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on on
George George
105 105
of of
fasci
lava lava
dramatic dramatic
sequence sequence
film film
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for for
seemingly seemingly
Journey Journey
grottoes grottoes
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Over Over
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1 1
Rome Rome
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Sanders Sanders
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Six Six
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is is
hile hile
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with with
Rossellini Rossellini
and and
104 104
ing ing
He He
some some
Italia Italia
In In
Roberto Roberto
Chapter Chapter
Journey Journey
the the
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107 107
that that
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Pompeii, Pompeii,
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5 5
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ig52, ig52, the the
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ig52, ig52,
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2 2
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106 106
tory tory
Pompeii Pompeii
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109 109
Italy, Italy,
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Italian Italian
cinema cinema
to to
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war war
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108 108
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113 113
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and and
to to
His His
image' image'
determined, determined,
or or
than than
quite quite
the the
and and
24x 24x
rant rant
Katherine, Katherine,
the the
Neo-realist Neo-realist
'movement 'movement
particularly particularly
fifth fifth
112 112
tion tion
Katherine, Katherine,
replace replace becoming becoming
irony irony
images images
fear fear
Alex's Alex's
tradition tradition
a a
narrative narrative
'action 'action themes. themes.
characterization characterization
of of
Marie, Marie,
the the
attempt attempt complaint complaint
another another
the the
any any
into into
something something action action
Death Death rather rather
Marie Marie
of of
the the
about about by by
ring ring
and and erably. erably. space space
highly highly
between between
image', image',
against against his his
in in
of of
of of
all all
in in
its its
the the
has has
San San
Tag Tag
and and
way way
and and
and and
year year
per
Italy Italy
rich, rich,
a a
resort resort
popu
the the
the the
Naples Naples
in in
written written
to to
115 115
the the
from from
saint saint
igth, igth,
and and
mineral mineral
there there
If If
eruption eruption
Gennaro Gennaro
in in
included included
in in
culture culture
statues statues
excessive, excessive,
Capri Capri
revealed revealed
characteris
are are
times times
be be
and and
the the
lived lived
semi-pagan, semi-pagan,
practice practice
out! out!
San San
film, film,
economic economic the
Roman Roman
mentions mentions
on on
volcano. volcano.
place place
holiday holiday
and and
Pompeii Pompeii
less less
Journey Journey
vividly vividly
to to
Naples Naples
roughly roughly
patron patron
to to
superstitions superstitions
the the
Italy. Italy.
look look
Neapolitan Neapolitan
September September
the the
popular popular
the the
came came
of of
only only
final final
the the
Three Three
Gennaro, Gennaro,
the the
already already
history history
to to
villas villas
in in
of of
were were
springs springs
tied tied
Vesuvius Vesuvius
cultural cultural
and and
79 79
as as
iflater iflater
century, century,
the the
date, date,
the the
San San
as as
landscape, landscape,
this this
is is
from from
hot hot
Rossellini Rossellini
AD AD
illustrates illustrates
European European
that that
Rossellini's Rossellini's
in in
defending defending
Italy: Italy:
di di
Gennaro Gennaro
of of
towns towns
cults cults
processions processions
fixed fixed
In In
Journey Journey
to to
symbol symbol
creates creates
a a
Vesuvius. Vesuvius.
tradition, tradition,
of of
first first
Neapolitan Neapolitan
not not
luxurious luxurious
sites sites
San San
i954, i954,
in in
reproduces reproduces
Naples Naples
continued continued
to to
on on
mainland mainland
volcanic volcanic
population, population,
side. side.
The The
fourteenth fourteenth
traces traces
in in
ritual ritual
the the
Roberto Roberto
volcanic volcanic
are are
Vesuvius Vesuvius
This This
array array
And And
with with
that that
liquefies, liquefies,
~ ~
Cappella Cappella
reality reality
the the
its its
the the
the the
place place
long-standing, long-standing,
the the
Journey Journey
The The
particularly particularly
Herculaneum Herculaneum
an an
The The
into into
historic historic
other other
of of
the the
significant significant
on on
antidote antidote
Rossellini Rossellini
is is
themselves themselves
Pompeii, Pompeii,
takes takes
its its
with with
AD. AD.
and and
and and
area area
Since Since
from from
prominently prominently
of of
interview interview
most most
Gennaro. Gennaro.
environs. environs.
locations locations
up up
of of
remember remember city's city's
Rossellini. Rossellini.
most most
power. power.
islands' islands'
has has
so so
bathing, bathing,
decadence. decadence.
fascination fascination
built built
bay bay
its its
these these
San San
but but
miraculously miraculously
miracle miracle
the the
life life
the the
pleasures pleasures
in in
of of
must must
The The
geographical, geographical, sea sea
his his
century century a a
of of
grew grew
the the
religion, religion,
Pompeii Pompeii
Three Three
missing missing
Cinema Cinema
Vesuvius, Vesuvius,
Neapolitan Neapolitan
with with
the the
Gennaro. Gennaro.
feature feature
rife rife
you you
11 11
the the
biography biography
volcano volcano
is is
of of
first first
daily daily
blood blood
du du
fascinated fascinated
saying: saying:
harm, harm,
Caligula Caligula
where where
the the
destructive destructive
belief. belief.
to to
that that
and and
San San
the the
miracle miracle
turned turned
the the
film. film.
initiating initiating
of of
been been
fear fear
the the
material, material,
that that
important important
and and
and and
a a
destroyed destroyed
the the
Besides, Besides,
world world
been been
Discussing Discussing
oflocations, oflocations,
saint's saint's
But But
of of
culture culture
sites sites
the the
Cahiers Cahiers
Gennaro, Gennaro,
a a
Cathedral. Cathedral.
most most
in in
Gallagher's Gallagher's
the the
list list
kinds kinds
that that
Naples, Naples, has has
religious religious
always always
tic tic
saints saints
lar lar
semi-Catholic semi-Catholic
benefits benefits
that that dark dark
petual petual
the the
during during
Herculaneum Herculaneum
attracted attracted
waters, waters, association association
lschia, lschia,
Nero Nero
is is
at at
of of
the the
the the
area area
geo
The The
The The
win
is is
baths baths
whole whole
Later, Later,
domi
pan pan
Greek Greek
has has
signifi
out out
and and
pre
little little
thriving thriving
the the
expanse expanse
harbour harbour
bringing bringing
down down
a a
a a
their their
the the
Tiberius, Tiberius,
This This
decline decline
of of
the the
belief. belief.
also also
flourishing flourishing
Pompeii. Pompeii.
there there
of of
specific specific
there there
between between
rise rise
......
strip strip
is is
to to
volcano. volcano.
a a
points points
[views] [views]
traditionally traditionally
the the
second second
whole whole
to to
volcanic volcanic
from from
foundations foundations
Greece. Greece.
times, times,
and and
natural natural
is is strategic strategic
1944 1944
gestures: gestures:
pan pan
most most
10 10 over over
hill, hill,
the the
the the
a a
history history
large large
of of
and and
the the
after after
The The
religious religious Naples Naples
the the
produced produced
his his
emperors emperors
the the
with with
taken taken
relation relation
by by
'vedute' 'vedute'
drawn drawn
first first
created created
of of
that that
of of
rich rich
ancient ancient
with with
manager, manager,
beginning beginning
city city
soil soil
outside outside
the the
and and
landscape landscape
Resina's Resina's
that that
has has
view. view.
is is
eruption eruption
physically physically
song, song,
his his
islands islands
were were
created created
follows follows
The The
the the
photography.
of of
Roman Roman
and and
culture culture
from from
became became
Katherine, Katherine,
hill, hill,
created created
the the
opens opens
that that
to to
in in
Neapolis, Neapolis,
folk folk
Capri and and Capri
established established
BC, BC,
the the
volcanic volcanic
symptoms symptoms
Tony, Tony,
rich rich
and and
The The
coast, coast,
views views
of of
visual visual
since since
point point
Virgil, Virgil,
landscapes landscapes
explores, explores,
world. world.
camera camera
and and
first first
Annunziata. Annunziata.
temperature temperature
As As
eruption eruption
the the
750 750
community community
landscape landscape
the the
Naples Naples
the the
rich rich
Isle Isle
as as
painting painting
ever ever
Alex Alex
area. area.
behind behind
flourish flourish
film film
an an
the the
of of
in in
The The
their their
for for
that that
exterior exterior
and and
the the
to to
the the
conditions conditions
Torre Torre
to to
The The
from from
Neapolitan Neapolitan
ancient ancient
the the
but but
tradition: tradition:
about about
the the
beautiful beautiful
such such
and and
peninsula. peninsula.
terrace. terrace.
a a
out. out.
there, there,
bay bay
art art
past past
to to
to to
from from
~ ~ the the
Vesuvius, Vesuvius,
Ischia, Ischia,
calm calm
by by
that that
Parthenope Parthenope
The The
the the
morning morning
natural natural
the the
artistic artistic
in in
intellectual intellectual
of of
point point
component component
the the
of of
Italian Italian
panoramas, panoramas,
back back
landscape landscape
of of
of of
its its
Sorrento Sorrento
is is
dominates dominates
playground playground
the the
to to
in in continued continued
mapped mapped
first first
Homer's Homer's
phenomenon phenomenon geological
culture culture
economy, economy,
in in
Second Second
a a
That That
and and
There's There's
the the
the the
is is
a a
a a
of of
period period
culture culture
power. power.
environment. environment.
detached detached
Castellammare, Castellammare,
Naples Naples
there there
is is
a a
relics relics
of of
intellectuals, intellectuals,
curve curve
is is
that that
dating dating
and and
colony colony
important important
bay bay
of of
24x 24x
the the
oyces' oyces'
out out
Uncle Uncle
but but
made made
J J
accompanied accompanied
the the
reflected reflected
dominate dominate
Over Over
Attention Attention
an an
though. though. been been
Naples. Naples. there there
Then Then
Vesuvius Vesuvius
114 114
the the
Death Death
features features
from from hay, hay,
dow dow
of of The The
nates nates
material material
cance cance
economic economic and and
Cumae Cumae
agricultural agricultural
volcano volcano
Greek Greek
graphical graphical
Roman Roman culture culture grew grew
have have
Athenian Athenian wealth wealth Death 24x a Second ~ ~ Roberto Rossellini's Journey to Italy
miracle doesn't happen, he gets into trouble. And all kinds of Discus Thrower with his eyes looking just above the camera, the dreadful things start to happen!12 Drunken Poet caught at the moment he falls backwards into a stu por. It is as though the gaze of the Medusa, or some other malign But no sequence relating to this central figure was filmed. Probably magician, had turned living movement into stone. Classical Greek the chapel of San Gennaro was too holy and his cult too sacred for sculpture, later copied by the Romans, aspired to create the illu filming to have been allowed in the cathedral.13 But the miracle sion of a frozen moment. Rossellini's concentration on this style relates closely to the themes that interested Rossellini. The lique creates a link that jumps across the centuries to photography's faction of the dead saint's blood pre-empts the coming to life of the transformation of this aspiration into reality and to Andre Bazin's volcano, or, if the worst comes to the worst, stills the invading flow sweeping condensation of the history of art into this single line of of molten lava. Both these phenomena, the natural and the super progression. In Journey, however, the camera adds a dimension stitious, revolve around movement and stillness, the animation of that transcends still photography, as it brings the cinema's move an inanimate substance and lead to the culture of the uncanny. ment to the statues, attempting to reanimate their stillness. This Although San Gennaro is missing, Katherine's sightseeing strategy reaches a crescendo with the gigantic Farnese Bull group, trips take the film to sites that have a related significance. Her first in which the brothers, Zethus and Amphion, struggle to hold still journey, on the third day, is to the Archaeological Museum of the huge rearing hull on which Dirce, who lies at their feet, will be Naples. This sequence is not a record of a tourist's visit but a care tied. The camera circles around this violent scene, both extending ful selection of images that are relevant to Rossellini's 'essay' film. its melodramatic, theatrical qualities and trying to duplicate the In this large and complex museum, he decided to concentrate on sculptor's attempt to create the appearance of an action caught at only a few of the statues. The sequence is filmed with an extremely that split second and then left for ever in suspended animation. mobile camera, a crane and tracks, which was necessary not only Rossellini celebrates the way these sculptures convey movement in to film in proportion to the size of the enormous Farnese statues, 14 stillness, images oflife in inanimate stone. but also to give the sequence its distinctive style. The camera Katherine's visit to Cumae, on day five, presents a sharp con movements take on their own autonomy, moving beyond trast to the aesthetic of the statues in the Museum. The statues Katherine's point of view, enhanced by the first appearance of belong to a comparatively short and historically coherent period of Renzo Rossellini's music. As Katherine and the guide reach the ancient history. Cumae's history is layered with different epochs, Farnese Hercules, the camera moves higher with sweeping move different cultures, different religions and mythologies. The oldest ments, defying gravity as it transcends the limitations of the human of the Greek settlements, with its massive walls supposedly in eye and its earthbound perspective. Throughout the sequence the Minoan style, Cumae stretches back into prehistory and emerges music, with its eerie, other-worldly quality, is mixed in ironic juxta into mythology as the site of the Sibyl's cave. After the decline of position to the guide's patter. Rome, the Christians used the site as catacombs and later the Rossellini begins the sequence with a dissolve that brings Saracens used it as a fortress. In contrast to the museum, the Katherine into the museum as it were through the huge stone base sequence is organized around Katherine's subjective responses to of a pillar. Movement emerges out of stasis, setting the scene for the place. The guide, telescoping the long history of the site, says: the rest of the sequence. It is as though Rossellini imagined that 'After abandoning Troy, Aeneas landed here on this very beach. In his camera would be the magic means of bringing life to those the last war, the British troops landed here.' The subsequent shot blocks of stone. Most of the statues are poised in mid-gesture, the shows Katherine's reaction as it dawns on her that Charles
116 117
a a
so so
to to
its its
the the
the the
the the
is is
and and
that that
and and
dia
link link
and and
into into
Italy Italy
end. end.
with with
rela
past. past.
to to
story, story,
'then' 'then'
layers layers
image image
move
ghosts ghosts
super
photo
smoke smoke
time time
to to
natural natural
119 119
or or
fills fills
a a
reaching reaching
between between
the the
by by
Pompeii Pompeii
own own
to to
a a
of of
of of
Rossellini Rossellini
While While
inorganic, inorganic,
due due
the the
it it
turns turns
the the
theme theme
relation relation
drifts drifts
and and
of of
body body
Cumae Cumae
topography topography
representa
its its
activity activity
organic organic
and and
thematic thematic
in in
museum museum
is is
and and
that that
fictional fictional
itself. itself.
Journey Journey
a a
particularly, particularly,
itself. itself.
voices, voices,
The The
Film Film
as as
until until
level, level,
buried buried
where where
find find
relation relation
so so
overlaid overlaid
is is
relation relation
time, time,
the the
of of
flow flow
volume volume
moment moment
still still
spirits spirits
independent independent
beginning beginning
camera camera
human human
own own
iconic iconic
to to
a a
a a
belief belief
camera's camera's
earth earth
hand, hand,
in in
Most Most
presence presence
the the
had had
of of
place place
volcanic volcanic
prehistory prehistory
away away
area area
to to
the the
pits, pits,
the the
the the
there there
her her
echo echo
own own
is is
and and
the the
the the
mystery. mystery.
evolved evolved
the the
form, form,
frozen frozen
Rossellini's Rossellini's
have have
of of
the the
As As
that that
of of
statues, statues,
The The
reference. reference.
its its
other other
the the
of of
of of
and and
belief. belief.
But But
cinema cinema
since since
of of or or
analogous analogous
human human
drifts drifts
visible visible
of of
bodies bodies
of of
masquerade masquerade
level, level,
it it
side side
the the
an an
subsequently subsequently
The The
presence presence
by by
the the
sulphur sulphur
gesture gesture
the the
site site
with with
finds finds
as as
between between
Roberto Roberto
smoke. smoke.
material, material,
on on
formally formally
tones. tones.
process process
power power
cinders cinders
shape shape
screen screen
one one
human human
it it
was was
the the
frame frame
.. ..
have have
film film
subservience subservience
movement movement
alive alive
worked worked
it it
allow allow
of of
second second
to to
the the
the the
moments moments
less less
to to
the the
and and
grey grey
sacred sacred
geography geography
a a
appearance appearance
expeditions. expeditions.
to to
camera camera
inorganic inorganic
a a
to to
of of
haunting haunting
into into
A A
animation. animation.
sanctified sanctified
contrast contrast
plot plot
Cumae, Cumae,
on on
come come
usual usual
movement, movement,
ash ash
the the
without without
stilled stilled
follows follows
on on
and and
the the
motion, motion,
power power
inanimate inanimate
add add
its its
fictional fictional
the the
ionization ionization
and and
wispy wispy
across across
if if
the the
its its
were, were,
qualities, qualities,
in in
the the
the the
an an
time. time.
stark stark
to to
its its
the the
it it
walls walls
flow flow
place place
logically logically
sites, sites,
that that
and and
exquisitely exquisitely
the the
'now'. 'now'.
a a
previous previous
snapshots, snapshots,
a a
translate translate
human human
as as
by by
even even
history history
camera camera
is is
leads leads
movement movement
assumes assumes
time time
from from
frozen frozen
As As
two two
into into
like like
up up
three three
and and
beyond beyond
leads leads
from from
across across
the the
the the
matter matter
animate animate
the the
inanimate inanimate
Meanwhile, Meanwhile,
back, back,
it it
depict depict
Cumae's Cumae's
geomantic geomantic
the the
again, again,
histories histories
Vesuvius', Vesuvius',
are are
preserving preserving
the the
There There
smoke smoke drifts
time time
away away
to to
with with
79. 79.
across across
that that
to to
the the
into into dissolving
statues, statues,
exists exists
with with
insubstantial insubstantial
extract extract
smoke smoke
Katherine Katherine
hard-edged, hard-edged,
the the
once once
other other
AD AD
that that
back back
aspire aspire
summoned summoned
natural, natural,
animate. animate.
unifies unifies
inanimate inanimate
statues statues
phenomenon phenomenon
of of
palimpsest. palimpsest.
can can
and and
across across
graphy, graphy,
standing standing
the the
intrinsic intrinsic
The The
logue logue tion, tion,
ment ment
back back
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it, it,
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moves moves
As As
tion tion
screen. screen.
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increases, increases,
in in
a a
is is
in in
of of
of of
to to
its its
the the
the the
the the
the the
the the
two two
film film
that that
It It
into into
they they
ciga
mys
past, past,
of of
erup
poem poem
guide guide
in in
across across
in in
histor
by by
to to
louder louder
where, where,
Cumae Cumae
reach reach
or or
back back
the the
passage passage
through through
the the
walking, walking,
life life
indexical indexical
how how
delight delight
secrets secrets
its its
activity activity
relic. relic.
exclaiming exclaiming
a a
The The
breaks breaks
wall wall
is is
her her
back back
wall wall
occasionally occasionally
an an
they they
bringing bringing
much much
the the
with with
Here Here
scene scene
huge huge
paper paper
into into
on on
and and
visually visually
guide guide
the the
actual actual the
Charles's Charles's
the the
that that
spot. spot.
photographs photographs
Christianity, Christianity,
'This 'This
the the
the the
past, past, guide guide
until until
link link
refracted refracted
in in
takes takes
of of
presence, presence,
on on
volcanic volcanic recognizes, recognizes, the the
And, And,
on on
mystery, mystery,
was was it
dematerialized dematerialized
trace trace
takes takes
or or
area area
lighted lighted
the the
the the
Katherine's Katherine's
very very
She She
of of
stretching stretching
live live
and and
links links
six, six,
early early
She She
path, path, lines lines
is is
of of
large, large,
the the
mysteries', mysteries',
organized organized
ionization. ionization.
marks marks
pits pits
one one
but but
made made
of of
that that
the the
material material
through through
ghostly ghostly
you.' you.'
which which
aura aura
is is
of of
of of
a a
bronze. bronze.
to to
day day
prisoners: prisoners:
The The
their their
and and in in
or or
two two
'the 'the
explains, explains,
there there
music music
ionization ionization
echoes, echoes,
like like
in in
resonance, resonance,
that that
smoke. smoke.
head, head,
to to
other-worldliness other-worldliness
of of
by by
also also
on on
marks marks
echo, echo,
Katherine Katherine
their their
sulphur sulphur
the the
presence presence
of of
witnessing. witnessing.
in in
is is
The The
its its
unison unison
guide guide
across across
hand, hand,
of of
witnesses witnesses
is is
Oracle Oracle
resounds resounds
the the
sequence sequence
of of
'mystery' 'mystery'
Charles's Charles's
the the
museum. museum.
The The
in in
woman woman
rather rather
with with
these these
the the
encamped encamped
previous previous
one one
she she covered covered
of of
substructure substructure
the the
she she
shot shot
out out
the the
attention attention
in. in.
that that
or or
the the
in in
chained chained
The The
journey, journey,
as as
uses uses
and and
falling falling
echo echo the of of
accentuates accentuates
increase increase
remains. remains.
the the
Katherine's Katherine's
the the
as as
of of
the the
sign sign
her her
and and
were were
where where ~ ~ all all
echo echo
scene scene
On On
beautiful beautiful
responds responds
itself. itself.
accumulation accumulation
is, is, uncanniness
third third
time, time,
when, when,
seething seething
a a
probably probably
mystery, mystery,
believed believed
holds holds
the the
shadow shadow
the the
an an
Saracens Saracens
its its
experiments experiments
to to
with with
walls walls
surface, surface,
whether whether
massive massive
through through
area area
thoughts thoughts
the the
of of
it it
Rossellini Rossellini
of of
phenomena phenomena
Christian Christian
material material
tied tied
ways. ways.
drawing drawing
Fields, Fields,
had had
Second Second
same same
a a
the the
and and
a a
a a
Vesuvius' Vesuvius'
the the
of of
reverberates, reverberates,
the the
pits, pits,
atmosphere atmosphere
run run
Vesuvius Vesuvius
into into
the the
as as
it it
with with
to to
have have
whole whole
place place
to to
24x 24x
of of
with with
devotees devotees
light light
as as
a a
At At
reality, reality,
Rossellini Rossellini
natural natural
118 118
'little 'little
Katherine's Katherine's
religion, religion,
centuries centuries
reverie, reverie,
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would would with with Death 24x a Second '4'4 ~ Roberto Rossell in i's Journey to Italy
volcano challenges the separation of movement and stillness into The skeletons: Church of the Fontanelle. the organic and the inorganic. All three relate to the mysteriousness of the cinema in which inanimate photograms come alive in projec tion, giving frozen moments of time a semblance of animation. Towards the end of the film both Alex and Katherine encounter a more immediate presence of death as a faint trace left by the suffering of World War II. Alex meets a young prostitute who has just witnessed the death of her best friend and has, herself, only a residual wish to live. Although this is not ultimately a sexual encounter, it evokes the memory of Naples under the occupation when so many women were reduced to prostitution in the face of starvation. This episode is the only scene that harks back to Paisa, a film made just seven years earlier. For Katherine, the encounter is In Journey to Italy reality constantly intrudes into the fiction. more vivid. These tensions come to the fore at the end of the film. Alex and The Joyces' hostess, Natalia, offers to take Katherine to the Katherine are driving from Pompeii when a religious procession in Church of the Fontanelle, in which skulls and skeletons are piled a small town on the Amalfi coast halts the progress of the Bentley.16 around the walls. Rossellini tells an anecdote in his autobiography Just as the film had opened with the visual equivalent of a play on about the Neapolitan attitude to the dead. When an influx of the word 'drive', so narrative closure also finds a graphic visualiza people from the country overwhelmed the city in the nineteenth tion in the car's gradual loss of speed, for the word 'end'. There is century, the skeletons of the dead were displaced from the grave an application of the brakes, a blocked passage. Now Rossellini yards, which were then deconsecrated to make room for living weaves together two endings. Alex and Katherine are forced to people. The bones were thrown into the Roman catacombs. When leave the car at the moment when a cry of'miracle' comes from the the poor hid in the catacombs during World War II families gradu procession as a cripple throws away his crutches in front of the ally began to adopt individual skeletons. He says: Madonna. Katherine is dragged away by the press of people rush ing forward. As Alex and Katherine find each other again, the I was told 'We have lost so many sons on the other side of the sea. miracle of the cure is repeated in the miracle of the conventional No one knows where they're buried, dispersed by the wind and the happy end, essential both to Hollywood and to folk-tales, the deus sand or burnt by the ... sun. We have nothing, not a tomb, not a ex machina that enables the forward drive of narrative to find sta cross to pray to. So we have turned to these; they will stand for our sis. In recognition of this convention, Alex and Katherine declare loved ones in front of God."5 their love and they kiss in the time-honoured image of cinematic narrative closure. In the church, Natalia tells Katherine about her brother who was But this ending does not fit Rossellini's concept of cinema. killed somewhere in Greece and whom she mourns in this church The camera turns away from the star couple and their ending. A of the unburied. Katherine is disturbed by the skulls and skeletons crane shot follows the people streaming along the street; and the and she watches Natalia from a distance as she makes the, to camera then finds its own ending in this renewed flow of move Katherine, unfamiliar gestures of the Catholic faith. ment, not of narrative but of reality. The film simply fades away
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The Hollywood ending.
Chapter Seven Abbas Kiarostami: Cinema of Uncertainty, Cinema of Delay
n A Taste of Cherry (1997) Kiarostami combines the story of his I protagonist's search for death with the mobile cinematic style Life goes on. that he had developed in his two previous films, Where is my Friend's House? (1987) and And Life Goes On (1991). Shooting from a car, the camera's movement delineates the movement of the journey to create a fusion between the cinema's movement, a nar rative's movement towards its end and the inevitable end oflife. Here the topography of the death drive is unlike the horizontal direction of the drive in the 'dying together' B movies, or Marion's unconscious drive towards death in the first section of Psycho. The journey moves in wide circular sweeps through the land scape, returning from time to time to the place that the driver has selected for his grave. Mr Badiei has decided to commit suicide. as the local brass band plays and people drift past. Life goes on. He is willing to pay someone a large sum of money to come to his One ending halts, the other flows. One is a concentration focused grave the following morning, confirm his death and bury his body. on the stars' role in producing the fiction and its coherence, and His attempts to persuade three very different men to agree to his the other is a distraction, the film's tendency to wander off in proposal break up the film's narrative direction into a series of search of another kind of cinema. This is the 'continuance of encounters, all taking place in his car. The first, a Kurdish soldier, time' that, for Jacques Rivette, is the essential element in Rossellini's jumps out of the car and runs away in horror when the driver mode of story-telling. stops to show him the grave. The second, an Afghan seminarian, tries to dissuade Badiei, arguing that suicide is a sin. The third, an older man who works as a taxidermist, at first tries to dissuade him, arguing that life is worth living for its small pleasures, such as the taste of the cherry. But in the last resort he agrees to help him on the grounds that the choice between life and death is a natural right.
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