should have been more Italy was a Sicilian film, La moglie più sandro Fallahi; screenplay: Alfredo And, as her partner, the young Dino austere, considering the subject». bella , in which I didn’t simply help, but Giannetti; cinematography: Benito Mele, protagonist in Patroni Griffi’s acted as well, in the role of the priest. I Frattari; editing: Clara Mattei; music: Sergio Bergonzelli, Una cinepresa Carlo Rustichelli; cast: Romina Power, Mare and ’s Streghe ». in pugno al diavolo , «Nocturno», knew nothing about Sicily, but as soon n. 2, December, 1996 as we arrived in the vicinity of Palermo, Dino Mele, Oreste Palella, Daniela Roc - Saretto Leotta, Romina Power a Siracusa, “vergine assicurata” , I found a humanity I hadn’t though ca, Leopoldo Trieste; production: G. «La Sicilia», 17 th November, 1966 Bianchi for Rizzoli/Virgo; origin: Italy, could exist. Seemingly fearful people, L’ ANGELO CON LA PISTOLA perhaps because we were shooting a 1967; format: 35mm, col.; length: 100’. film about mafia. There was a climate 35mm from Cineteca Nazionale. Director: Damiano Damiani; story: Ma- CRISTIANA MONACA INDEMONIATA of tragedy but, at the same time, of rio Cecchi Gori, D. Damiani; screen - (L A VOCAZIONE ) acceptance towards fate. This is some - «The director Giorgio Bianchi and his play: D. Damiani, Dardano Sacchetti, thing that can be found in the film, fate troupe arrived in Syracuse on tiptoe. Director, screenplay: Sergio Bergonzel- Carla Giulia Casalini; cinematography: is accepted, even though, in the end, Almost in secret, to keep a low profile. li; cinematography: Tonino Maccoppi; Nino Celeste; editing: Antonio Siciliano; there is a chance to oppose it. The Just few moments to acclimate and editing: Vincenzo Vanni; music: Elvio music: Riz Ortolani; cast: Tahnee Welch, character was born from the reinterpre - then the first shot at the Aretusa hotel. Monti; cast: Toti Achilli, Magda Remo Girone, Eva Grimaldi, Nicola tation of a very well known event at The film title: Assicurasi vergine . A pro - Konopka, Vassili Karis, Eva Czemerys; D’Eramo, Francesco Sciacca, Maurizio that time: the case of Franca Viola, a visional one. Perhaps the title on the production: Cine Cast; origin: Italy, Crozza; production: M. Cecchi Gori and girl kidnapped and raped by a mafia board will be Vergine contrassegno . 1972; format: 35mm, col.; length: 102’. Vittorio Cecchi Gori for Cecchi Gori/ boss who refused the offer of a reha - The meeting with director Bianchi 35mm from Kommkino. Penta; origin: Italy, 1992; format: bilitating marriage. It was the first time takes place in a hall inside the Aretusa. 35mm, col.; length: 111’. in Sicily that someone refused, risking [...] The plot? In short, this: a Sicilian «Io Cristiana studentessa degli scandali 35mm from Cineteca Nazionale. not only her own life, but to involve emigrant wants to ensure his daughter’s was the story of a girl who falls in love her entire family. Damiano wanted a integrity before she starts working with her professor. Oreste del Buono «L’angelo con la pistola is out in the new actress, 15 or 16 years old, so we abroad. His determination evolves into wrote a remarkable eulogy for this film. cinemas in perfect coincidence with prolonged the casting for three or four a tragicomic series of events. I cannot I had no intention of sending any par - Andreotti’s questionable comment months, examining dozens and dozens really get into it, obviously”. But it is a ticular message. Circumstances led me (“enough with amnesties and released

68 69 The Museum Luigi criminals, let’s send the mobsters on an ten, along his only and eccentric full- island”). [...] Damiani’s film, born from lenght film , L’incanto della foresta, pro - an idea of the producer Mario Cecchi duced by the same Lombard-Venetian Comencini, Alberto Gori, tells about a police commissioner Slogan Film that stepped away from disgusted by a justice that allows the Augusto Tretti’s Celestino ( first spark big fish to get away with it, time after of these researches in progress) and Lattuada and Mario time. He always walks around with the that, through a Carosello veneer – also resignation document in his pocket, thanks to Quartetto Cetra’s music – ready to hand it in to his superiors, if dandifies what Filippo Sacchi, already Ferrari Dreamed of. it were not for the execution of a one of the few to applaud Tretti’s ama - depraved lawyer, which lightens his teur films, baldly described as “the mood. Tahnee Welch, orphaned by a most astonishing act of courage of Meeting the Cineteca Italiana terrorist group, was the one pulling the our cinema, courage that is rarer and trigger. Like a vigliante granddaughter rarer today.” Ancilotto, passionate and of Charles Bronson, she decides to take indipendent naturalist, discoverer of an justice into her own hands in the coun - African butterfly that still carries his try of legalized illegality. But killing is name today as well as inventor of easier with a partner. One eye to Nikita cranes and periscopes necessary for his by Luc Besson and the other to Ms .45 documentaries, through this quintes - by Abel Ferrara». sential film about life in a wood, exem - «L’Unità», 4 th February. 1992 plifies that togetherness with nature and the animal world already power - fully emerged, other than in Tretti, in the PARALLEL CONVERGENCES work of previously awarded Venetian CINEMA OF PAPER film-makers, namely Santesso and Dall’Ara (the latter, since the encounter HUNGER IS A PRIVILEGE OF THE LIVING with G.A. Cibotto, sensitive writer and (O N THE TRAIL OF ANCILOTTO AND OTHER historian of whom we mourn the WONDERS ) recent loss); an antipodean as well as by Dario Stefanoni antidotal view of that Mondo cane to Life is never a solitary event, people help which Stefano Sibaldi, shortly after - each other live and sometimes die, but, wards, will lend his voice of comment, more othen, they help each other live. of which we would want to crown the [from the film screenplay] rediscovery by recovering and screen - ing the 35mm film. Will we make it? The count Alberto Ancilotto, film- maker from Treviso passionate about No, this is not a fable. entomology (interest born and cultivat - Unless you call a fable nature itself. ed outside of his academic studies), Nothing is ultimately a fable, stands among the pioneers of Italian when it is reason for legitimate curiosity naturalistic documentaries since the or desire for knowledge . 1950s. Yet, he has already been forgot - [from the film screenplay]

70 71 NOSTRA MOGLIE L’ ULTIMO LORD heartfelt phrases, as well as some mask portance for L&H: that of the box, the Our Wife La femme en homme expressions when I was required to opening of a packaging that is contain - show tenderness or sorrow. [...] Now ing and contents at the same time. The Director: James W. Horne; screenplay: Director: Augusto Genina; story: from we will see how it goes with the exter - first of those scenes finds in the obliq - H.M. Walker; cinematography: Art the comedy by Ugo Falena; cinematog - nal shootings. I have a bit of... a female uity of the stairs a brilliant opportunity Lloyd; editing: Richard Currier; cast: raphy: Georges Périnal; music: Armand sense of shame in showing myself to reverse the famous situation of the Stan Laurel, Oliver Hardy, Babe Bernard, Jean Delanney; cast: Carmen dressed as a man across the streets of Odessa Steps in Battleship Potemkin , London, James Finlayson, Ben Turpin; Boni, A. Bernard, André Dubosc, Nice and Monte Carlo, but I hope I’ll be bringing our heroes back to the start. Françoise Rosay; production: Tobis; production: Hal Roach; origin: USA, even more concerned about Gemina’s The carriage is in L&H’s comedy too, origin: France, 1932; format: 35mm, 1931; format: 35mm, b/w; length: 20’. nervous reactions in public”». other than in the soviet film, with the Digital copy (from 35mm) from Cinete- b/w; length: 80’. Sergio Bruno, Carmen Boni in gonnella , only difference in the fact that, in this ca Italiana. 35mm from Cineteca Italiana. «Cinema Illustrazione», 3 rd February, 1932 case, it brings drama to the action by taking the two clumsy carrier back to «Whereas 1930 was a rather disappoint - Audio remake of L’ultimo lord (1926, the starting point». currently unavailable), directed by Ge - ing year for Laurel & Hardy, in 1931 we SCALE ... MUSICALI mina and inspired by Ugo Falena’s Marco Giusti, S tan Laurel & Oliver find them in great shape, busy with a The Music Box Hardy , La Nuova Italia, Florence, 1978 series of excellent short films. Compared comedy, which is in turn loosely based to their overall production, we can say on the novel Il piccolo Lord (Little Lord Director: James Parrott; screenplay: Fauntleroy ) by Frances Hodgson H.M. Walker; cinematography: Walter that Nostra moglie remains among the GLI UOMINI SONO NEMICI / Burnett. Lundin, Len Powers; editing: Richard best of their “lesser” works. It has many CARREFOUR DES PASSIONS remarkable intentions, starting with Currier; cast: Stan Laurel, Oliver Hardy, Hardy strutting around before the wed - «Augusto Gemina, having completed Billy Gilbert, Charlie Hall; production: Director: Ettore Giannini and Henri ding, going through a series of cata - the internal filming at the Tobis Hal Roach; origin: USA, 1932; format: Calef; screenplay: Jacques Companeez, strophic gaffes, up to the typical gag of d’Epinay studios, prepares to leave for 35mm, b/w; length: 29’. Pierre Véry; cinematography: Anchise the ripped off pants (and no one would the French Riviera along with Carmen Digital copy (from 35mm) from Cinete- Brizzi, Sergio Pesce; editing: Giuliana ever look as unlucky as Hardy in such Boni, in order to begin the external ca Italiana. Attenni; music: Joseph Kosma, Nino circumstance, as he stares at the camera shootings of La femme en homme , Rota; cast: Viviane Romance, Clement showing his naked chubby knees), not audio and musical remake of the film, «We may say that the duo will never Duhour, , Gina to mention the sketch with the minia - one of our dear actress’ earliest and access anywhere from the outside Falckenberg, , Aroldo ture car which anticipates the sequence greatest successes: L’ultimo lord . [...] before having made such outside alive Tieri, Jean Wall, Nico Pepe, ; later interpreted by the Marx Brothers Carmen Boni struggled a little in filling and animated with their own presence. production: Marcello D’Amico for PAO in Una notte all’opera . As it usually the shoes of a man. “You see” she told Practically, Laurel & Hardy must bring a Film/Productions Jacques Companeez; happens with L&H, the most disturbing me, smiling “I think I’m quite pro - setting to their own logic, make it res - origin: Italy, 1948; format : 35mm, b/w; scenes are also the most enjoyable nouncedly feminine in each of my ges - onate with their contradictory relation - length: 109’. ones; and, in this case, the flies, high - tures, my voice as well as my behavior. ship, before proceeding to open it. [...] Digital copy (from 35mm) from Cinete- lighted by the use of amplified sounds, I caused Gemina some worries, as In The Music Box , we have a further ca Italiana. provide one of the most amusing some distinctive characteristics proper development of such situation due to Digital remake of the French version scenes as they fly around and land on of my gender tended to surface, not so the two fundamental scenes of the duo with integrations from the Italian version. Hardy’s wedding cake». much because of the clothes, which attempting to take the piano upstairs, in William K. Everson, were rather covering, but because of order to bring it into the house from A note for the General Director of the 2nd July, 1963 some voice intonations, especially the outside. We will also come across Central Bureau of Cinematography (25 th when I had to pronounce affective and another spacial theme of particular im- April, 1948): «In June, 1947, the start of

72 73 What is Cinema? the making of the film Gli uomini sono tribute, namely: 1) It was entirely shot nemici , was announced, Pao film pro - in synchronized sound recording. We duction, directed by Ettore Giannini keep at disposition of the Commission Dagmar Lassander and interpreted by Viviane Romance, (for whom the Italian version will be Valentina Cortese, Fosco Giachetti, obviously screened) the version which, Clement Duhour, , Gui - in Italy, was made for the rest of the do Notari and Enrico Glori. It appears world; the film (similarly to L’ultima that, contrary to what had been speranza ) was recited in every lan - declared, the direction was assumed by guage; the action took place between Henri Calef, who, after the accident the refugees from all the nations gath - with Viviane Romance, resigned from ered during the war, in Portugal, and the film direction, which was then each actor speaks their own language; assumed by Giannini. Furthermore, in hence, the sync sound is in French, in the light of the data published in English, in Italian, in German, in “Cinématographie Française” on August Portuguese, in Russian, etc. It was pre - 2nd , it appears that mister Jacques sented to the world in the original ver - Companeez is the film productor; that sion with subtitles. 2) The set was world distribution was assumed by entirely built and filmed (for a cost of Franco London Film Export; that the over 25.000.000) in the theaters of the music is by Joseph Kosma; that the Centro Sperimentale di Cinematografia assistant director is mister Dallier, rather in Rome. 3) All the actors are profes - than mister Mercati, as indicated in the sionals; roughly thirty of them are production statement. [...] Taking this among the most famous Italian actors into account, as well as the fact that the (among whom Giachetti, Valentina film was partly shot in France and in Cortese, , Aroldo Tieri, Portugal, it is not possible to determine Olinto Cristina, Nino Pepe, Collino, whether or not it can be considered Capodaglio, etc.); the foreigners were national, until proceeded to the revi - selected, wherever possible, in Italy sion of the Italian version, which has (Falckenberg, Hinrich); for the lesser not been presented yet». parts, help was sought from the The production company responds refugees in Cinecittà. 4) Extras and belatedly with a letter on Dicember, background actors were employed for 1949: «It is a film that, due to several thousands and thousands of working mishaps during its making, has been days. The film marks the cinemato - cause of disarray for its production graphic debut of the most acclaimed of society [...]. The film delves into an out theater directors: Ettore Giannini». already outdated subject (it was shot on July, 1947); yet, it has all the require - ments that (we are referring to the proj - ect drawn up by ANICA) the new law should demand in evaluating the con - cession of the supplementary con -

74 75 ANDREA - W IE EIN BLATT AUF NACK - THE LAUGHING WOMAN Schivazappa tells us. “How” he tells the his production company (under the TER HAUT ... Femina ridens story is easily de scribed: beautifully, title The Rat Bastards ), but then he effortlessly displaying his skills by man - ceded it to an external producer. The Director, screenplay: Hans Schott- Director: Piero Schivazappa; screen - aging to guide Leroy, who is capable result diverges somewhat from Har- Schöbinger; cinematography: Hanns play: P. Schivazappa, Paolo Levi, Giu - but quite im prob able as his character, rison’s original idea, emphasizing the Matula; music: Hans Hammerschmidt; seppe Zaccariello; cinematography: and Dagmar Las sander (already burnt troubled female character and the “sex - cast: Dagmar Lassander, Ralph Cle- Carlo Achilli, Sante Achilli; editing: at Andrea ’s stake)». ploitation” aspect of the plot line; mente, Arthur Brauss, Joachim Hansen; Carlo Reali; music: Stelvio Cipriani; cast: Fabio Rinaudo, «Film Mese», according to Harrison, neither of these production: HiFi Stereo 70kg/Metrostar; Dagmar Lassander, Philippe Leroy, Lo - n. 30-31, July-August 1969 elements was present in the drafting. In origin: RFT, 1968; format: 35mm, col.; renza Guerrieri; production: G. Zacca - spite of these changes, intended to length: 70’. riello for Cemo Film; origin: Italy, 1969; favour the Zeitgeist of the 1970s, this lit - 35mm from Kommkino. format: 35mm, col.; length: 108’. OFF SCREEN tle gloomy and claustrophobic thriller 35mm from Cineteca Nazionale. on the threshold of the horror genre, «The Public Prosecutor’s Office in Rome IL ROSSO SEGNO DELLA FOLLI A turns out to be evocative and effective has ordered to suspend the screening of «Femina ridens is already in the judicia - [Italian original version] thanks to its creepy ambience. The Andrea , by Hans Schott-Schoebinger. ry’s hands. Once again, a lamentable Director, cinematography: ; unnamed protagonist (Richard Har- The film has been sequestered in the case about which we have to protest, rison) walks with a crutch, and that early afternoon from a downtown cine - since anything should be allowed to screenplay: Santiago Moncada; music: Sante Romitelli; cast: Dagmar Lassan - crutch becomes a significant ingredient ma, where it had been screened since circulate. We are in favor of the right to of his own characterization and for the last Saturday with moderate success. pornography, so why should this film, der, Stephen Forsyth, Lauta Betti, Femi Benussi, Jesús Puente, Luciano Pigozzi; representation of the whole story. [...] The film censorship commission which is not even pornographic, be se - Ostensible expression of weakenss, it gave the film an X rating. Such prohi - questered? [...]. Femina ridens is a dual production: Mercury/Pan Latina; origin: Italy/Spain, 1970; format: 35mm, col.; turns into a strenght, an efficient defen - bition was justified by the wording protagonists film: on one hand, a poor sive weapon: The Gimp knows how to “indecent scenes throughout the entire sadist, victim of a childhood trauma length: 88’. Original version currently unavailable. protect himself. With modesty and film” . The film has been regarded as that turned him into a misogynist (he moderation, Harrison gives us a cynical “obscene” by the Public Prosecutor’s saw a female scorpion eating her mate and disillusioned Gimp with an intense, Office and therefore impounded. At the after copulation) who vents his frustra - UNA DONNA PER 7 BASTARDI inquisitive look. A minimalist yet heart of the debate there is Andrea, a tion on questionable women every vibrant interpretation. (Giancarlo Stam- wealthy Viennese girl, daughter of a weekend, on the other, a sexual assas - Director: Roberto Bianchi Montero; sto - palia) demented woman. Incapable of love, sin who will manage to find out his ry: Richard Harrison, Leila Buongiorno; distressed by a permanent state of dis - inner weakness [...]. The man subjects screenplay: L. Buongiorno; cinematog - satisfaction and by her mother’s mental the woman to increasingly disturbing raphy: Mario Mancini; editing: Carlo imbalance, she seeks some comfort by tortures, the wom an fakes her own sui - Reali; music: Franco Micalizzi; cast: R. LA LUPA MANNARA giving herself to every man she meets: cide; the man, who has never “truly” Harrison, Dagmar Lassander, Gordon Director: Rino Di Silvestro; screenplay: a stable worker, a family friend, an hurt a fly, falls in love with her. At this Mitchell, Ivano Staccioli, Andrea Chec- R. Di Silvestro, Howard Ross [Renato exploiter, a fugitive, and many others. point, the action shifts from the oppres - chi, Alessandro Perrella; production: Rossini]; cinematography: Mario Ca - Marriage and maternity won’t be sive, yet fascinating scenery of the Flaminia/Mais; origin: Italy, 1974; for - priotti; editing: Angelo Curi; music: enough for the young woman to find man’s house to the sun-drenched mat: 35mm, col.; length: 94’. Coriolano Gori, Susan Nicoletti; cast: her balance». openness: the coun tryside, the castles, 35mm from Cineteca Nazionale. Annik Borel, Tino Carraro, Dagmar f.s., «La Stampa», 11 th September 1968 the sport, the street races, the pleasure, Lassander, Frederick Stafford, H. Ross, which, however, will lead the man to Richard Harrison wrote the script for Renata Franco; production: Diego Al- his own death. This, in short, is what Una donna per 7 bastardi (1974) for chimede for Dialchi Film; origin: Italy,

76 77 1976; format: 35mm, col.; length: 98’. Dagmar Lassander, Silvia Dionisio, Fulci; cinematography: Sergio Salvati; desire that drives the fearless witnesses, 35mm from Cineteca di Bologna. Macha Magall; production: Fausto editing: Vincenzo Tomassi; music: Pino that influence their fate, that turns Saraceni for Rizzoli; origin: Italy, 1976; Donag gio; cast: Patrick Magee, Mimsy against those who have crossed the «An unintentionally comical horror cult format: 35mm, col.; length: 123’. Farmer, David Warbeck, Dagmar line. Fulci manages to accomplish a dif - film, also due to Annik Borel’s implau - 35mm from Cineteca Nazionale. Lassander, Al Cliver, Daniela Doria, ficult task, making the feline an almost sible make-up (what happened to her Bruno Corazzari; production: Giulio “human” protagonist, also thanks to the since then?), the fake dog nose and a Alberto Sordi in the original pressbook: Sbarigia for Selenia; origin: Italy, 1981; editing skills of Vincenzo Tomassi. The bunch of red fur scattered on her naked «I wanted to make a film about a new format: 35mm, col.; length: 92’. cat’s eyes are captured using the char - body. Another reason for its question - subject, something I had never covered 35mm from Cineteca Nazionale. acteristing framing cut that has become able functionality is the parallel porno - before, namely pornography. It’s not up the director’s inimitable signature, graphic ambition of this film, since the to me to moralize or to say enough is «Less known and acclaimed compared which had only been reserved to men protagonist is neither sexy nor actually enough, but I hope that satirizing a to the other films of the horror period, and women before then». scary. Tino Carraro, who goes by the topic which has always been represent - inexplicably overlooked in almost all Paolo Albiero, Giacomo Cacciatore, name of Tim Carey in the American ver - ed in a dramatic, sometimes even tragic the interviews with its director, Black Il terrorista dei generi. Tutto il cinema way, could make the exaggerations of Cat is a little jewel worth rediscovering. di Lucio Fulci , Un mondo a parte, sion, The Legend of the Wolf Woman , is Rome, 2004 exceedingly embarrassed as the were - sex look exceedingly ridiculous, enough On top of its literary inspiration, which wolf woman’s father, whilst the sea - to discourage pornography promoters. earned the film strong criticism (how can a “lesser” film-maker such as Fulci soned Dagmar Lassander stands out. For me it is a big deal in the film and W LA FOCA The plot is quite ridiculous as well, as publishing industry, as well as in the take inspiration from Poe and adapt the it tries to head toward feminist psycho - theater and in fashion. So this is the writer’s genius to his own needs?), this Director: Nando Cicero; story: Galliano analysis but digresses into speculative moment to laugh it off and implicitly work is noteworthy for several different Juso; screenplay: Francesco Milizia, fiction. Daniela, werewolf woman just say that repressions and taboos have reasons: an impressive direction, made Stefano Sudriè, N. Cicero; cinematogra - like her grandmother, hates men as a simply helped the widespread deploy - of careful framing and technical solu - phy: Giorgio Di Battista; editing: result of childhood sexual abuse. ment of pornography. Prohibitions and tions, tasteful but never over the top; Daniele Alabiso; music: Detto Mariano; Therefore, as soon as she escapes from sequestrations, particularly in the cine - the evocative, enchanting photography cast: Lory Del Santo, Michela Miti, by Salvati; the beautiful music by the mental institute, she ends up rip - ma industry, just stoke up the public Riccardo Billi, Bombolo, Dagmar Donaggio; a worthy, competent cast; ping her newly married brother-in-law interest in certain kinds of films. I think Lassander, Moana Pozzi; production: G. an incredible Patrick Magee, the Juso for Cinemaster; origin: Italy, 1982; apart. Deep down she’s a good person, it’s correct and also necessary to give a renowned British actor much beloved format: 35mm, col.; length: 92’. she just can’t help herself. She bites». simple indication, which is already provided by the film rating system, so by Stanley Kubrick who became a 35mm from Cineteca Nazionale. Marco Giusti, Dizionario dei film myth thanks to his astonishing interpre - italiani stracult , Frassinelli, that the individual is free to see what - Milan, 2004 ever film they want. I am a practising tation of the Marquis de Sade in «Amazing Ciceronian title for a film Catholic, yet I prefer a film expressing Marata/Sade by Peter Brook (1967). [...] loved by a fine critic such as Sergio joy, glee and sense stimulation to one The choice of representing the dark Grmek Germani, who had written an and tormented part of Miles’s mind as a essay, Una pelle di foca per il cinema IL COMUNE SENSO DEL PUDORE featuring bodies ripped apart ». cat is not random, nor does it end with italiano , which in fact covered both W Director: Alberto Sordi; screenplay: Ro - Poe’s quote. An entity that appears to la foca and La pelle by Liliana Cavani. dolfo Sonego, A. Sordi; cinematography: be such stuff as dreams are made on – I’m the one who asked him this erudite BLACK CAT (G ATTO NERO ) Luigi Kuveiller, Giuseppe Ruzzolini; elusive and incomprehensible, capable paper for “Il Patalogo”, but it was editing: Tatiana Morigi; music: Piero Director: Lucio Fulci; story: Biagio of sneaking in through doors and win - rejected by Franco Quadri, editor in Piccioni; cast: A. Sordi, Cochi Ponzoni, Proietti, based on a story by Edgar dows left ajar – always associated with chief at Ubulibri. I tried in vain to medi - Florinda Bolkan, , Allan Poe; screenplay: B. Proietti, L. morbid curiosity. It is the emblem of ate, but there was no way to recover

78 79 Journey to Italy, the essay, nor Germani himself, who published it in “Filmcritica”. Our little community of critics was deeply struck Journey to Germany. by this event; I still haven’t watched the film, and I still haven’t read the article by Sergio». Tribute to Roger Fritz Marco Giusti, Dizionario dei film italiani stracult , cit.

DAS WUNDER Director, screenplay: Eckhart Schmidt; cinematography: Bernd Neubauer; edit - ing: Gabriele Kröber, Raoul Sternberg [E. Schmidt]; music: Sal Paradise; cast: Anja Schüte, Dagmar Lassander, Renzi, Sibylle Rauch; production: Wol - fgang Odenthal/KF Kinofilm; origin: RFT, 1985; format: 35mm, col.; length: 102’. 35mm from Filmmuseum München (Eckhart Schmidt authorization).

After studying Douglas Sirk films in the 1960-70’s and having covered his fil - mography as a critic, which granted him a chance to interview the director him - self in 1980, Eckhart Schmidt reached his apotheosis of the Sirkian melodra - ma with Das Wunder (“The Miracle”), by boldly reviving his mentor’s expres - sive language in a “Cinema-du-look” style. The outlined story of a blind girl who seeks healing by begging God for a miracle marked Dagmar Lassander’s comeback to German cinema (as the protagonist’s mother) after working in Italy for a decade. (Christoph Draxtra)

80 81 MOVEMENTS OF ESCAPE Much more important than the body of the photographer behind it. Long for - ”, is written and produced by the by Christoph Draxtra and Gary Vanisian the young Helga Anders is her position gotten in the scene of German cinema, protagonist Fritz; as for the film Erotik auf towards the camera, her relationship Fritz filmography is experiencing a late der Schulbank (1968)), both Fritz and In a hurry, with the bag in her hand, with the world, her loneliness, the dis - rediscovery. Finally, on the occasion of Schmidt reserve for themselves each of she (a grown-up girl? a young woman?) tress of someone who does not know one of the first retrospections outside the three filmic episodes, whereas the last walks through the door of the reeduca- where to go. Her outward fragility and Germany, we are delighted to watch one is made by Hannes Dahlberg, who tion center, under the stern look of the her inner sincerity are threatened by Roger Fritz films (here in Italy, where disappeared shortly after the scene. Fritz director. The outside is grey and unde- corruption and violence, which is he is still remembered for his participa - also shows up in Die Story by Schmidt, in fined, yet a fascinating vanishing point, 1984. Roger Fritz, in turn, does not ap - sometimes direct ( Mädchen mit Gewalt, tion in films like Femmine insaziabili as well as her chance to say goodbye to t.l. Ragazza con violenza, 1970), some - preciate such attribuition at all, perhaps by Alberto De Martino and TV series because of his background, significant- the past. The incipit of the first full times prolonged and indirect ( Häschen such as Nessuno deve sapere ), in his ly different from those of Thome and lenght film by Roger Fritz, Mädchen, in der Grube , lit. Girl with violence, Mädchen (lit. Girl, girl, 1967), already presence, noting once again how such the others. In short: Thome, Lemke and 1970) and sometimes devious Zwische a visionary artist had solely been Schmidt are cinephiles, who dream of includes a declaration of intent for all uns beiden (lit. Hare in the pit, 1968), of the five films the director managed ignored for being ahead of his time. making a living out of their films. Fritz, just like her light is almost obscured by on the contrary, was already an experi - to make between 1967 ad 1981. the lugubrious ambience in Zwische “Managed” because Fritz had to strug- enced film-maker in the days of Mädchen uns beiden (lit. Between us, 1971). Mädchen , his first full-lenght film. Per- gle relentlessly against the conditions LOST YOUTH Thanks to the enthusiasm she puts into by Olaf Möller haps exaggerating, or in a pedantic way, of production in Germany back then. her interpretation of Fritz’s stories, her we might say that the others are roman - In each of his films we can recognize attitude turns out to be indomitable and Roger Fritz, born in Mannheim on tics and, therefore, moralists (for how such Herculean task against routine mature, full of awareness, typical of September 22 nd , 1936, is often considered strange it may sound to call Schmidt a and conformism, an effort to create someone who is not willing to give up part of the New German Cinema of moralist), whereas Fritz was a pop realist, something incredible, peculiar and her research and her escape. Munich, which is quite understandable: who brought realism into pop and, as atemporal. Comparably to the “non-body” of Helga on one hand, he starred in two collec- such, very close to the truth about what Having worked as apprentice for Frank Anders, we have the “non-places” of tive masterpieces – the debut in the full is amoral rather than hypocritical; a theme lenght films Jet Generation (1968) by Wisbar and Luchino Visconti and after Fritz’s cinematography: for Mädchen, that often recurs in his works. Eckhard Schmidt and Fremde Stadt by two short films (one of which, Zimmer Mädchen , the director builds a desolate After a vocational training as wholesaler im Grünen, lit. the Green Room, is Rudolf Thome (1972) –, on the other (which should have helped him in his landscape, reminiscent of the western hand, his most relevant works, particu- finally available after being in the shad- setting, littered with monstrous indus - work as a productor, but sadly did not ow for 20 years), Fritz, lucky, acclaimed larly Mädchen Mädchen (1966) and save him from failures, debts and decades trial facilities, right in the middle of the Mädchen... mit Gewalt (1969), denote an and brilliant photographer and editor, Bavarian county; likewise, Mädchen of “forced labour” in telefilms), Fritz dis - artistic attitude similar to that of Thome covers his first actual calling in photogra - meets Helga Anders and gives her the mit Gewalt is set in a gravel quarry. and the others: to look at things with phy. In 1955 he meets the photographer leading role in Mädchen, Mädchen, his Both these sceneries seem to empha - serenity, believe in their presence, with - first film marked by positive reception. Herbert List from Munich and, as his size human cruelty. Fritz shows his out making psychological analysis, but assistant, he learns from him and by his The twenty-nine years old director uniqueness within the cinema of rather illustrating the intentional “thoughts side; his early works even grant him a finds a muse in the eighteen years old Germany also due to his concept of the and deeds”. And more than anything else, Photokina award. Photography remained actress. Their encounter gives birth to landscape, which he makes theater of to love cinema, and consequentially to Fritz’s main profession for years; he used four and a half cinematic declarations the deepest human emotions as well as love the audience as well. Furthermore, to be well-known in the field, he worked of love, intense and passionate, as brutal violence. The fluctuating rela - by the late 1960s, a close “almost rela - for several magazines and prestigious much as those of Luchino Visconti to tionships between the characters is mir - tionship” between Schmidt and Fritz had newspapers; he also worked as unit still Helmut Berger, Armando Bò to Isabel rored by the delicate fluidity of the film started. Jet Generation , a sort of pulp ver - photographer. The early 1960s represent - Sarli and Pyr’ev to Marina Ladynina. camera, which reveals the keen eye of sion of Blow Up set in the “swinging ed a period of personal growth for Fritz: 82 83 in 1960 he is co-founder of the bimonth - ish image, when the teenager matured refused to recognize her talent and to ZIMMER IM GRÜNEN ly «TWEN»; in 1961, two years after a less - into an icon, then with Mädchen attribute her the appropriate dignity for er part in ...und noch frech dazu! by Rolf Mädchen , which granted her a film award her age. Roger Fritz, at least, managed Director: Roger Fritz; cinematography: von Sydow (1959), Fritz completes his in the Federal Germany. In 1967, Fritz to give us a true masterpiece with Ingo Grill; production: Roger Fritz education at the acting and direction and Anders married. The pessimists claim Mädchen... mit Gewalt , as well as anoth - Filmproduktion; origin: RFT, 1964; for - school held by Universum Film AG, and that such was the beginning of the down - er film, perhaps more daring than suc - mat: 35mm, col.; length: 12’. we find him as assistant director in Il ward spiral for both of them, that none of cessful, but still of great relevance: 16mm b/w (from 35mm col.) from Gattopardo by Luchino Visconti (1962): the following works met the unmatched Häschen in der Grube (1968). Despite his Filmmuseum Düsseldorf. watching the last part of the grand ball quality of the debut (which is certainly exceptional early successes, he has scene carefully, we can spot Fritz moving not true) and that Anders’ acting talent always been a “cursed author”, probably, through the crowd, whispering and coor - did not success fully develope (a matter of under many aspects, because of the [B OCCACCIO 70] I L LAVORO dinating the background actors. In 1963, personal taste). The couple’s career ends hoary prudery of New German Cinema Verstummte Stimmen , his first , with Anders’ alcohol and drug abuse and Director: Luchino Visconti; screenplay: and its critics. Since in his films there are L. Visconti, Suso Cecchi D’Amico; cine - is released, followed by Zimmer im her ensuing suicide on 31 st December, recurrent plots of “insidious” sexual con - matography: Giuseppe Rotunno; edit - Grünen in 1964. Lastly, in 1966 (therefore 1986; Fritz then slowly retires from the stellations analyzed without any moral - much earlier than the authors of the scene. During the 1990s and in the early ism, Fritz remained a highly suspicious ing: Mario Serandrei; music: Nino Rota; Munich group) he makes his first full- 2000s, Fritz, whose main occupation has character, quickly shelved among the cast: Romy Schneider, , lenght film, Mädchen Mädchen , which shifted towards catering in the meantime, erotic authors, despite how important , Paolo Stoppa; produc - features Helga Anders, his discovery, as seems to randomly appear in front of the they might have been. (His last film talks tion: Carlo Ponti and Tonino Cervi for protagonist. Born on January 11 th , 1948, camera, for example in maudit by Ulli about prostitution, almost as confirmation Concordia/Cineriz/Francinex/Gray; ori - in Weiler-Schwaz, near Innsbruck, Anders Lommel Daniel, der Zauberer , produced of such label.) gin: Italy/France, 1962; formato: 35mm, was originally named Scherz, joke , which by his old art partner Peter Schamoni, who Zwischen uns beiden – col., durata: 53’. hints at how her stage name acquired made a brief cinematic appearance in Helga Anders und Roger Fritz , 35mm from Cineteca Nazionale. later on a somewhat threatening compo - 2004. What kind of great work could you Deutschen Filmmuseum, nent, especially in view of her ensuing, still expect to create, anyway, after being Frankfurt am Main, 2006 «From now on, even anthology films terrible fall into oblivion: it was Anders, part of the group from which Fassbinder have their Parsifal , and its name is Boc - something different , another person, came out? Fritz’s last work as director in caccio 7 0: rather than a film made of always outside of time, sometimes even 1981, conceived as a summary of a whole VERSTUMMTE STIMMEN four episodes, it is a film made of four out of this world, despite her body being career, is Frankfurt Kaiserstraße , which films, for the total lenght of three and a Director: Roger Fritz; story: Karlheinz such a fitting screen on which to project in fact seems to be a concession to such half hours. [...] Visconti, with his anti - Knuth; cinematography: Herbert the sensibility of that time. Hugely talent - idea. quarian taste, introduces us to high Rimbach; production: Inter-West-Film; ed from birth, Helga Anders, one of Helga Anders could have consolidated an society in the episode Il lavoro . In an the few true starts of the Federal Republic actual career, but she could not create a origin: RFT, 1962; format: 35mm, b/w; exceedingly elegant and authentic set - of Germany of the 1960s, starts very clear profile, a character. It has nothing to length: 12’. ting, two young aristocratic spouses young on a provincial stage, the do with her swinging between B-movies 35mm from author. Community Theater of Bielefeld. Later and serious works; it is all about how she (Romy Schneider and Tomas Milian) boringly lead their wealthy and torpid on, it is assumed, she is scouted by the failed to make something new from all Glimpses of the Berlin Wall and voice Popular Theater of Tegernsee debuting this, how she did not manage to build a lives; until a million-dollar call girls off; scenes of a life that is never going scandal, in which the man is involved, on screen as the daughter of Heinz deliberate solidity based on her age and to be the same again, in this place. The Rühmann in Max, der Taschendieb by her experience. It is not known for sure upsets their existences. Instead of result is dreamy, not furious at all, quite divorcing, the young countess starts Imo Moszkowicz (1961), although, on whether this is due to a lack of strategy calm, patient. Different times may this point, the various chronologies tend in her career or the fact that the New working, and what job is better than come... (Olaf Möller) to contradict each other. Certainly she German Cinema industry (other than the call girl to take revenge on her became a star, despite her juvenile, child - the traditional cinema industry) simply husband? Therefore, from now on, if 84 85 the count wants to access the bridal pened, just with partly different charac - between excited curiosity and a feeling MÄDCHEN MIT GEWALT bed, he’s going to have to pay for it. ters. Mädchen Mädchen does not de - of sadness towards the world. With (which is a theme already covered by scribe a liberatory progression, but a some reminiscence of Antonioni. Anders Director: Roger Fritz; story: Winfried Schnitzler; screenplay: R. Fritz, Jürgen Maupassant)». circular motion: its surreal flavor is not is an astounding Lolita of the German Knop; cinematography: Wolfgang Kohl, solely due to the eccentric relationships cinema, at that time represented by our Leo Pestelli, «La Stampa», Egon Mann; editing: Jutta Brand - 24 th February, 1962 between the chatacters, nor to the dear Fritz as an insecure Snow White staedter, Peter Przygodda, Christa peculiar setting, but rather it is mainly who barely manages to defend herself Wernicke; music: Irmin Schmidt; cast: created by this unrealistically long time, from the countless incoming attacks, to Helga Anders, Klaus Löwitsch, Arthur MÄDCHEN , M ÄDCHEN by this subtle feeling of déjà vu. [...] turn into a chrysalis and find peace on Fritz puts in contrast images of an Brauss, Monila Zinnenberg; production: Director: Roger Fritz, screenplay: R. the Tuscan hills, in a defloration day - almost pictoresque nature with those of Roger Fritz Filmproduktion/ Smart; ori - Fritz, Eckhart Schmidt; cinematogra - dream; and then turn into a butterfly, people who reside in highly industrial - gin: RFT, 1970; format: 35mm, col.; phy: Klaus König; editing: Heidi Genée; while the raging bourgeois rabble chas - ized zones, reminiscent of some films length: 98’. music: David Llwellyn; cast: Helga es through the olive grove the avenger 35mm from author. by , such as Il Anders, Jür gen Jung, Helmut Lange, of the rabbit killed for fun by the musi - grido (1957) and Il deserto rosso (1964): cians hired by the father. One of the «It is no exaggeration. They say that Renate Grosser, Klaus Löwitsch; pro - comprehensively concrete, yet es - best Italian exploitation films, although Anthony Mann and used duction: Roger Fritz Filmproduktion; tranged and abstract». origin: RFT, 1967; format: 35mm, b/w; made by a non-Italian». to agree on the film that no one would Christoph Huber, Marmor, Stein und Christoph Draxtra, in Eskalierende length: 102’. Eisen bricht – Mädchen Mädchen von dare to shoot. Roger Fritz, instead, made 35mm from author. Träume-Sehtagebuch , it: a brutal, sharp film about a night in Roger Fritz. Anmerkungen zu einer 21 st December, 2010 unmöglichen Liebe , in the booklet of the a gravel quarry. With Helga Anders, DVD Mädchen, Mädchen , Subkultur Klaus Löwitsch and Arthur Brauss. We «The secret of Mädchen, Mädchen lies «At first hesitant, then somewhat in how it is told, which is the way you Entertainment, 2016 have to see how the violence wraps relieved, the young Helga Anders loses around the emotions, preventing the accurately describe every single detail, her virginity in the Umbrian twilight even at the cost of crossing the line. victim from experiencing said violence HÄSCHEN IN DER GRUBE with Ray Lovelock, somewhere on the without also dealing with the emotions». This can be found in the way Fritz hills around Spoleto, in the formative approaches the fascinating world of Rainer Knepperges, Sigi Götz Director, screenplay: Roger Fritz; cine - ballad Häschen in der Grube (1969). cinema, for which he harbors affection - Entertainment , October, 2007 matography: Rüdiger Meichsner; music: Umbria as nostalgic place promising of ate concern; but at the same time, he Uli Röver; cast: Helga Anders, Anthony a new life, a cocoon that turns the treats it with frustrating detachment. Steel, Françoise Prévost, Ray Lovelock; person into a free creature, just like a The film represents an universe of ZWISCHEN UNS BEIDEN production: Maris Film; origin: RFT, butterfly, at least in the moment of the paradoxical elements, true yet contra - 1969; format: 35mm, col.; length: 90’. separation. A great, tangible utopia, Director: Roger Fritz; story: dal dramma dictory, shaken by an upsetting, almost 35mm from author. already inherently marked by the di Rhys Adrian; screenplay: Ulf Miehe; unearthy turmoil, which eventually dis - melancholy of transience». cast: Helga Anders, Arthur Brauss, Rolf appears under the confident staging, «It is summer in Spoleto. Helga Anders Zacher, Karola Goerlich; production: Christoph Draxtra, Sauros vergessene which progresses in a complete auton - is an adolescent tossed back and forth Gärten oder Umbrien im Villenfilm , Stern TV; origin: RFT, 1971; format: omous way, as if it were revealing a between the oppressive father, incestu - in the booklet of the DVD Amore e 35mm, col.; length: 70’. conventional story with scandalous ele - ous and lecherous, and Bryan, dreamer morte nel giardino degli dei , Blu-ray (from VHS from 16mm) from ments (the advertising slogan for Hippie artist, more mature but equally FilmArt, 2014 author. Mädchen Mädchen : “a film for lovers”). lustful. Roger Fritz tells us, through Hence the events described turn out to bittersweet but also elusive pictures, «In Zwischen uns beiden , Arthur Brauss be a return to what has already hap - about a melancholic fantasy of puberty, and Helga Anders play some complete -

86 87 Hardcore, ly different characters in comparison to Far from their parents and the Federal the previous films, which is truly army, away from the sadness of the impressive. Brauss and Anders, in this suburbs, now in the city teeming with Music of the Heart, I angry introverted film, keep discussing life. Their escape leads them to about their spoiled first meeting, which Frankfurt, in the Kaiserstraße, aimless happened during the previous summer. and easy to seduce. Welcomed by fan - Now it is winter and they decide to pre - tastic prostitutes and filthy panderers, tend to meet each other for the first where the clubs are just few steps away time. So the situation unravels itself, from the drains. Does their happiness, immediately creating a feeling of inti - built on the ruins of society, have a macy between the protagonists, as if chance? Vibrancy and look typical of a they were an old couple bored to German soap-opera of the early 1980s, death. Zwischen uns beiden is a radical let yourself be carried away by the fluc - love film about a loveless couple. It is tuation of delirious emotions of this also a terribly truthful image of Berlin exploitation story by Roger Fritz, a sen - in the 1960s: a city full of old people. A sational work which “wants to outline threatening remembrance. A bus, full the station neighborhood in Frankfurt by day and empty by night. Indelible: as a German Chicago” (“Katholischer A glimpse of a light bulb facility where Filmdienst”) and shows that the shores Helga Anders, exhausted, stares at an of the Main, at least for someone, can assembly line, on which a fragile, wob - be the most romantic place in the bly pile of spotlights is accumulating. world, illuminated by the gentle light of Zwischen uns beiden , made for televi - the evening. “Of course Roger Fritz sion, was shelved for one year before made different, better films. And back being broadcasted in the early 1971». then Ernst Kalinke used to be the cam - Rainer Knepperges, Vorläufige eraman in the best films by Harald Bemerkungen zu den Filmen Reinl. Nevertheless, this average work von Roger Fritz , «Gdinetmao», turns out to be remarkably insightful, n. 12, June, 1999 as Hanno Pöschlals is simply inspiring as a gangster of this German cinema of depression, not in the style of FRANKFURT KAISERSTRAßE Fassbinder, but in that of Rowland Director: Roger Fritz; screenplay: Georg Brown and William Wellman” (Rainer Ensor; cinematography: Fritz Baader, Knepperges)». Ernst W. Kalinke; editing: Karl Aulitzly; Hofbauer-Kommando, Filmkollektiv cast: Michaela Karger, Dave Balko, Ute Frankfurt , November, 2013 Zielinski, Kurt Raab; production: CTV 72/Lisa-Film; origin: RFT, 1981; format: 35mm, col.; length: 87’. 35mm from Werkstattkino.

«Susanne and Rolf: two eloping minors.

88 89 1917 LA CUGINA DEL PRETE ture, the pure anatomy) as well as a The Fireworks Woman mystical translucency. But what makes The Fireworks Woman insane and orig - (...1938...1948...1971...), Director, editing: Abe Snake [Wes inal is its distincitve (as well as amus - Craven]; screenplay: W. Craven, Hørst ing) quality of religious depravation: Badörties; cinematography: H. Badör - crucifixions, kneelings, punishments, the Day the Clown Cried ties; music: Jacques Urbont; cast: Sarah celestial orgasms, visions of heavenly Nicholson [Jennifer Jordan], Eric skies, abandonment to sin, confession - Edwards, Erica Eaton, Helen Madigan, als: a vast visual repertoire with which Lefty Cooper, W. Craven; production: Craven plays with great irony, reserving Lobster Enterprises; origin: USA, 1975; to himself the role of the great Carnival format: 35mm, col.; length: 83’. barker. The Fireworks Woman makes 35mm from Penny Video. use of any means – oneirism, alterante editings with schock effect, fade-outs The film is proposed in its vintage into white light, creative use of sound – 35mm copy, in the rare Italian extend - to make of sex an instrument of knowl - ed version, currently the most complete edge and revolution. [...] Craven proj - in circulation. ects us into the universe separated by the embrace. The naked bodies of the «1975 is the year of The Fireworks two young people love each other unre - Woman , of which [Craven] has total servedly, entwined inside a bare blue control both as director and as writer, bedroom. Undoubtedly, for Craven it all and which leads him into a research comes down to showing the incestuous about sex as primal and liberatory force. lovers in a sort of paradise; a represen - [...] It is a terribly fascinating and per - tation of spiritual bliss emphasized by sonal film; not a mere exploitative prod - the suggestive use of the Canon in D by uct, but rather a work concerning that Pachelbel, composition which accom - experimental research, realized within panies all the couple’s intercourses, the pornographic genre, subsequently while the deviations from this “state of laballed as porno-chic : the pornogra - nature” are accompanied by screeching phy of the intellectuals, not despised by musical comments». the ladies and by certain wealthy intel - Marcella Leonardi, ligentsia. Titles by now ascended to «Nocturno», n. 156, November, 2015 mythic status, such as Behind the Green Door and Deep Throat , were among the constitutive works of porno-chic, which also include, and rightfully so, The Fire - works Woman : for the poetic spirit, for the literary inspiration, for the attempt to converge into a coherent structure the image-pornography in its entire, naked objectivity (the detail of the ges -

90 91 DANS LA TRANCHÉE 16mm from Archivio audiovisivo del Currier; cast: Stan Laurel & Oliver Hardy VENTI ANNI DOPO movimento operaio e democratico. (voices Mauro Zambuto & Alberto Block-Heads Director, cinematography: Luca Come - Sordi), Donald Dillaway, Jackie Lyn rio; production: Luca Comerio for Pathé «It is not a “celebratory” film. It is not a Dufton, Mary Carr, James Finlayson, G. Director: John G. Blystone; screenplay: Film; origin: France, 1917; format: 35mm, tv series (not even an anti-channel one). Marshall; production: Hal Roach; ori - Charley Rogers, Felix Adler, James Par- b/w-col; length: 20’. It is not a propagandistic film. It opens gin: USA, 1932 (Italian version 1947); rott, Harry Langdon, Arnold Belgard; 35mm from Cineteca del Friuli. the sequence of films that the Italian format: 35mm, b/w; length: 68’. cinematography: Art Lloyd; editing: Bert communists dedicate to the centenary 16mm (from 35mm) from Cineteca Jordan; cast: Stan Laurel & Oliver Hardy «The images retrace a route through the (voices Mauro Zambuto & Alberto of the birth of Vladimir Ilic Ulianor Bruno Boschetto. trenches, which winds along the sea, Sordi), Patricia Ellis, Minna Gombell, Ja - Lenin, but with an intention of repre - the construction site in Monfalcone, the mes Finlayson; production: Hal Roach; sentative strictness that is “far from any «Laurel and Hardy are enlisted to fight Isonzo river, up to the icy summits of origin: USA 1938 (italian version 1948); form of mere celebration” (to use a in the First World War. We can see them the Alps, revealing the barren soil of format: 35mm, b/w; length: 68’. proposition from the Document of the advancing towards the frontline, where the Kras uplands and the ruins left by Digital copy (16mm and 35mm) from Cultural Section of the PCI Central one of their comrades gets killed. When the advent of war. Among the rubble Enzo Pio Pignatiello. Committee, dedicated to “Lenin’s teach - the two come back to their homeland, and the dirt, it is still possible to see the ing”), in order to “approach his teach - they pay a visit to their friend’s daugh - trenches carved into the ground by the «During the war, Mr. Laurel is left on the ings in a strictly critical way”. For these ter and, upon realizing that she is mis - soldiers as well as the covered walk - frontline to hold the position. Twenty reasons, this film is, first and foremost, treated by her adoptive parents, they ways. [...] Comerio films the soldiers years later, the heroic soldier still an early example of documentary cine - take her away with them. At this point, inside the trench, loading and aiming marches in the same trench, which matographic philology, namely the they should track down her grandpar - their weapons at the enemy. The keeps getting deeper and deeper, feed - result of a process of purification of ents, but all they know is that their last trenches expand all the way up to the ing on those typical military rations and the only twenty-two visual fragments name is Smith. From here, a series of graveyard in Gorizia, also partly devas - throwing the tins into what could be of “Lenin vivo” that we have received misadventures developes, some of tated by the explosions. The army pro - called a mountain of empty cans. Back from the archives of Moscow, of critical which are quite hilarious. The two see ceeds towards the city through a path home, he is triumphantly welcomed; reapproach to the authentic image of a poster announcing a boxing match, fraught with danger. Comerio lingers at nothing less than a newspaper article is Lenin, stripped of any manipulation. Steamboat Steve versus Kid McCarey (a a body abandoned among the rubble. dedicated to him. “Never have I met Thus, a proposal in an anti-propagan - private joke : Raymond McCarey is the [...] Through an “extreme wide shot”, dumber person”, will say Ollie upon distic, anti-encomiastic, anti-celebratory co-director of the film). They find Comerio films the peaks immersed in reading the soldier’s story. At this point, leninist style, aimed at historicizing the Steamboat Steve and they introduce the white foamy clouds, in the evening a spot-on “double-take” will suggest same cinematographic operations of the girl as his granddaughter, whereupon light : “ La mer de nuages qui entoure the boxer, thinking of being black - that Ollie, actually, may very well know presque toujours le Montenero ”». time, as well as the subsequent manip - a dumber person. “I was left for dead”, ulations ». mailed, uncorks a right hook on Elena Dagrada, Elena Mosconi, Silvia Hardy’s face, knocking him out. There the survivor will explain, soon after, to Paoli, Moltiplicare l’istante: Beltrami, Gianni Toti, Piccola chiave di lettura a girl. “How do you know you’re alive?” per “Lenin vivo” , typescript is also an iconic movie-image in here, Comerio e Pacchioni tra cinematography where the little girl, getting ready for she goes. Stan, after a brief moment of e cinema , Il Castoro, Milan, 2007 bed, tells Laurel a bedtime story, and he embarrassment: “I read it in the news - paper”. Having rejoined his lost friend, IL COMPAGNO B... is the one falling asleep». Ollie will invite him home, which will [3° CANALE ] L ENIN VIVO Pack Up Your Troubles Charles Barr, Laurel & Hardy , Studio Vista, London, 1967 completely blow his family status (he’s Director: Joaquim Jordà, Gianni Toti; Director: George Marshall, Raymond married) as well as his relationships production: PCI; origin: Italy, 1970, for - McCarey; screenplay: H.M. Walker; cin - with his co-residents. We are back, mat: 16mm, b/w; length: 31’. ematography: Art Lloyd; editing: Richard practically, to the typical intrigue of

92 93 marital comedies and their settings that LA FORZA E LA RAGIONE - IL TENTATO SUICIDIO animate from the inside, despite having INTERVISTA A SALVATORE ALLENDE NELL ’ADOLESCENZA started from a situation in which we Director: , Emidio (T.S. G IOVANILE ) can feel the influence of Langdon». Greco; cinematography: Roberto Giro- Director: Ermanno Olmi; origin: Italy, Marco Giusti, S tan Laurel & Oliver Hardy , metti; contributions: Salvador Allende, La Nuova Italia, Florence, 1978 1968; format: 16mm, b/w; length: 35’. R. Rossellini; production: Renzo Rossel - Digital copy (from 35mm) from Istituto lini jr for San Diego; origin: Italy [1971- Luce - Cinecittà and Fondazione Luigi ]1973; format: 16mm, col.; length: 45’. Micheletti. WE FAW DOWN Digital copy (from 16mm) from Cine - Director: Leo McCarey; screenplay: H. M. teca Nazionale (restored with Cineteca The find of Ermanno Olmi’s film about Walker; cinematography: George Stev - di Bologna and Istituto Luce). Il tentato suicidio nell’adolescenza ens; editing: Richard Currier; cast: Stan (1968) inside the Cinestabilimento fra- Laurel & Oliver Hardy, Vivien Oak land, «The Intervista a Salvatore Allende , a telli Donato, acquired by the Micheletti Bess Flowers; production: Hal Roach; document of exceptional testimonial Foundation in the early 1990s and now origin: USA, 1928; format: 35mm, b/w; significance, although shot as an ordi - held by the musil (museum of work length: 20’. nary TV special, was intended to be and industry) in Brescia, appears to be 16mm (from 35mm) from Cineteca del part of a wider project of interviews to the result of mysterious connections. Friuli. the great personalities of the world, Ermanno Olmi was present during the including one to Mao Tse-tung, the entire phase of the musil’s realization «Laurel and Hardy cannot leave their only one that has actually been real - (articulated in four venues, three of wives alone to go play poker, until one ized. Perhaps the first building block of which are operational and one under of their friends call them pretending a “political encyclopedia”?». construction). He followed with partic - to be their boss inviting them to the Adriano Aprà, Rossellini ular interest the completion and the Orpheum Theatre. [...] Typical example documentarista? , in Luca Caminati, launch of the venue in Cedegolo-Val Roberto Rossellini documentarista. Camonica, dedicated to hydroelectric of marital comedy, We Faw Down Una cultura della realtà , anticipates the plot of one of the most Carocci/MiBAC/Centro Sperimentale energy, which gives a sense of the successful films of the duo, I figli del di Cinematografia, Rome, 2012 work, documentary and poetic at the deserto . Several sources have linked same time, he had done for Edison. the model to a comical Keystone of The same museum, located in a splen - the 1910s, although, according to an IL LIBRO CONTRO LA MORTE did industrial building of the early English journalist of that time (Margaret (Das Buch gegen den Tod) 1900s, contains findings and memories Chute for “Royal Pictorial Magazine”), by Elias Canetti directly linked to Olmi’s first feature the idea came from Hardy himself, who Reconstruction 2014 of texts 1942-1994, film Il tempo si è fermato (1959), shot in had been inspired by some gossip Italian version by Ada Vigliani, Adelphi the facilities at a height in the valley. heard from his laundress». 2017. On the other hand, having appreciated Glenn Mitchell, The Laurel Cover by Alexandre Alexeïeff from the the work we had been conducting on & Hardy Encyclopedia , 1929 edition of Les frères Karamazov di the agricultural world, he wanted to Batsford, Londra, 1995 Fëdor Dostoevskij. directly engage us in Terra Madre (2009). The documentary of 1968, too, From the film Il tentato suicidio nell’adolescenza found by Maurizio Orsola of the Istituto (T.S. Giovanile) Luce with the assistance of Stefano

94 95 Guerrini, besides its own value as a and saves all that dies. “His prophetic building block in such a great author’s existence is a gift that must not be filmography, refers to a series of initia - wasted”, says the director, finally free tives we are currently presenting for from an obligation taken four years the purpose of a critical-historical before. The choice to be he himself retelling of the years of the protest. interpret and reader of the cardinal’s Knowing that we will never be able to messages immediately clarifies the properly recirpocate, at least let us pub - meaning of the title given to the film licly say: Thank you, Ermanno. (Pier [...]. Olmi describes the cardinal as in a Paolo Poggio) parable of the 1900s, his humanity enlightened by his faith, his long lasting ministry in Milan, marked by worries VEDETE , SONO UNO DI VOI and doubts, the high and charismatic character of the biblist, capable of lis - Director: Ermanno Olmi; screenplay: tening and interpreting the anxieties of Mar co Garzonio, E. Olmi; cinematog - the present time, seeking for an answer ra phy: Fabio Olmi; editing: Paolo in the Gospel and the Scripture. “Since Cottignola; contributions: Carlo Maria the first interview we realized that we Martini, E. Olmi, Giovanni XXIII; pro - were cultivating the same orchard from duction: Roberto Ciccutto for Cinecittà different settings. His Gospel is mine Luce/Raicinema; origin: Italy 2017; for - too, his ability to query human con - mat: video, col.; length: 76’. science, to listen, to look after the hum - Digital copy from Istituto Luce - ble, with the same respect that is owed Cinecittà. to each child of God. It is a great les - son, it represents a substancial legacy «It starts from the humanity of a suffer - for our Church, as well as for all of us”». ing, emphasized by an empty room in Giangiacomo Schiavi, the Aloisianum of Gallarate, Ermanno «Racconto il cardinale Martini. Olmi’s cinematographic tribute to cardi - Un dono che non va disperso» , nal Martini. In a place that is not a «Corriere della Sera», 4th February, 2017 place, but a state of mind, with the dripping IV, the ticking alarm clock, the crucifix on the wall, a window view of the woods, reminiscent of freedom and mysteries, silences and goodbyes. The first sequence almost evokes a trascen - dence, with the director’s voice that sounds like the ill cardinal’s tired, fatigued voice, overlapping it and becoming the fist person narrator of an ethical testament in which the power of words, since the biginning, overcomes

96 97 Authors in Alphabetical Order Mihovil Pansini 30, 40, 42 James Parrott 73, 93 Živojin Pavlovi ć 35 Elio Petri Sergio Bergonzelli 69 63, 65, 67 Ferdinando Maria Poggioli Giorgio Bianchi 68 54, 55, 57, 58, 59 Ivan Ramljak Roberto Bianchi Montero 77 42 Jackie Raynal John G. Blystone 93 43-44 Ludovica Ripa di Meana Milan Bukovac 40 57 Giancarlo Roscioni Henri Calef 73 57 Roberto Rossellini Mario Camerini 55 94 Tewfik Saleh Nando Cicero 79 51-52 Enrico Maria Salerno Jem Cohen 16 61 Piero Schivazappa Luca Comerio 92 76 Eckhart Schmidt Wes Craven 90 80, 85 Hans Schott-Schöbinger Damiano Damiani 56, 60, 68, 69 76 Alberto Sordi Giuseppe De Santis 63, 65 62, 78, 93 Lazar Stojanovi Rino Di Silvestro 77 ć 35-37, 40 Dimos Theos Leïla Férault-Levy 16 17-28 Giuliano Tomei Roger Fritz 81-88 56 Gianni Toti Lucio Fulci 78 92 Luchino Visconti Augusto Genina 54, 59, 72 68, 82, 84, 85 Luigi Zampa Pietro Germi 57, 60, 62, 64, 65, 66 64 Ettore Giannini 73 Tomislav Gotovac 30, 36-42 Emidio Greco 94 Seth Holt 45-50 James W. Horne 72 Léo Joannon 62 Joaquim Jordà 92 Fotos Lambrinos 21 Antonio G. Lauer [T. Gotovac] 40 George Marshall 92 Ivan Martinac 32-35, 37 Leo McCarey 94 Raymond McCarey 93 Giorgio Moser 65 Zdravko Musta ć 33 Ermanno Olmi 95

98 99 Films in Alphabetical Order 86 Häschen in der Grube , 1969, Roger Fritz 40 Hot Klab of Frans ili Salt Peanuts , 2007, Tomislav Gotovac 27 Kapetan Meitanos, i eikona enos mythikou prosopou , 1987, Dimos Theos 67 A ciascuno il suo , 1967, Elio Petri 21 Kierion , 1968-1974, Dimos Theos 54 Addio giovinezza! , 1940, Ferdinando Maria Poggioli 38 Kružnica (Jutkevi č - Count) , 1964, Tomislav Gotovac 52 al-Makhdu’un , 1972, Tewfik Saleh 35 Lavirint , 1961, Živojin Pavlovi ć 76 Andrea - Wie ein Blatt auf nackter Haut... , 1968, Hans Schott-Schöbinger 76 The Laughing Woman , 1969, Piero Schivazappa 69 L’angelo con la pistola , 1992, Damiano Damiani 85 Il lavoro , 1962, Luchino Visconti 68 Assicurasi vergine , 1967, Giorgio Bianchi 92 Lenin vivo , 1970, Joaquim Jordà, Gianni Toti 62 Atollo K , 1951, Léo Joannon 16 Luce, à propos de Jean Vigo , 2016, Leïla Férault-Levy 78 Black Cat (Gatto nero) , 1981, Lucio Fulci 77 La lupa mannara , 1976, Rino Di Silvestro 42 Brodovi i dalje ne pristaju , 2017, Ivan Ramljak 86 Mädchen, Mädchen , 1967, Roger Fritz 62 Il cammino della speranza , 1950, Pietro Germi 87 Mädchen mit Gewalt , 1970, Roger Fritz 58 Il cappello da prete , 1944, Ferdinando Maria Poggioli 33 Martinac ( čisti film) , 2015, Zdravko Musta 61 Cari genitori , 1973, Enrico Maria Salerno 40 Mihovil Pansini - Brodovi ne pristaju , 2008, Milan Bukovac 57 Carlo Emilio Gadda , 1972, Ludovica Ripa di Meana e Giancarlo Roscioni 68 La moglie più bella , 1969, Damiano Damiani 73 Carrefour des passions , 1948, Ettore Giannini, Henri Calef 33 Monolog o Splitu , 1962, Ivan Martinac 65 La città si difende , 1951, Pietro Germi 49 The Nanny , 1965, Seth Holt 92 Il compagno B... , 1932, George Marshall, Raymond McCarey 54 Nous ne sommes plus des enfants , 1935, Augusto Genina 78 Il comune senso del pudore , 1976, Alberto Sordi 72 Nostra moglie , 1931, James W. Horne 69 Cristiana monaca indemoniata , 1972, Sergio Bergonzelli 47 Nowhere to Go , 1958, Seth Holt 16 Crossing Paths with Luce Vigo , 2010, Jem Cohen 35 Ona voli , 1968, Lazar Stojanovi 90 La cugina del prete , 1975, Wes Craven 64 L’onorevole Angelina , 1947, Luigi Zampa 50 Danger Route , 1967, Seth Holt 56 Piazzale Loreto , 1980, Damiano Damiani 92 Dans la tranchée , 1917, Luca Comerio 36 Plast ični Isus , 1971, Lazar Stojanovi 26 Diadikasia , 1976, Dimos Theos 38 Plavi jaha č (Godard - Art) , 1964, Tomislav Gotovac 77 Una donna per 7 bastardi , 1974, Roberto Bianchi Montero 38 Pravac (Stevens - Duke) , 1964, Tomislav Gotovac 65 È nata una stella , 1951, Giorgio Moser 39 Prijepodne jednog fauna , 1963, Tomislav Gotovac 21 Ekato ores tou mai , 1963, Dimos Theos, Fotos Lambrinos 65 Roma ore 11 , 1952, Giuseppe De Santis 27 Eleatis xenos , 1996, Dimos Theos 60 Il rossetto , 1960, Damiano Damiani 44 Un film 1988/2018 - Journal de Jackie , 2017, Jackie Raynal 73 Scale... musicli , 1932, James Parrott 34 Fokus , 1961, Ivan Martinac 42 Scusa signorina (Antifilm) , 1963, Mihovil Pansini 94 La forza e la ragione - Intervista a Salvatore Allende , 1973, Roberto 66 Signore & signori , 1966, Pietro Germi Rossellini, Emidio Greco 55 Sissignora , 1942, Ferdinando Maria Poggioli 88 Frankfurt Kaiserstraße , 1981, Roger Fritz 49 Station Six-Sahara , 1963, Seth Holt 59 La gelosia , 1915, Augusto Genina 27 Stavros Tornes, o photographos tis diasporas kai tou ephimerou , 1989, 59 Gelosia , 1942, Ferdinando Maria Poggioli Dimos Theos 60 Gelosia , 1953, Pietro Germi 63 La strada lunga un anno , 1958, Giuseppe De Santis

100 101 48 Taste of Fear , 1961, Seth Holt Summary 95 Il tentato suicidio nell’adolescenza (T.S. Giovanile) , 1968, Ermanno Olmi 57 Il testimone , 1946, Pietro Germi 56 Il Tevere , 1958, Giuliano Tomei 72 L’ultimo lord , 1932, Augusto Genina 95 vedete, sono uno di voi , 2017, Ermanno Olmi 93 Venti anni dopo , 1938, John G. Blystone 85 Verstummte Stimmen , 1962, Roger Fritz 6 Outside the Law 55 Via Margutta , 1960, Mario Camerini by Sergio M. Grmek Germani 79 W la foca , 1982, Nando Cicero 94 We Faw Down , 1928, Leo McCarey 15 to Luce Vigo 80 Das Wunder , 1985, Eckhart Schmidt 17 Anno uno Award. Dimos Theos, Stranger of Greece, I 42 Zahod , 1963, Mihovil Pansini 85 Zimmer im Grünen , 1964, Roger Fritz 29 Castles of Sand. The Croatian Avantgarde and the Bridges with the 87 Zwischen uns beiden , 1971, Roger Fritz Serbian Avantgarde, I 43 Jackie Raynal, from Zanzibar to Trieste 45 Seth Holt, the Wandering Gothic, I 51 The Cinema of all the Deceived. For a Retrospective of Tewfik Saleh, I 53 Germination. Correspondence between Italian Film-Makers, I 71 The Museum Luigi Comencini, and Mario Ferrari Dreamed of. Meeting the Cineteca Italiana 75 What is Cinema? Dagmar Lassander 81 Journey to Italy, Journey to Germany. Tribute to Roger Fritz 89 Hardcore, Music of the Heart, I 91 1917 (...1938...1948...1971...), the Day the Clown Cried

98 Authors in Alphabetical Order 100 Films in Alphabetical Order

102

TAVERNA SAPORI GRECI L’Associazione Anno uno awaits you at the XVII edition of I mille occhi International Arts and Film Festival

www.imilleocchi.com @IMilleOcchi I Mille Occhi nglish version of the 2011 festival catalog on: