i mille occhi 15th Edition Teatro Miela Trieste September 16_22, 2016 Festival internazionale del cinema e delle arti Festival internazionale del cinema e delle arti

www.imilleocchi.com @IMilleOcchi Mille Occhi I mille occhi / The Thousand Eyes Festival internazionale del cinema e delle arti / International Arts and Film Festival XV: Eternal Breasts Trieste, Teatro Miela, 16 ‡22 September 2016 Preview in Rome, Cinema Trevi - Cineteca Nazionale, 13 ‡14 September 2016

il festival dell’Associazione Anno uno

con il contributo di con il patrocinio di

project partners AIRSC - Associazione Italiana per le Ricerche di La Cineteca del Friuli, FIAF – Archivio Cinema del Storia del Cinema, Morlupo (Roma) Friuli Venezia Giulia, Gemona (UD) Penny Video, Roma Centro Sperimentale di Cinematografia – Cineteca Archivio nazionale cinematografico della Nazionale, Roma Resistenza, Torino Cineteca Bologna, Bologna Civici musei, Comune di Trieste Slovenski filmski center, Ljubljana Casa del cinema di Trieste Associazione culturale Transmedia, Gorizia AFIC, Associazione Festival Italiani di Cinema Anno uno Gustav film, Ljubljana Casa dell’Arte, Trieste Festival del film Locarno Kinoatelje, Gorizia Presidente Deutsches Filminstitut - DIF, Frankfurt Kinodvor, Ljubljana Michele Zanetti Deutsche Kinemathek - Museum fur Film und Slovenski klub, Trieste Fernsehen, Berlin Film parlato, rivista online Bundesarchiv-Filmarchiv, Berlin Comunicarte, Trieste Vicepresidente Giuliano Abate Goethe-Institut Triest, Trieste Zavod En-Knap, Ljubljana Fuori orario - RAI 3, Roma Slovensko stalno gledališ če - Teatro stabile L’Officina Film Club, Roma sloveno, Trieste Direttore Sergio M. Grmek Germani

Consiglieri Marie-Françoise Brouillet Annamaria Camerini Igor Kocijan čič Olaf Möller Alice Rispoli Dario Stefanoni

fuori orario cose (mai) viste c

casadelcinema comune di trieste .trieste civici musei rato alla on the cover Ann Sheridan with James Cagney in a scene photos of William Keighley Torrid Zone (Collection Anno uno). ideazione, ricerche e messa in scena catalogo a cura di Si ringraziano Molaro di Teatro Miela - Cooperativa Bonawentura Sergio M. Grmek Germani Simone Starace tutti i cineasti e i produttori dei film in programma, Bruna Scaggiante di LILT Trieste con la collaborazione al programma di con la collaborazione di tutti gli autori e gli editori dei testi pubblicati, Sandi Škerk di Azienda agricola Škerk Dario Stefanoni Raffaella Fort di Libreria Lovat, Trieste Fulvio Baglivi, Cecilia Ermini, Mila Lazi ć, Olaf Möller, tutti i partecipanti agli incontri, Simone Starace, Dario Stefanoni, Roberto Turigliatto con contributi di Dario Zidari č di Azienda Agricola Zidari č Sergio M. Grmek Germani, Mila Lazi ć, Olaf Möller gli enti sostenitori Igor Prin čič di Transmedia, Gorizia coordinamento Regione Autonoma Friuli Venezia Giulia Ana Cimerman di Kinodvor Nancy Reis grafica e impaginazione Fondazione Benefica Kathleen Foreman Casali Cristina Vendramin Petra Vidmar di Gustav film, Ljubljana con la collaborazione di project partners e collaboratori Aleš Doktori č, Mateja Zorn di Kinoatelje, Gorizia Francesca Bergamasco, Giulia Pigato, Dario Stefanoni stampa CINETECA DEL FRIULI – A RCHIVIO CINEMA DEL FRIULI Poljanka Dolhar di Slovenski klub Trst assistenti coordinamento Poligrafiche San Marco, Cormons VENEZIA GIULIA Lorenzo Esposito di Film parlato Thays de Campos, Aurora Peccolo traduzioni e interpreti direttore Livio Jacob Ingrid Sergaš e Tanja Mlja č di Consolato generale movimentazione Elena Valentinuzzi, Emilia Burgio, Francesca Rosa, archivio film Elena Beltrami, Alessandro De Zan, sloveno a Trieste Luca Luisa Francesca Tosetto, Giorgia de Zen, Giulia Olivo, Simone Londero, Alice Rispoli, Andrea Tessitore Valentina Repini di Teatro stabile sloveno, Trieste Goran Pakozdi di Zavod EN-KNAP ufficio stampa e comunicazione online - Jaruška Majovski, Mark Mathias, Patrycja Matusewicz, si ringraziano per la collaborazione Piera Patat, Melania Ravalico, Simone Starace, Riccardo Valentini Giuliana Puppin, Ilaria Cozzutti, Ivan Marin Massimo Premuda di Casa dell’Arte Trieste realizzazioni video Maddalena Giuffrida, Walter Stanissa di Francesca Bergamasco proiezioni CENTRO SPERIMENTALE DI CINEMATOGRAFIA – Agriturismo Juna assistenti ufficio stampa e comunicazione Paolo Venier CINETECA NAZIONALE Livio Cerneca, Benedetta Cericola, Costanza Cecchini presidente, conservatore Stefano Rulli si ringraziano inoltre sottotitoli Francesca Alessandrini, Luisa Alzetta, Adriana con la collaborazione di Evelyn Dewald Caporali direttore generale Marcello Foti Anna Sardo, Caterina Perini direttore Gabriele Antinolfi Attanasio, Adriano Aprà, Chiara Barbo, Giovanni premio Anno uno realizzato da Barbo, Maria Teresa Bassa Poropat, Sara social team conservatore Sergio Toffetti Stefano Coluccio, Canestrelli - Venice Mirrors, Venezia diffusione culturale e programmazione Laura Argento Bergamasco, Paolo Bertagni, Elisa Bonazza, Massimiliano Vaccaro, Rosa Vassallo Veronika Brecelj, Isidoro Brizzi, Sara Cannarella, assistenti social team con Juan Del Valle, Maria Coletti, Domenico Monetti, Luca Pallanch, Annamaria Licciardello, Fulvio Baglivi, Francesco Cappellotto, Marco Cecchini, Dubravka Antonella Lestingi, Jacopo Todaro, Linamaria Cherubini, Piero Colussi, Sergio Crechici, Tonino Palumbo, Vida Skerk Franca Farina, Viridiana Rotondi, Silvia Tarquini, selezione vini e omaggi ospiti offerti da e lo staff del Cinema Trevi De Bernardi, Daniela De Vincenzi, Cecilia ospitalità Azienda agricola Škerk, Duino Aurisina (TS) Donaggio, Piero Del Giudice, Giuseppe Martina Scian Azienda agricola Zidari č, Duino Aurisina (TS) CINETECA BOLOGNA Faggiotto, Massimo Ferrari, Beatrice Fiorentino, assistenti ufficio ospitalità Gastronomia Snack Bar Ferdi, Trieste direttore Gian Luca Farinelli Erik Frieden, Gabriele Giuli, Massimo Greco, Gabriella Corrado, Giuseppa Magaddino Caffè Teatro Verdi, Trieste archivio Andrea Meneghelli, Carmen Accaputo Federica Gregori, Chiara Lamonarca, Giulio Lauri, Caffè degli Specchi, Trieste FUORI ORARIO Paolo Lughi, Jaruška Majovski, Chiara Omero, amministrazione Caffè San Marco, Trieste Breda Pahor, Boris Pahor, Rossana Paliaga, Andrea Mazzani enrico ghezzi, Roberto Turigliatto, Fulvio Baglivi, Mimì e Cocotte, Trieste Donatello Fumarola, Lorenzo Esposito Federico Poillucci, Nenad Polimac, Victor Rasetto, sito internet Valentina Ricci, Nicoletta Romeo, Antonio Rubini, Zenmultimedia L’O FFICINA FILM CLUB Gianni Sadar, Cristina Sain, Liliana Savioli, Giada Paolo Luciani, Cristina Torelli Scaini, Massimiliano Schiozzi, Francesco Selvi, assistenza informatica Francesco S. Slocovich, Marko Sosi , Daniele Stefano Biloslavo FESTIVAL DEL FILM LOCARNO č Carlo Chatrian, Roberto Turigliatto, Iria Lopez, Terzoli, Fulvio Toffoli, Gianni Torrenti, Renata accoglienza, maschere, infopoint Caterina Renzi Toson, Silvia Vallaro, Baldo Vallero, Giorgia Anna Maria Franceschini, Annalisa Di Lorenzo, Venturoli, Antonella Varesano, Loris Zecchin Anna Di Marco, Ambre Valerio, Caterina Perini, Paola Olivetti, dell’Archivio nazionale cinematografico e Cecilia Garbellano, Claudia Crudele, Emma Peri, piattaforma mobile marketing della Resistenza Trattoria da Giovanni, MAST - Drinks’ Showcase, i di Slovenski filmski center Emiliana Provenzale, Francesca Tosetto, Frida Elisa Crestani Solution Nerina T. Kocjan č č Pizza New - Largo Barriera, Hotel Colombia, Ines Bayer di DIF Carena, Gabriella Corrado, Giulietta Ferluga, B&B Amelie, B&B Ai Moretti, B&B Smartrooms Alexandra Hagemann di Goethe-Institut Triest Giuseppa Magaddino, Jacopo Todaro, Nadia Gorian, media partners Elena Dagrada dell’AIRSC Ruben Mastroilli, Susanna Labbri, Valeria Dainotti, Vera Robi Škarica di Hrvatski filmski savez Vida Skerk, Cecilia Garbellano ć Angelo Draicchio, Cristina D’Osualdo di Ripley’s Film fotografi Giorgio Nogherotto, Rita Ravalico, Guglielmo Giovanni Aiello, Stefania Pastur, Giovanni Monguzzi Danelon, Francesco De Luca, Rosella Pisciotta, videomaker e editing e Daniele Marzona, Michele Sumberaz Sotte, Barbara Andrea Penso, Betty Maier, Giuseppe Mangiafico Scarciglia, Alice Bensi, Francesco Sacchi, Valentina One or two things in a thousand Notes on mise-en-scène by Sergio M. Grmek Germani

E giunge l’onda, ma non giunge il mare. Clemente Rebora, Canti anonimi

Fifteenth edition: Let’s celebrate! The “communication” would like here that would explain the whys and wherefores of our history, one that we hope is rather the discovery of a thousand spectators. Because it attracts us most of the stop Rebora his last lecture, or get lost and lose sheets of Antonin Artaud in his return from the madness conference. Artaud would write better friend Alessandro Cappabianca, another close friend of Michele Mancini which we devote a tribute. It would certainly be easier to attract attention if we dedicated a programme in Paolo Sorrentino. But, in the utopia that there is an audience today that is not limited to heated soups (good only for a ribollita or a jota), we follow undeterred in our passions, and even they encourage others. Say Artaud suggests immediately (once again) to Dreyer, his accomplice in Falconetti detract from the sacrifice. Dreyer whose work after La passion de Jeanne d’Arc and Vampyr was a shelter in the clinic Jeanne d’Arc. And then it is impossible for him to become ever Italian filmmaker because the African Mudundu was diverted to even Italian-French colonial routine (but the war is near), and because the last hope of realizing its non-virtual Jesus was not collected by the Church after Giovanni XXIII. There are therefore, in movies and in life, in which suspension is a destiny (Rebora, Artaud) but more often violent arrests due to economic impositions. Believe what he believes Ordet would lead the company to economic that only the changing of the living dead in permits. Utopia like that of the Russian cosmists (Fedorov in particular), to reconstruct the bodies of ancestors in other spaces, was made parodic from Stalinist communism and spaceflight destalinized complete with

7 sacrificed Laikas. It should be honored how Amadeo Bordiga called the Earth’s in the belly of the ship is between Genina, Matarazzo’s La nave delle donne gravity, how it made it to the apocalyptic Rossellini between L’età del ferro and the maledette and women’s groups of Mädchen in Uniform which Wysbar produced. interview with Allende. But even apocalyptic Guareschi in La rabbia exceeds But he also remembers the crash told by Pabst in Der letzte Akt , not only great film Pasolini. (anything but riconciliantesi with Nazism as tales denied by the exhibition curated Rossellini in the fragment Santa Brigida with Ingrid Bergman realizes the by Olaf Möller in Locarno and in progress in various editions of the Thousand exemplary relationship between what the film refrains home runs and the endless Eyes) but also great work of thought, which express the conviction and distance destruction. Even today we see them multiply, sometimes witnessed by images to the destruction of nature as his only possible fate. I hope that we will present that make us helpless spectators. it in the future (as I hope to Forough Farrokhzad, and for the film that gives the Proposing today in the festival some of the most sensitive images (or even the title to the edition, the great Japanese actress Kinuyo Tanaka who was also the sound of a radio program without images) on the earthquake that struck 40 years greatest filmmaker in Japan). Meanwhile, we are pleased to continue our discovery ago Friuli, intertwined for us with the movie poster from the pity of the great love of Harald Braun (with two magnificent films including Herz der Welt , entitled Luca Comerio (of which you will see in opening words of the Roman planning a Griffith, evoking the story of pre-World War Bertha von Suttner, which inspired film about the Carnival of Nice, which today can not fail to recall the destruction Dreyer for one of his first screenplays , it comes down from the guns), and Wisbar of self-destruction which has become a criminal abandonment screw further as a / Wysbar (with another masterpiece as well as the one mentioned). reward). Also interwoven with the new burst of shock in the Italian landscape. In another way the beloved Marina Pierro (which we meat few years ago in not Interwoven with the passing of a hostile nature made by two great Italian spread grasp the imprint dreyeriana in Borowczyk) will present in Himorogi the filmmakers (Renato Dall’Ara, Walter Santesso) that Dario Stefanoni rabdomantically images of her restrained and praised the master. We’re really happy with the picks in the territory to be rediscovered the Veneto filmmakers: surprising how preview of his (her son Alessio) triptych for the first time together (and re-edited few have realized the subversive Santesso force ( most vital of both right and left for the first two films). In the aforementioned Himorogi images from Borowczyk movimentuma in recent Veneto history), and enchantment at times by Jacques make, from the retainer to the movement, one of the deep meanings of cinema. Demy (songs, Castelnuovo in the unscreanable Mercanti di vergini ) of Dall’Ara. As it makes another female perspective that we welcome, to Elvira Giallanella for Italy, like Rossellini most of all he knew, requires endless journeys. They are up Umanità , the only film among the many notable that between the wars moved by to Vittorio Cottafavi (who worked with the great writer from Carnia, Siro Angeli) the memory of the premonition. and Raffaello Matarazzo, of which this year for the anniversary will evoke In the program there are also male filmmakers films traversed by female elsewhere another heated soup (popular cinema ...) that instead we the vision of cocreazioni, Vlado Škafar to include more than yet cinema cinema Siro Angeli, the intruder orient better. Other dreyerian film, with the baby already too adult who in the magnificent video interview of Ermes Dorigo evokes the teacher Elisa (Paola Quattrini) that question how it is possible (by Amedeo Nazzari) love a dead. Davanzo and the two poets wives, Liliana Guidotti and Alida Airaghi; and ends the In a few other films also love violence as a possession of man over woman, broadcast with a “I have not had the opportunity to talk about the relationship with braided social roles, is so transparently made and passed. It is also a water film, my mother.” But the same Maria Zef rewrites the narrative in splendid Friulian with a boat that is joining the woman from another world and another life. Film Venetian Paola Drigo, living it then as an actor, a brilliant choice of Cottafavi who which then is reflected in us already beloved The young master Giorgio Bianchi. entered into the soul of the Angels, to the point that suggest the volume of poems Water is also the Wisbar Nacht fiel über Gotenhafen, in an epic tale of going from Barba Zef e jò . signs of Nazi catastrophe collected in a sinking ship disaster: with so many female In short, this sltream of program within I mille occhi 2016 (among many sent to figures, to contradict the schematic that after the war he would have forgotten his pieces) is perhaps indispensable enough to find at least a thousand spectators. nobles feminine film of the ‘30s (which we showed last year). The women’s group Among the sons of no one adopted by Simone Starace we will see among other

8 9 things a film corealized by Trieste filmmaker Giacomo Gentilomo (another anniversary) that fits with the story of the attack on Roosevelt, in a counter-history plots ranging from Lang to Frankenheimer; and a film of a cousin of Genina and Camerini going rediscovered, Giulio Morelli (other codirected the film, to make it even more the son of nobody). Camerini will see a discovery that smacks of the miraculous, for us one of the most popular films of all Italian cinema, Il documento . The Buffatti collection donated to the Cineteca del Friuli it contained a complete copy 16mm, and the festival will project the preview. Term more than ever appropriate to fiction in this film that opens with the beginning of the twentieth century, and is made in 1939: as other Camerini noncanonical it distills the sense of time, of the age of the bodies, in no other so central filmmaker although quintessential film. There appears a magnificent Maria Denis, actress among the largest of Italian cinema (we see a beautiful image from one frame of the film, opening in this text), and a sacred monster of acting, Ruggero Ruggeri, perhaps never so great as here, at the level of Mozhukhin in the Kulešov experiment (also an image of Ruggeri twilight illustrates these pages). That’s how you build The thousand eyes: Find out the latest film with Ruggeri was surprisingly the first feature film by Carmelo Bene, beyond the possible randomness, there is quickly appeared a shock. So why not schedule time (even if we could do this several times) this masterpiece of 1968, which is among the most enduring emblematic that year? Especially we are pleased to be able to program in the first and longest version presented at the time at the Venice, and instead shortened, certainly with intelligence copyright, for theatrical release; and to be able to present the printed rushes silent black and white. And therefore, in another encounter between creating high male and female, as invited for the occasion Lydia Mancinelli, madonna of his films? Italian cinema beyond the wall of time: for this festival is one of the most convinced objectives, and not only for the Italian cinema, to dispel the idea that only cinema just realized is pointing to today. The films can be of all ages, which is now revealed in their true light. That is why we reiterate that it is not the digital restorations to make of contemporary films, but can sometimes help. But a copy period remained for decades not view arrives today with a physical presence perceptible really for the first time. The program offers the valuable collection of film from L’Officina Filmclub

10 11 deposited in the Fund Ciro Giorgini at the Cineteca del Friuli, moves us toward the disappeared through cinema we were companions in life: the Roman friend Paolo ‘70s and beyond with an Italian film by Glauber Rocha who wanders between Zapelloni (preview at the Trevi Paolo Luciani last year made an intervention moved udigrudi influences, the music of Tony Scott from Maresco (scheduled with his informing us of his severe conditions); Elena Fava who joined us for the tribute to films of Franco Scaldati) and the tender Juliet Berto, dropped in a Rome which is the father; Gianni Rondolino which admired the tenacity in wanting to make Torino a prelude to that which nicoliniana the workshop is a monument. Then we go to place of cinematic research; and Annamaria Percavassi, with whom we shared the ‘77 with the masterpiece of Grifi and Sarchielli (in the personal copy of the many experiences, from La Cappella Underground to the television program Una latter) Anna once again surprise you with its classic take from a world of the most cineteca per una regione for the four unforgettable retrospectives that we could transient. And in addition, a late Luciano Emmer film that, in a double Italian and curate at Alpe Adria Cinema which she directed; then there were some clouds, but French version, closes the first and last night of the festival, leaving us to dream Annamaria was always among the spectators of I mille occhi as I was at her Trieste of nocturnal wandering female presence (including Paolina Bonaparte and the Film Festival; and the meeting at the Trieste Casa del Cinema, thanks to Maria same Villa Borghese as a female entity). Teresa Bassa Poropat. Returning to Camerini, he will henceforth present in the festival through the Finally some lost presences we loved: Maureen O’Hara, Nicoletta Machiavelli, daughter Manitta, entered our directors, of which we are proud, and which also Silvana Pampanini, Moira Orfei, Marina Malfatti, Nicole Courcel, Franca Faldini, welcomes Marie-Françoise Brouillet, Valerio Zurlini companion became friend of Patty Duke (but then that we discover also disappeared Mandy Rice-Davies, who the festival on the occasion of staff that we dedicated to one of the chief Italian upset the our adolescent impulsiveness). Franco Citti and Giorgio Albertazzi for us filmmakers. With the staff we discovered movies and ignored versions, also thanks are plaited to the aforementioned tribute to Zurlini, the first for one of the most to the reports of Gianni Da Campo. We believe that the staff (with a few shots in underrated films, the second also generously introduced for us at the Trevi cinema the Titanus programme in Locarno) is the challenge from which to deepen the both Zurlini and Käutner’s La rossa . Among the directors we hit the loss of Andrzej knowledge of the director, and we hope that all personal future will discover more, Zulawski, whose last masterpiece deserves a symbolic Anno uno award; Michael and does not just warm the soup. Cimino, unjustly abandoned by the cinema; Jacques Rivette, Eldar Rijazanov, Jan In our directors they have entered also young researchers and valued members of Nemec, Abbas Kiarostami, Mihovil Pansini, Gene Wilder, Carlo Di Carlo, and others the city’s cultural policy, among the many who have not wanted to really grow the we are guilty not to name. culture. We mention only Michele Zanetti, who with the Basaglia Trieste operation marked in the best way; but for this writer it was among the first speakers in cinema attendance in the Cineforum Triestino. The thousand eyes because, despite being marked rather by French criticism discoveries (and insuperably of “Présence du cinéma”) have always wanted to confront the true passions of Italian critics. The presence of Zanetti in the program will allow us also one of the most appropriate gifts to Guido Botteri, who was among the spectators careful of our festivals (and also, among other things, promoting the production of Maria Zef for the Third Regional network of which he was director of office; student of the Diego de Henriquez Trieste runs downward; curator of a series of monographs of the region characters that included volumes of Boris Pahor, Alojz Rebula, Ermes Dorigo and others). As well as Guido Botteri this edition aims to be dedicated to some others which

12 13 Premio Anno uno To Be: Vlado Škafar Dragi Vlado, Dear Vlado, The Film Festival “I mille Occhi” was supposed to meet your cinema and it could have happened earlier. Now the fact that you are willing to conclude with Mama , though we hope that a thousand other films follow, underlines its long lasting presence. The To Be, the poetic declaration of Leo McCarey, appeared to be its strong sense for us, precisely because your cinema reacts to death. If Otroci remembers the Slovenian outstanding poet Prešeren’s Memento Mori, moving because of how the scholastic memories of the character become a poetic inspiration, in the subsequent Deklica in drevo we hear some of the most impatient moments of the catastrophes which dominate our time, form the sublime Štefka Drolc and Ivanka Mežan: the mental picture of 9/11 jumps into the void, the “missing persons” still called pogrešani instead of acknowledging their death: only then it will be possible to wish for their Dreyerian return to life. I do not think that it is sheer chance if Vlado has elected as well the Larisa Šepit’ko’s Kril’ja in his best films of cinema history’s Top ten. We have screened it twice and we have always loved it: its final flight leads to a real infinity we can see through the female figures who are the basis of his cinema, in echo with the beloved Joni, paradoxically also in the Oča’s meeting between the father and the son where the homerun of the mother is a presence. Thereby he is a more universal director than ever, also because he is intimately Slovenian, starting with the looks on Prekmurje, Bela Krajina and Bene čija in the last three films, landscape of a soul that wanders from that specific place to the world. In the debut of Stari most , long shot on the destroyed bridge of Mostar, Vlado had already carried out a theoretical action of cinema against destruction. The subsequent Peterka (as well as the subsequent backstage) could deceive, giving the impression of being directed to a mission that was introverted instead. Mojca , thanks to his listening of trembling of the word, even which it appears to be dominant in the main character reminded us that love moves cinema even when there is absence. Se še spominjaš ljubezni? [Do you still remember love?] Associazione Anno uno September 2016 17 VLADO ŠKAFAR Hamilton, Matej Kova č, Samo Kova č; “Letter to a Child offers intimate con - (1969, Slovenia) production: Zavod EN-KNAP; origin: versations with strangers about their Slovenian director, sreenplayer, editor, Slovenia, 2006; format: video, col.; lives and living in this world. It film critic, man of letters, engaged in length: 58’. revolves around the child and child - the diffusion of the cinematic culture. DVD from Gustav film. hood as the basis for one’s outlook on He was co-founder of the Slovenian one’s life. From there, it is only a short step to reflections on essential themes: Cinematheque in 1993 and the Isola “In June last year [2005], Iztok Kov ač Cinema Film Festival 1999. His docu - and Sašo Podgoršek invited me to doc - today’s life and world, our place in the Primož Peterka in the film mentary Letter to a Child is a first of the ument the shooting of their new film world, the social, political, moral, but trilogy about family, followed by his with a video camera. Or shall I say the also the spiritual and emotional. The first feature Dad (2010), his second fea - creative process of making of the film, film attempts to penetrate the deepest ture Mama (2016), which has its world since for the eight members of the crew experiences of life. Through conversa - premiere in Rotterdam. This documentary film about Primož this creative process in the veins of the tion, it casually reveals the individual’s Peterka is a living film monument to Trbovlje mine was constantly recon - sense of this world, one’s life and the young champion and his decision ceived; the spiritual and body move - human faith (faith in this world). It is STARI MOST to film his way back to the top; how - ments recurrently domesticated the for - not a survey, nor an interview; these [T HE OLD BRIDGE ] ever, it is also a film about a young man eign land-scapes of the abandoned are encounters, deep conversations, human dialogues, which also slowly Director, screenplay: Vlado Škafar; cin - and his maturing. The film shows a underground. And this was exactly reveal one’s own world. The film inter - ematography: Janez Kališnik; editing: year in the life of Primož Peterka, one what became the central question: how twines the intimate diary with the social Igor Šterk; production: I. Šterk for of the greatest Slovenian champions to join the opposing concepts of the chronicle.” (Slovenski filmski center) A.A.C. Productions; origin: Slovenia, and idols, twice the winner of the Ski freedom of dance creation and the 1998; format: 35mm, col.; length: 12’. Jumping World Championship. In the shooting of a film? Dance is based on “Film can be simple. Just a document. 35mm from Slovenska kinoteka. year that presented the young sports - improvisation, coincidence, but above It can just record what you see and man with so many decisive moments all freely uses space and time. Film what you hear. It can be pure. Why “The story about the old bridge in — the attempt to establish himself inevitably has to follow strict rules and not? At least that seems to be what the Mostar, which was once annd would again in the sport, the birth of the child, which dictates not only spatial limita - maker here is striving for. Letter to a be again, but never the same as creating a new home... The film follows tions, but particularly time limitations.” Child looks simple, but it's about all before.” (Vlado Škafar, 1998) his activities, his thoughts and emotions (Vlado Škafar) major issues such as happiness, love about both, his professional and private and death. life, as well as the thoughts and emo - The Slovenian director Vlado Škafar PETERKA : LETO ODLO ITVE tions of people closest to him. OTROCI č interviewed ordinary people. Or maybe [P ETERKA : Y EAR OF DECISION ] LETTER TO A CHILD interview is the wrong word; he got Director, screenplay, editing: Vlado Director, screenplay, editing: Vlado them talking. It’s a mistake to think that POD NJIHOVO KOŽO Škafar; cinematography: Aleš Belak; Škafar; cinematography: Aleš Belak; ordinary people say ordinary things. UNDER THEIR S.K.I.N. cast: Primož Peterka, Renata Bohinc, production: Petra Vidmar and Frenk About happiness, for instance. About Matjaž Zupan, Robert Kranjec, Uroš Director, screenplay, cinematography, Celarc for Gustav Film; origin: love. Or about death. Issues about Peterka; production: Dimitrij Gra čner editing: Vlado Škafar; cast: Iztok Kova č, Slovenia, 2008; format: video, col.; which few people speak easily, but the for Gustav Film; origin: Slovenia, 2003; Sašo Podgoršek, Karmit Burian, Julyen length: 100’. people in Škafar’s film do. Occasionally format: 16mm and 35mm; length: 120’. Hamilton, Gali Kaner, Andrea Rauch, Blu-ray (from HD) from Slovenski film - it looks as if he is only focusing on the 35mm from Slovenski filmski center. Carme Renalias, Sebastiano Tra - ski center. sunlight falling on their face, and his montana, Clement Hamilton, Justin question seems to be a sideline and

18 19 without any importance. His partners to flirt with the female presenter who DEKLICA IN DREVO in conversation remain amazingly calm remains invisible to the bitter end. [T HE GIRL AND THE TREE ] and peaceful, even as they are saying What is heard and what is seen — and Director, screenplay, editing: Vlado the strangest things. As if the director that is the whole point of the film — do Škafar; cinematography: Marko Brdar; really isn’t listening. As if they are not match. Neither is out of frame of cast: Štefka Drolc, Ivanka Mežan, standing dreaming in front of the cam - the other. Because the views are with Helena Koder, Joni; production: Frenk era. wide angle lens and are therefore Celarc for Gustav Film; origin: Slove- But the maker is not naive. He’s a ded - broadly general. As for the sound, it is nia, 2012; format: HD, col.; length: 83’. icated cinephile and knows what film in close-up, mouth and ear wide open DCP from Slovenski filmski center. can and can’t do. He also knows what and so near each other as to emphasize has been made before and realises that the radiant and serene character of a “... whatever happened to that girl who only absolute modesty and simplicity face and a body fantasized through the wanted a bicycle a red one with three can make people forget all those mas - tone of a female voice, a young wheels; wanted Saint-Nicholas to bring ters who preceded him.” (GjZ) madonna, all-embracing in her benevo - her warm gloves the same as Polonica lence. What about the out of frame has: grey with a white ribbon and bells? then? Well, it is made up precisely of all Film poem for two souls. Meditation NOčNI POGOVORI Z MOJCO these anonymous invisible existences maybe. A way to silence. “I thought we [T HE NIGHT TIME WITH MOJCA ] vaguely perceived in the frame of the From the film O a were making a film about passing. lens and fragments of autobiography in č Director, screenplay, editing: Vlado Now I see we made a film about what the sound. Monochrome colours verg - Škafar; cast: Mojca Blažej Cirej; produc - does not pass away.” (Vlado Škafar) ing on grey point to a gloomy despair tion: V. Škafar and Petra Vidmar for accentuated by the telephone filter. the Hungarian border for a meeting. He Gustav Film/Otok; origin: Slovenia, Céline Guénot wrote the following Could it be that Mojca is the self-portrait 2008; format: Super8 and video, col.; tells us that Slovenian people there about the film: “The depth that Škafar in sound of a country?” (Jean-Pierre length: 36’. don’t have a word for love. I watch his creates with slow fade-outs is the very Rehm) Blu-ray from Gustav film. eyes in the rearview mirror. When he depth of existence itself, to which gets out, I tell Frenk, ok, he can be speech is trying to hold on. This, the “With the advent of television, many Dad. Miki brings Sandi. He's too old. film captures miraculously”. O A people reckoned that the days of radio č But he has face and hair and eyes and [D AD ] were numbered. What is a voice with - mouth of an angel, and angels don't out a face, a laugh without perceptible Director, screenplay: Vlado Škafar; cin - have age. On a football stadium we are MAMA gesticulations, music without visible ematography: Marko Brdar; editing: V. getting to know each other. When I [M OTHER ] animation and so, what little magic was Škafar, Jurij Moškon; cast: Miki Roš show this to my girlfriend, she shivers Director, screenplay: Vlado Škafar; left to retain listeners? It is this very (Miki), Sandi Šalamon (Sandi), the and cries. It’s gonna be a beautiful film. story: based upon the works of Jelena Then the three of us play. We throw lit - space that Vlado Škafar has chosen to workers of the Mura factory; narrators: Maksimovi ć, Vida Rucli, Nataša Ti č portray in his film made with the aid of Hana Šavel, Jože Brunec; production: tle stones in our wells (our souls) and Ralijan, Gabriella Ferrari, Margita basic materials. The pictures: shots of Frenk Celarc for Gustav Film/Propeler listen to echoes. Later, the crew plays Stefanovi ć, J. W. Goethe, Lily Novy; landscapes, cities, all very ordinary, of Film; origin: Slovenia/Croatia, 2010; along. That’s the game of our cinema. cinematography: Marko Brdar; editing: Slovenia. The sound: the kind of night format: 35mm; col.; length: 71’. (Let the film be poetry. Let the silent J. Maksimovi ć, V. Škafar; music: broadcast where listeners are invited to 35mm from Slovenski filmski center. engines run the story.)” (Vlado Škafar) Vladimír Godár’s Mater sung by Iva intervene by way of a game: they phone Bittová, Ribbon Bow performed by in, ask for advice, complain, chat or try “Miki, local coproducer, takes us over Karen Dalton; cast: Nataša T ič Ralijan, 20 21 Vida Rucli, Gabriella Ferrari, Pierluigi to take shape — the mother and the Di Piazza; production: Gustav daughter driving in the car, the daugh - Film/PRO.BA/ARCH Production/ ter not sitting in the front seat because TRANSMEDIA; origin: Slovenia/Italy/ she would really want to. The feeling Bosnia-Herzegovina, 2016; format: HD, grew into a film. After a while, I real - col.; length: 93’. ized it was not a film anymore; it was DCP from Slovenski filmski center. transcending its medium into painting and poetry, which are very close to me, The long journey of the Mother has too. Now, all of my previous films — been characterised by two words: pain not just Dad and Letters to a Child , but and beauty. These everyday, but never - all of the rest, too, are like tiny streams, theless powerful words have appeared all flowing together into Mother . It feels and resounded at every step: in the first good, though I hadn’t planned it that images, materialising from nothing - way. from the word ‘mother’ itself; during For me, art is just dialogue, but in its meetings with the cast - the first contact purest form. It is always a conversation, became painful and beautiful, as pain, and it is most efficient when it’s not when not avoided and when enough plain. room opens up in front of it, always Telling something straight up can never becomes beauty. During the first stroll have the same effect as reading a by the mountain creek, one of our cast poem. members, Gabriella, uttered the words I think this film is a lesson in making an that described our journey exquisitely: indirect conversation. Not only between HAIKU CIRCLES ‘There is too much suffering around the characters, but with the viewers, Joni Zakonjšek’s works in paper format suffering. Suffering needs beauty.’ too. As a spectator, you’re always pro - video haiku by Vlado Škafar Mother takes her self-destructive jecting. Many of the great directors — DoubleRoom arti visive, Trieste daughter to a deserted village in a for - from Kieslowski to Kiarostami — have September 17 > October 26 2016 eign country (Italy) and locks her in a said that the only film that truly exists is house in the middle of nowhere. What the one in the spectator’s mind. In the balance between cinema and begins as a mother’s desperate attempt Cinema has no truth of its own. It can’t video art, the 8 “haiku video” of Vlado to save her child turns into an increas - have it. It only exists in the mind of the Škafar are part of the coherent artistic ingly miraculous spiritual adventure, person watching it. Even if as a direc - and spiritual association with the restoring the deep feelings of life with - tor, I don’t see my film again, in a way, painter Joni Zakonjšek who presents in her. Inspired by the writings of it doesn’t exist for me anymore. I have about forty delicate watercolors on Marcel Proust, the film is not so much to see it in order to have a conversation paper format which preserves the a study of a relationship between with it, to make it real. Films live in us extreme essentiality of the known mother and daughter: it is a poem of in our own ways, and it’s the only way Japanese poetic writing, contained in two human souls. that’s real — but it doesn’t mean we the classic three verse, and the interest can’t talk about them with each other.” in the accurate description of the Vlado Škafar’s Haiku and Joni Zakonjšek’s water - nature and the events directly linked to “In the beginning, the only thing I had Vlado Škafar, IndieWire , February 2015 colors on paper format from the book Krogi , was the title of the film. After a while, Kinetik, zavod za razvi janje vizualne kulture, it. the opening image of the film started Ljubljana, 2015 Both Slovenian authors, partners in real

22 23 Beloved and Rejected life and in art, have already worked on trary it multiplies and acts through the this topic printing the valuable artist eyes of the members of the audience book Krogi [Circles] in 2015, a refined who absorb their warmth, their color, Migrants, refugees, victims publication in Slovenian, Japanese and their spirit and their atmosphere and English where the forty haikus written change them... into dreams, meditation, by the director equal the same number love and new lives. (m.l.) of wars, escape beyond walls and of works on paper format owned by the painter divided according to the fences in Adenauer’s era Germany natural cycle of the seasons. (Massimo JONI ZAKONJŠEK Premuda, chairman of Casa dell’Arte (Koper, 1974) Trieste) After finishing high school she lived in London for two years, where she com - pleted the Foundation course of Art at SE ŠE SPOMINJAŠ LJUBEZNI ? the Whitechapel Art School. In 2003, [Do you still remember love?] she graduated from the Academy of by Joni Zakonjšek Fine Arts in Ljubljana. Since 2004, she has been working as an independent Koštabona, spring 2007 - Velika sela, artist. After a decade of silent resi - summer 2010 dences in the old villages in the Littoral moment after moment on canvas region, she now lives in Bela krajina, 190x278 cm Slovenia, merging painting and zen Teatro Miela, 16>22 september 2016 buddhist practice in the lived beauty of being. Since 2002 she has held a num - Joni Zakonjšek and the painting Se še ber of solo exibitions at some of the spominjaš ljubezni? had a long and most notable exibition venues and par - intense connection which lasted more ticipated in numerous national and than three years. The work and the international group shows. She has artist grew up together. The painting received several awards in recognition depicts the sea, dark, but colored, of her work. calm, but not flat. The water level increases continuously , the soft waves come from a distance and set the tempo of the movement. This is the sea that Joni loves, called out by her moth - er in the Mama , that sea means free - dom. Joni’s paintings are vivacious and they love life. They pulsate from their embryonic phase and they direct the hand that paint them. Their vitality does not remain contained inside the perimeter of the canvas. On the con -

24 25 ALIEN US IN A RUINSCAPE cept of a nation state: one country, one or something else entirely? Is it a territo - tarnished, soiled, poisoned — Germany by Olaf Möller people — Masurians, to stay with this rial entity or is it more a state of mind? wasn’t anything one could easily feel at example, are neither Poles nor Is Heimat something you can take with ease with. And in the midst of those sto - It’s quite curious and maybe rather Germans, they are what they are, but you? Can another place become Heimat? ries about people trying hard to pretend telling about many things Berlin that mattered ever less; to make things In contrast to the way the genre is com - that things were as they always had Republic, its relation to the nation’s past, “work” inside the nation state parame - monly described, the Heimatfilm was, at been, all the while looking suspiciously that in recent discussions about refugees ters, Masurians were suddenly consid - least in its early stages, not a genre of tense, costumed, as if wearing a corset and immigration the situation in occu - ered Germans — it was mainly a ques - harmony and merriment where in the more spiritual than physical -; in these pied Germany was rarely mentioned. tion of numbers, fights over power; and eternal woods, meadows, heathers, eerily undestroyed landscapes where Let’s do something the Berlin Republic is when WW2 was over, the Masurians bogs and dunes people’s eyes and ears men usually still had all their limbs -; in rather averse to: let’s remember. were forced out of Poland — if they did - and therewith souls found maybe a bit a society where men often were middle- Between mid-1945 and roughly 1955, n’t renounce their heritage and turned of peace, or at least some respite from aged and women young (a reality of several million people deemed Germans Poles, polemically put. These people, the rigours of building up an industrial those times: the young men were all too were forced to leave their native soils now, moved by the millions into first the super power from rubbles — the often either dead or in POW camps, and move away — which usually occupied territory, later the FRG; they Heimatfilm was a battle ground where which meant that women had to make meant: into the territory deemed their were strangers in this new nation called the fundamental problems of the do with men who in more than a few home which means: what was left of the FRG. The main difference between them moment who are we in the world, and cases could easily have been their German Reich and would soon develop and the Syrians who fled the war back where exactly — and who exactly are fathers, age-wise) -; here, in these films, into two separate states, the Federal home by the millions is that they were we anyway? One should remember that in these narratives as well as in any Republic of Germany and the German officially considered “locals”, people of the Heimatfilm is deeply rooted in a given audience of these films, the mil - Democratic Republic. Why these strange the same culture therefore nation — nativist literature whose roots can be lions of refugees with their very own ways of phrasing the problem? For the which they weren’t. traced back to the early stages of indus - neuroses’ and traumata had to find a very simple reason that it’s difficult to Yet another group of strangers were the trialisation — narratives remembering space for themselves. Just like the for - call many of those who back then went so-called “late returnees”: the prisoners (often sentimentally) a way of life lost; mer soldiers who came— not back, but to - the territory that would soon of war who got released from penal this genre itself was politically already into a country they tried to make their become - the FRG Germans; they spoke servitude and came back to the place diverse: conservative-going-reactionary own, just like the refugees and the German often as their first language, they left sometimes a decade or more minds like that of Ludwig Ganghofer many, many others those lives defy such and they might look to Goethe as the ago — only to find out that it now was used its motives and topoi, and so did a facile labelling, all those aliens that epitome of a great writer, but they were, found in a country that didn’t exist back liberal, anticlerical popular educator like would make my home — a Heimat lost in fact, eg. Czechs. Or, to make things then, and whose mores and manners Ludwig Anzengruber (the latter being in November 1989 ... even more complicated: They might were unbeknownst to them; people Austrian). Both Ganghofer’s and speak a language that is partly German, might welcome them back and commis - Anzengruber’s novels had been filmed belong to a culture all its own, but were erate with their suffering, what they often enough before 1945 to constitute HERZ DER WELT considered for political reasons could imagine of it — but did they real - almost something like a genre of their Germans, like the Masurians in nowa - ly ever come home? own. The Heimatfilm added quite a few Director: Harald Braun; screenplay: H. days Poland; the cultural landscape in Cinema certainly knew all this. In fact, to the vast already existing numbers. Braun, Herbert Witt; cinematography: the countries situated along the Baltic one way of describing the most impor - And while these (as well as the masses Richard Angst; editing: Claus von Boro; Sea, the territory that stretches from tant genre for the early Bonn Republic: of films based on other sources if not music: Werner Eisbrenner; cast: Hilde today’s FRG via Poland, Lithuania, the Heimatfilm, is as an attempt to deal just a screenwriter’s fantasy alone) Krahl, Dieter Borsche, Werner Hinz, Latvia, Estonia till Russia was multi-cul - with this situation. What does Heimat resemble the earlier works in many Mathias Wieman, Dorothea Wieck, Paul tural and -ethnical; many of the region’s mean — is it fatherland?, or native soil?, ways, something fundamental has Bildt; production: NDF; origin: RFT, people didn’t fit snuggly into the con - or cultural roots?, or a mix of all these, changed: the idea of Heimat had gotten 1952; format: 35mm, b/n; length: 91’.

26 27 35mm from NDF, for providing Beta production: NDF; origin: RFT, 1953; for - of it. […] As you can see, echoes of beg - gloomy stairs and a phantasmagorical Film. mat: 35mm, b/n; length: 103’. ging “neorealism” mix to smooth sym - garden, collapsing in the street and 35mm from Deutsche Kinemathek, for bolism (a lot of “plastic material” : the screaming under a poster ripped by the “Austria went [to Cannes] with only one providing Beta Film. train, the black glasses, the mirror etc.), wind that rebukes death caused by feature film directed by Wolfgang with the medium director’s Sternberg road accidents. A skeleton trying to Leibeneiner: Der Weibsteufel (The “A “neo-realist” film inside a flaccidly style transcription between his actor inflate can be seen on the that post. Possessed Woman). The protagonist is teutonic film with many symbolic and a superhuman ideal of beauty. The The latent fear of modern man in con - Hilde Krahl, also present in another claims. Is there a connexion? Not a Sternberg’s formula is adapted to the stant danger, due to the mechanization German film at the Fetsival, Herz der chance! Not even in the painful dream rhetoric of the times. With a bit of intel - of the world of things, and an atmos - Welt . She really deserved to be given of the little Eva, the tender and defense - ligence, the result is not dissimilar to the phere which seemed to have disap - an award for the feminine interpreta - less heroine of both films. The “neo- “aesthetic” province of the various peared since the great era of the tion. Nevertheless this Austrian film realist” film (be careful about the quota - Pandora and Contessa scalza .” German silent film are united here in a remains very huge popular dramatic tion marks), that the devilish director Giuseppe Turroni, Quando mi sei vicino , unique symbolic framework, in these story, even though it provides very Tornau, a topsy-turvy Sternberg, is «Filmcritica», n. 49, June 1955 few framings where moreover editing sharp descriptions and a magic picture shooting about the real life of an extra was harmed by commercial cuts. The of the Tyrol […]. Harald Braun and is the rehash of the most ordinary and director of this film, Si ricerca il bambi - Herbert Witt’s pretentious Herz der Welt indigestible chronicling: a film shot SUCHKIND 312 no n. 312 , is Gustav Machatý. Reading “from the reality as it stands” [...]. The this name in the opening credits, prob - (The Heart of the World) did not even Director: Gustav Machatý; story: from survive to the mediocrity, although it is other film, the non neo-realist one, is ably very few viewers will connect him focused on the psychological tragedy of the novel by Ulrich Horster; screenplay: immediately to some of the fundamen - determined to show us the efforts of the Werner P. Zibaso, G. Machatý; cine - very peaceable Berta von Suttner in a a fragile woman, Eva Berger, the extra tal leading European cinematographic called upon to relive her ordinary sad matography: Otto Baecker; editing: works more than a quarter of a centu - warmongering and militaristic Europe. Herbert Taschner; music: Bernard The fact that Germany wants to appear story in a film: a creature that can ry ago : Erotikon , Dal sabato alla do- vibrate with sincere emotions thanks to Eichhorn; cast: Inge Egger, Paul Klinger, menica , and especially Estasi [...]. Six as a pacifist country with such films may Ingrid Slimon, Heli Finkenzeller, sound fake to people who are used to Maria Schell’s exquisite and very sensi - years ago, Machatý went back to tive art full of abandonments and ado - Alexander Kerst; production: Unicorn Germany full of ideas, full of plans and the rumbles of war. Besides, the film is Film; origin: RFT, 1955; format: 35mm, constructed in the usual boring, slow lescent tremors, although it knew about new projects. But apart from some very comics and literature recently. Simply b/n; length: 95’. rare exceptions, the Western Germany and muddled way which are typical of 35mm from DIF, for providing Beta Film. all dignified German historical films.” Satanic, Tornau, with carbon black postwar cinema has literally become a glasses and dressing like a dandy (here “dream factory” producing sleeping Alfredo Di Laura, Panorama , «Filmcritica», “In one of the numerous German recent n. 14, May-June 1952 these guys demand to be called Dr. pills for the viewer. Machatý was even there are not) push everyday Eva films that deal with a highly relevant entrusted with writing the scenario of to suffer again awfully when playing issue with almost a moving lack of Avvenne il 20 luglio film, shot by G.W. her own role, with calculated sadism: commitment, there an extraordinary Pabst. Even this time he was very SOLANGE DU DA BIST Eva suffers, declines and endures, going scene: it probably lasted one minute, it lucky. Finally, recently a production WHEN YOU ARE NEAR ME away crying, she has nightmares – she did not comply with the general style company entrusted him with taking Director: Harald Braun; screenplay: Jo - finally falls in love with her captor. She of the film, but it had such a visual care of the scenario and the direction chen Huth; cinematography: Helmut is about to repeat the first mistake made strength and a symbolic synthesis of the film Si ricerca il bambino n. 312 , Ashley; editing: Claus von Boro; music: to the detriment of her young husband, power which were no longer present in drawn from a very successful serial Werner Eisbrenner; cast: Maria Schell, because this difficult and troubled a German film for a least two decades. novel published in periodica ls. The O.W. Fischer, Hardy Krüger, Brigitte dream. The director demands her to A little girl flees from a school by night subject such that it would attract a class Horney, Mathias Wieman, Paul Bildt; repeat it: cinema should take advantage through long corridors, then down director: homeless children lost and

28 29 taken away by strangers; children who is, the last pows from the Soviet Union, expanded story of a traitor (Siegfried Leben (frg 1958/59, Dogs, Do You Want wait in vain for their dad and their which had been finalised during Lowitz) delivers the pole opposing that to Live Forever?), and the plight of dis - mom; they are admitted to nurseries Adenauer’s visit to Moscow, began. The of the doctor’s dedication. The end is placed persons in the escape drama and treated well, healthy but without last page of Konsalik’s Der Arzt von quite astonishing: there is no reward nacht fiel über gotenhafen (FRG affection, reduced to numbers written Stalingrad invokes it as an incredible awaiting the returnee, instead – while 1959/60, Darkness Fell on Gotenhafen). in a file. It would have become a film event, the film version puts it at the parades go on outside again – over - A specific ‘style of dynamically like Géza Radványi’s È accaduto in beginning for the maximum audience come by visions of horror, his stunned designed, documentary reporting’. Europa , the ballad of a destiny experi - effect, even before O. E. Hasse’s face in close-up is superimposed over a which goes far beyond the incorpora - enced without fault and an accusation Anaesthetic! appearance in the main calamitous staccato montage of tion of newsreel material within fiction - against the policies of the adults, credits. Both are united in the secret of advanced military progress.” al plots is used in all three films. The responsible for the repressed souls of success: portraits of probation, ‘the duty Christoph Huber, The Simmel Complex , in seriously wounded men in hunde, wollt these children. But all this, in the “forge to be a human being.’ This identity may Claudia Dillmann, Olaf Möller (edited by), ihr ewig leben hear the original of evasion” that Germany was in 1956, not be undermined: “I am not a hero, I Beloved and Rejected: Cinema in the Young Thermopylae speech delivered by Federal Republic of Germany it would have been too realistic. So the am Fritz Böhler from Würzburg ...’, is Göring, and when the Gestapo comes how Hasse’s monologue gets to the from 1949 to 1963 , Deutsches for the Jewish hostess and her frail problem had to be inserted in one of Filminstitut, Frankfurt am Main, 2016 the usual obliged triangular marital heart of Konsalik’s reassuring effect. […] father in full view of the impassive pro - conflicts and was submerged by the so It becomes quite schizophrenic when tagonists in nacht fiel über gotenhafen, he portrays the Soviets: sub-human the reality of the Holocaust intrudes into common lachrymatory rhetoric of the NACHT FIEL ÜBER GOTENHAFEN existing German cinema.” beasts with a longing to ‘drink German the victimhood perspective of the blood’; but finding in the Eastern Director: Frank Wisbar; screenplay: F. Ulrich Seelman-Eggebert, Quando expulsion discourse and exposes its suonerà il telefono bianco per Gustav essence a friendly disposition, when it Wisbar, Victor Schüller; cinematogra - predisposition to a navel-gazing histori - Machaty? , «Film», n. 9, 1955 really comes down to it. The most juicy phy: Elio Carniel, Willy Winterstein; cal amnesia. In doing so, Wisbar is the perverse relationship between the editing: Martha Dübber; music: Hans- accepts aesthetic collisions and – con - Russian ‘thoroughbred mare’ doctor and Martin Majewski; cast: Sonja Ziemann, trary to what is often claimed by critics DER ARZT VON STALINGRAD her German colleagues, including rape Gunnar Möller, Erik Schumann, Brigitte – makes little attempt to embed the and attempted suicide – a completely Horney, Mady Rahl, Wolfgang Preiss; documentary sequences into the fiction - Director: Radványi Géza; story: from the inextricable sado-masochistic complex production: Deutsche Film Hansa; ori - al sequences.” novel by Heinz G. Konsalik; screenplay: as the apotheosis of Konsalik’s unques - gin: RFT, 1960; format: 35mm, b/n; Fabian Schmidt, Person Unknown , in Werner P. Zibaso; cinematography: tioned furious frenzy in which no stylis - length: 99’. Claudia Dillmann, Olaf Möller (edited by), Georg Krause; editing: René Le Hénaff; tic howler is too much. Géza von 35mm from DIF, for providing Beta Beloved and Rejected: Cinema in the Young music: Siegfried Franz; cast: O.E. Hasse, Radvanyi’s film version is immeasurably Film. Federal Republic of Germany Eva Bartok, Hannes Messemer, Mario better composed, for he had no choice; from 1949 to 1963 , cit. Adorf, Walther Reyer, Vera Tschechowa; the kinky German-Soviet-Soviet three - “Wisbar shot Haie und Kleine Fische production: Walter Traut for Divina- way relationship becomes an accept - (frg 1957, Sharks and Small Fish), the DURCHBRUCH LOK 234 Film; origin: RFT, 1958; format: 35mm, able melodrama of death, the second first of three very successful films about b/n; length: 110’. love story with a sick, delicate Russian the Second World War. Unerringly he Director: Frank Wisbar; screenplay: 35mm from Goethe-Institut, for provid - woman is transferred to the fate of a deals with traumatic issues which attract - Gerhard T. Buchholz; cinematography: ing Beta Film . child – the image of the sick child, con - ed particular interest in the post-war Bert Meister; music: Bernard Adamkevitz, trapunctally even musically talented as period: the fate of submariners in haie Peter Laurin; cast: Erik Schumann, Maria “One week before the German pre - were so many tragic-sensitive characters und kleine fische, pointless sacrifice in Körber, Helmut Oeser, Hans Paetsch, miere of himmel ohne sterne, the in these 1950s war films, becomes the Hitler’s unscrupulous warfare in the Herbert Fleischmann, Katha rina Mayberg; Return Home of the Ten Thousand , that centre of the hope for rescue, while the Stalingrad drama Hunde, Wollt Ihr Ewig production: Profil-Film; origin: RFT,

30 31 From Compassion to Love 1963; format: 35mm, b/n; length: 85’. mat: 35mm, b/n; length: 91’. 16mm ( from 35mm) from Bundes - 35mm from CSC-Cineteca Nazionale. archiv-Filmarchiv. “The camera of Piero Vivarelli’s Oggi a “The most revealing films in Wisbar’s Berlino (Italy 1962, East Zone, West post-war work are barbara – wild wie Zone) skims over West and East Berlin das meer (frg 1961) and durchbruch lok in a charmingly lazy fashion. Clichés are 234 (frg 1963). With Durchbruch Lok all it captures: neon lights, beautiful 234 , Wisbar succeeded one last time in women, parties, economic opportuni - provoking a large press response. The ties, and ruthless bureaucracy on one biographical parallels to Wisbar’s own side; ruins and desolation on the other. escape can scarcely be overlooked in Either way, just sketchy excuses for his staging of this true escape story from people: strict soldiers, stubbornly politi - the gdr. The narrative motif of voluntary cised parents, shallow libertines, pow - free-willed escape with no external erful lobbies mourning the old regime, constraint is one of the idealised biog - a catatonic girlfriend … Hans is the only raphical aspects of the film. Ironically, one Vivarelli cares about. A young, however, it is precisely this that con - smart and carefree hedonist constantly temporary critics criticised for its dra - hopping around in a jeanclaudebria - matic and above all ideological incon - lesque fashion Hans wants pleasure sistency. It is also interesting that Wisbar and freedom – but bumps into the Wall. allows his hero to triumph without sac - The film, its hero, and even its jazzy rifice in this film.” score become more and more bitter as Fabian Schmidt, Person Unknown , in it becomes clear that apolitical Hans has Claudia Dillmann, Olaf Möller (edited by), no choice but to turn into the very polit - Beloved and Rejected... , cit. ical statement which contradicts his refusal to be ideologically pigeonholed. An epitome of young Germany? Surely PARALLEL CONVERGENCES not. Of some new-wavish European youth? Possibly, but even more likely OGGI A BERLINO oggi a berlino is a self-portrait of Vivarelli himself, a filmmaker, writer, Director: Piero Vivarelli; screenplay: P. journalist, and music industry pioneer Vivarelli, Giuseppe Isani, Goffredo who always lived his picaresque life in Parise; cinematography: Gianni Narzisi; the name of freedom and of a pro - editing: Nino Baragli; music: Armando nounced loathing for rigid ideological Trovajoli; cast: Helmut Griem, Nana barriers.” Osten, Erina Torelli, Vittorio Pugliese, Enrico De Boccard, Pietro Sharoff, Marco Grosoli, The Professor, The Tourist, and The Bombshell , in Claudia Dillmann, Annalise Wurtz; production: Antonio Olaf Möller (edited by), Beloved Cervi for Compagnia Cinematografica and Rejected... , cit. Cervi/Cineriz; origin: Italy, 1962; for -

32 33 IL CARNEVALE DI NIZZA DEL 1910 [E SERCITO ITALIANO : PLOTONE NUO - UMANITÀ to testify and pass through cinema its TATORI DI CAVALLERIA ] commitment against war.” Director and production: Luca Comerio; Director: Elvira Giallanella; story: from Monica Dall’Asta, Non solo dive. Pioniere origin: Italy, 1910; format: 35mm, b/n; Director and production: Luca Comerio; a story by Vittorio Emanuele Bravet- del cinema italiano , Il Profumo delle length: 6’ (a 16fps). origin: Italy, 1912; format: 35mm, b/n; ta; production: Liana Film; origin: Parole, Bologna, 2007 35mm from CSC-Cineteca Nazionale. length: 15’. Italy, 1919; format: 35mm, col.; length: 35mm from AIRSC in CSC-Cineteca 35’. Nazionale. 35mm from CSC-Cineteca Nazionale. GLI ULTIMI GIORNI DELL ’UMANITÀ LA FAMIGLIA REALE NELL ’INTIMITÀ “Introduced by a caption which pres - Director: Luca Ronconi; story: from the Director and production: Luca Comerio; LAGO D’I SEO ents him as a ‘humorous-satirical-edu - play by Karl Kraus; traduzione : origin: Italy, 1911; format: 35mm, b/n; cational’ work, the film for two young Ernesto Braun and Mario Carpitella; length: 8’. Director and production: Luca Comerio; stars, Tranquillino and Serenetta. cinematography : Enzo Ghinassi; edit - DCP ( from 35mm) from CSC-Cineteca origin: Italy, 1913; format: 35mm, b/n; During the night the little rise, and as ing: Mario Gioia; production of the Nazionale (computerize by La Cineteca length: 6’. the girl goes to steal in the jam jar, the play : Teatro Stabile of Torino Lingotto del Friuli). DCP ( from 35mm) from CSC-Cineteca boy is dedicated to Dad’s cigarettes. srl; production of the TV version : Rai; Nazionale (computerize by La Cineteca Smoking causes a Tranquillino an anx - origin: Italy, 1990; format: vi deo, col.; del Friuli). ious dream: the world was distruto by length: 162’. LA GUERRA ITALO -TURCA a terrible war and to him falls the task Blu-ray ( from master video) from RAI. Director and production: Luca Comerio; to do it again. Subsequent scenes show EXCELSIOR ! origin: Italy, 1911; format: 35mm, b/n; Tranquillino that traces errors accumu - “Attend this show means to try to the length: 3’ (a 16fps). Director: Luca Comerio; story: by piéce lated in human history: in fact also dig - maximum degree the taste of the the - 35mm from CSC-Cineteca Nazionale. Ballo Excelsior by Luigi Manzotti; music: ging deep and penetrating into the ater. Here you do not look a represen - Romualdo Marenco; costumes: Caramba most remote layers of human history, tation: you visit, or rather, you traverse. [Luigi Sapelli]; cast: Vittorina Galimberti, the boy can not find anything but As an event, like a procession, a [V ITA DI ASCARI ERITREI ] Armando Berruccini, Euge nia Villa; pro - weapons and signs of conflict ... [...] demonstration, an art exhibition. Here duction: Luca Comerio, Lorenzo Sonzo - Based on the novel for children of are neither the comfort nor the usual Director and production: Luca Comerio; gno; origin: Italy, 1911; format: 35mm, Vittorio Emanuele Bravetta, in verse ways of traditional theater, the audi - origin: Italy, 1912; format: 35mm, b/n; b/n; length: 18’. and embellished with color illustra - ence here, the stage there. The rest of length: 14’ (a 18fps). 35mm from CSC-Cineteca Nazionale. tions of Golia, Umanità is the only the text itself, fragmented and centrifu - 35mm from AIRSC depositata in CSC- director Elvira Giallanella, figure as gal, not permit a classic construction. It Cineteca Nazionale. “The great Milanese heir to the Lumière interesting as, for the moment, perfect - works the river, spreading and mag - captures the image of the most flagrant ly mysterious. [...] matic, where there is no psychology of wars (colonial and world), raids of The film should have been the first title the characters or an organic dramatur - LA PRESA DI ZUARA death and real in a universe of mas - of "a vast program of work, which gy. A text on the border between the Director and production: Luca Comerio; querades and Excelsior dances. The includes great films of straw or of his - tragedy and the operetta where war is origin: Italy, 1912; format: 35mm, b/n; Guy Debord had known!” (s.g.g.) torical reconstruction and films for seen through the eyes of a foolish length: 23’. children, which will be played by chil - press, biased and drunk slogans and 35mm from CSC-Cineteca Nazionale. dren." But the project seems to have biblical delirium. The Kraus characters stopped after Giallanella Umanità , are those same Viennese who lived the unparalleled in contemporary film pro - war as an aesthetic fact, “men without duction, singular attempt of a woman qualities”, inept and blind soldiers in

34 35 evening dress, dandies in helmet and 35mm from CSC-Cineteca Nazionale. happened to; a theft arrest (in respect But Zuma, rather than betray the trust rifle. Kraus himself, who is not granted of Rod Steiger stunt, a bodybuilder of his benefactor, one evening in the or in Max Reinhardt nor Erwin Piscator “Venzone, the medieval citadel in from Udine butcher profession); Lisi home of Counts Fossi you give a feast, authorization to represent him, which were built the most important on holiday in Lignano.” performs in an exotic dance with a claimed the improbability stage of his scenes of Addio alle armi and the Livio Jacob, Carlo Gaberscek, snake, making the end bite from dan - text because of the inordinate length: Grande guerra , it was completely Il Friuli e il cinema , La Cineteca gerous reptile. The recognition of the 156 hours of representation in about destroyed by the earthquake of 6 May del Friuli, Gemona del Friuli, 1996 slave sacrifices the love of women.” 10 days. An impossible task. I made and 15 September 1976. the cuts by reducing the material of The town, now rebuilt almost the same one third. And I have broken the unity as before the disaster, with its historical ZUMA SCIPIONE L’A FRICANO of action and time. They came out architectures that both fascinated Director: Baldassarre Negroni; story: Director: Carmine Gallone; screenplay: “only” 18 hours of spectacle that the David O. Selznick, John Huston, Mario Augusto Genina; cast: Hesperia, C. Gallone, Camillo Mariani simultaneity of the various paintings, Moni celli and Dino De Laurentiis, had Ignazio Lupi, Leda Gys, Augusto Ma - Dell’Anguillara, Sebastiano A. Luciani; allows to make in three hours. The become a sort of permanent sound - stripietri, Pina Menichelli, Bruno cinematography: Ubaldo Arata, viewer who will be at the center, walk - stage, an ideal place to set films relat - Castel lani; production: Cines; origin: Anchise Brizzi; music: Ildebrando ing among the various flaps stage, will ed to the first World war. In fact it was Italy, 1913; format: 35mm, b/n; length: Pizzetti; editing: Osvaldo Hafenrichter; be from time to time on the Isonzo or used by the cinema twice more, and 35’. cast: Annibale Ninchi, Carlo Lombardi, on the front of Galicia, at the bedside by the same director, Pasquale Festa 35mm from CSC-Cineteca Nazionale. Carlo Ninchi, Diana Lante, Camillo of injured soldiers or Greinsteidl cof - Campanile, who headed La ragazza Pilotto, Fosco Giachetti, Francesca fee, beloved by the Viennese intellec - e il generale in 1966 and Porca vacca! From a copy of the film and advertis - Braggiotti, Isa Miranda, Memo Benassi; tuals, in a square vociferous of news - in 1982 (a remake of the distant ing Cines: “At the village of Colfiorito, production: Consorzio Scipione/ENIC; boys or drafts of a partisan newspa - Monicelli’s film, whose working title a pleasant holiday resort, arrives, for origin: Italy, 1937; format: 35mm, b/n; per.” was indeed the Grande guerra, piccoli show, a caravan of nomads, which is length: 117’. Luca Ronconi, «Grazia», uomini ). part of a young Sudanese, Zuma, who 35mm from CSC-Cineteca Nazionale. November 29, 1990 For the latter film was the rubble after distributes the program to the streets. the earthquake as a backdrop to the In the evening the big top is crowded “Through the ‘giant’ directed by Gallo - tragicomic story of the film. La ragaz - and there are also the Counts Fossi. ne [...] they wanted to openly celebrate LA RAGAZZA E IL GENERALE za e il generale, a co-production Behind the scenes, Lucas, the leader of the glories of two empires, two civi - Director: Pasquale Festa Campanile; between Italy and France designed by the caravan, mistreats Zuma. In the lizations, two achievements: the story: P. F. Campanile, Massimo Fran - Carlo Ponti, was shot in late June and night, the girl runs away and asks for ancient and the new Rome. The one ciosa; screenplay: P. F. Campanile, early July of 1966 in various locations help to the castle of Counts Fossi, that wanted to compare doing so arranged Luigi Malerba; cinematography: Ennio of Friuli (Venzone, Val Resia, Pissebus take as a waitress and dismiss Lucas, that the success will reverberate on the Guar nieri; music : Ennio Morricone; – between Amaro and Tolmezzo –, he came to claim it, with a sum of other. He wanted, in particular, cele - editing : Jolanda Benvenuti; cast: Rod Pertegada, Palazzolo dello Stella, money. The generosity of Countess brate the titanic personalities of two Steiger, Virna Lisi, Umberto Orsini, Cividale, Latisana), on the Carso, near Claudia wins the heart of Zuma. [...] commanders, Scipio and Mussolini, Marco Mariani, Jacques Herlin, Valenti - Pese, and in Val Rosandra, on the Zuma located in a trunk a portrait of who in two different periods and no Macchi; production: Carlo Ponti for plateau of Trieste. [...] the master and takes him to his room. immeasurably distant, had performed a Compagnia Cinematografica Champion/ The shooting of the film La ragazza e Every night contemplates secretly, similar feat. [...] The project of a scale Les Films Concordia; origin: Italy/Fran - il generale were surrounded by a num - finding itself a sentiment hitherto never seen the film started out after the ce, 1967; format: 35mm, col; length: ber of side events: a warplane that unknown: she is in love. And the victorious African company that 103’. crashes to the ground, an accident count is not insensitive to its beauty. allowed fascism to show up in the 36 37 international concert as a new imperial women protagonists of Carthage, at the a misfortune could touch even one day and honesty effort, the modern imag - power. [...] time of the siege of Carthage (Scipio, in Rome’ (277). [...] ined by Bromfield hero reaches the With these negative conditions, they the year 146 BC) ended with the If you want to make a film about the well-being ruthlessly applying the prin - resulted in corruption of the ‘values’ destruction of the city (of Cato unfortunate defenders of Carthage, ciples of profit against its own mem - that the character of Scipio had to “Delenda Carthago”). Between the dif - they are at least spared the Romans bers and sexually exploiting women transmit the screen. So, apart from the ferent actors Carthaginian figure a the gratuitous accusations of ... eaters who finance his rise to fame. Although artistic result modest interpretation of young Roman girl (Fulvia), happened of raw meat and quarrymen of eyes! the novel contains on the one hand an the protagonist, they are weakened, in Carthage no one knows how, which Not only because of the love of home - anti-intellectual, and other anti-Semitic and sometimes even ridiculed, the fun - madly in love a native hero and you land, but also in view of the fact that coloring approach, social and psycho- damental moments, the symbolic char - give a great deal to do to save him, the film (which will be the French- sexual elements of the story were cer - acters and the constant allusions to this highly Roman citizens never mind that Italian co-production) seems destined tainly attract Pabst. It was exactly the story that the work of Gallone was they are, instead, besieging the city. If for wide dissemination on foreign kind of story that has always fascinat - intended to represent. The propaganda you take away the environment and circuits (including the British and ed transplanted European artists in effect of the whole costly operation outdoor climate: the siege of the American).” America, as is also evident from that led to the making of the film, is Roman legions, the film could be Eisenstein's project dedicated to Sutter compromised departing.” called Sandokan to the rescue or developed a few years earlier for Pasquale Iaccio, Scipione l’Africano, un Revenge of Tuggs (et similia), which PARALLEL CONVERGENCES Paramount. Warner Bros., however, kolossal dell’epoca fascista , in P. Iaccio would be the same. The affair, which was not about to let Pabst alter the (edited by), Non solo Scipione. Il cinema has as protagonists a Phoenician patri - A M ODERN HERO script. di Carmine Gallone , Liguori, Naples, 2003 ot, escaped, the high priest, the head [...] In terms of style, A Modern Hero is of the holy guards, Hasdrubal and Director: Georg Wilhelm Pabst; story: quite different from European Pabst other types Carthaginians (beyond the novel by Louis Bromfield; screenplay: film. The most remarkable feature is CARTAGINE IN FIAMME aforesaid Roman Fulvia), develops in Gene Markey, Kathryn Scola; cinema - the extreme precision of the assembly, Director: Carmine Gallone; story: from the interior of Carthage against the tography: William Rees; editing: James which combines the typical cut on the novel by Emilio Salgari; screenplay: Roman siege. The Romans, that is, are Gibbon; cast: Richard Barthelmess, movement developed by the director C. Gallone, Ennio De Concini, Duccio the enemies. They are ‘the stupid Jean Muir, Marjorie Rambeau, Verree with the cutting rhythm quicker, Tessari; cinematography: Piero strength ... You people used to eat raw Teasdale, Florence Eldridge, Dorothy instead of Warner characteristic style, Portalupi; music: Mario Nascimbene; meat’ (p. 10). ‘Damn the Romans. Both Burgess; production: Warner Bros.; ori - perfected in the gangster movies of the editing: Nicolò Lazzari; cast: Pierre of his eyes were raised to Sarim’ (p. gin: USA, 1934; format: 35mm, b/n; early 30s. Pabst is thus able to connect Brasseur, Daniel Gélin, Anne Heywood, 209). They are killing and ‘fill the length: 71’. the many spatial and temporal ellipses, Ilaria Occhini, Paolo Stoppa, José ditches with corpses and wounded’ (p. 16mm ( from 35mm) from La Cineteca creating a continuity through the Suarez, Erno Crisa, Camillo Pilotto; pro - 198). They ‘ignore every promise and del Friuli (Fondo GEH). movement. [...] duction: Lux/Produzione Gallone/ Lux every covenant’ (p. 200). Roman In the years of the Hollywood canon C.C.; origin: Italy, 1959; format: 35mm, troops are in the script, always referred “A Modern Hero was a project worthy style 30’s, the pace is accelerated col.; length: 110’. to as ‘hordes’ (225, 226). The Scipio is of the Pabst talent, and one can rea - through the constant use of the first 35mm from La Cineteca del Friuli seen twice. The first says: ‘I’d rather sonably assume that the script interest - floor and listening to the stories, which (Fondo Hunsrück). deal with Hannibal on the fields is ed him. It is the story of an American Pabst instead uses less frequently in its Zama, like my uncle, rather than hav - industrialist who builds his fortune European works. The first floor, of From preventive film Revision (April ing to destroy Carthage’ (130). The sec - from a proletarian circus coming to the course, highlights the empathy of the 1959): “The script is taken from the ond time, Scipio is crying like a little spheres of high finance. Contrary to viewer, structuring the subject's eyes. novel Cartagine in fiamme by E. woman while Carthage burns. ‘Why the Horatio Alger myth that the capi - Paradoxically, compared to the usual Salgari. The story has for men and are you crying Scipio?’. ‘I think so great talist empire comes from hard work Hollywood technique, the use of the

38 39 Bodies and Places first floor privileges in this film the female gaze toward Paul, without find - ing a reciprocity in desire of the pro - tagonist. In almost all of his relation - ships with women, Paul does not reflect their desire (and also that of the public), because the character shows itself incapable of loving women. This means that Pabst creates an apparently style faithful to the classical language, but at the same time it subverts the conventions, denying the ability to empathize with the protagonist. Jan-Christopher Horak, G.W. Pabst in Hollywood or Every Modern Hero Deserves a Mother , «Film History», n. 1, 1987

40 41 Cinema of Poetry, TRIBUTE TO MICHELE MANCINI Another volume of a person active in the with the participation of Jobst Grapow, civil sector, but whose passion for cinema Benedikt Reichenbach, Cristina Cristini, has traveled all his life. As with Paolo from Friuli to Sicily Sergio M. Grmek Germani Gobetti, they can divide us several choices We are preparing a new English edition of of what you love (or loathe) in the cinema, one of the most indispensable film books but endures differences in estimates when published in Italy, Pier Paolo Pasolini: cor - comparing individuals with the uncertainty pi e luoghi (Theorema, Rome 1981), edited of all passion without which it would be by Michele Mancini and Giuseppe Perrella. wrong first. To Michael this festival has dedicated a trib - ute after death (which is perhaps more THE INVENTION OF REALITY “premature” but in this case it was particu - • Presentation of the book Invention du larly violence), in the presence of some réel. Trois contes by Marc Scialom, illustra - close people who meet again on this occa - tions Mélik Ouzani, ed. Artdigiland, 2016, sion, and to which you will add the pro - with the participation of the author via moter of the new edition. Reichenbach Skype and Grapow are legitimately that it also Marc Scialom, Premio Anno uno and in var - becomes the first stage of a book-tribute to ious guest of the festival editions (the last Michael. year with a conversation via Skype to pres - ent the previous volume by the same pub - THE UNCERTAINTY OF PASSION lisher, thanks to the faithful love of Silvia • Presentation of the collection of writings Tarquini), the author is back with us albeit on film by Paolo Gobetti, published as a at distance. And back in this new volume a special issue of the magazine he founded close associate of the first films of Marc's «Il nuovo spettatore», by Archivio Nazionale friend Ouzani artist. As in all things that Cinematografico della Resistenza [ National Marc has created, movies or books, and Film Archive of the Resistance] in Turin, for this time since the clear statement of the Kaplan editions, Turin 2016, with the par - title, it reaffirms the Dantesque poetic of ticipation of Paola Olivetti reality intertwined with his invention. Last year we opened the festival with the • With a memory of Tommaso Labranca double program coming from the ANCR Short, instant memory of a writer whose founded by Paolo Gobetti, Il Duce a Trieste immediately, while too short collaboration and the beautiful interview by Gobetti with with the «Film TV», hit us the ability to go the anarchist of Trieste Umberto Tomma - beyond fashions and writing pens (such as sini; We also screened the film dedicated to managing the downside of trash: a term his father Piero Gobetti. It was not a first that only he could make a new vitality). but still inaugural collaboration with the They will be addressed at another time his ANCR, of which we present this year the books such as the one dedicated to Il vedo - volume devoted to the founder, projecting vo by Dino Risi. But we could not fail to excerpts from interviews that at various remember the death of someone who, times the archive created with him. increasingly at the margins of communica - • Presentation of the book Memorie di un tion powers, reminds us that the sublime cinefilo by Nereo Battello, published by statement in Nina di Minnelli («the world Premio Amidei of which he is president,, worships the original») was not reconciled Gorizia 2016, with the participation of the with the present. author, and in collaboration with the ANAC 42 43 a) The Cinema, Barba Zef and Us cist period and the Resistance activities umes of poetry of Angeli, and with stimulus to the creation of additional are reflected in sublime gaze; the late Giorgio Caproni among the first admir - initiatives (festivals with screenings, FONDO SIRO ANGELI IN LA CINETECA DEL film inspired by a classic Friulian litera - ers of Angeli poet), Guglielmo Petroni tributes and television on DVD) to FRIULI ture, since the youth project reading and other. Cottafavi was also after devote to a creative personality to be La Cineteca del Friuli was deemed Cottafavi, and in whose realization World War II, creator of an important rediscovered in its entirety. Are also indispensable to provide a more com - Angeli puts into play both as a writer albeit short-lived publishing company, advocated new publishing initiatives prehensive and systematic to the atten - and as an actor body, not fearing a dif - Migliaresi. beyond the regional dimension and tion toward the figure of Siro Angeli ferent “revisionism”, what to tradition La Cineteca therefore considers that it beyond the only Friulian canons, to (Cesclans 09/27/1913 - 08/22/1991 Catholic and ethnographic communi - should give organic form to the redis - give the status of Angeli great writer Tolmezzo), an artistic personality ties; and in the middle of the period of covery of figures, care to these places, that the stories of Italian literature and which, despite the work already done other great masterpieces, between to be seen finally as European person - anthologies (with the sample, and by some scholars, It is still fully redis - melodrama and period film (not yet alities. almost unique for perseverance, atten - covered the value. peplum), all marked by the centrality of The maintenance of the film historian tion Giacinto Spagnoletti) have taken For those involved in film, Angeli is female characters, at a time that coin - and critic Sergio M. Grmek Germani, too intermittently. And even in the above all co-writer and star of the best cides with a tragic illness and death of and provided there is increasing anthologies of religious poetry Angeli in the Friulian language film, Maria Zef his first wife in the Angeli’ same year in involvement of scholars far more atten - sometimes affected by omitting a path (1981) by Vittorio Cottafavi. It is, how - which he turns the most poignant of tive to the importance of Angeli and of perhaps too centrifugal. ever, just the tip of the iceberg in the the funeral of the screen, that of the the writer’s heirs, the Cineteca del Friuli A generous contribution to the collec - relationship of a lifetime between “lady of the camellias” starring Barbara formed in 2013 the Fondo Siro Angeli, tion initiated by Germani has already Angeli and Cottafavi, for which the Laage. which it launched a collection of arrived by Gianfranco Ellero, Ermes writer was carnico interpreter in a brief With Cottafavi Angeli Angels is part of books, magazines, paper documents, Dorigo, Grazia Levi. role in Fiamma che non si spegne that fertile friendship and creative films and videos about the activities of For the Cineteca del Friuli, the Fondo (1949) and then collaborated on the group which also brings together the Siro Angeli and personalities who inter - Siro Angeli also connects to the widest screenplays for Una donna ha ucciso producer Giorgio Venturini, theater bred with his work, like the ones men - documentation and the increasingly (1952), Il boia di Lilla (1952), Traviata director of a couple of texts by Angeli tioned, to which are added other direc - stimulating rediscovery of the heritage 53 (1953) and Avanzi di galera (1954), and then manufacturer of various tors of which he was screenwriter, and of the Italian cinema, since the silent the third-last and the last with the help Cottafavi film sometimes scripted by other characters with whom he met in era onwards, with a focus on the work of another figure to rediscover these Angeli. They will converge the great his RAI executive activities (including of Luca Comerio, Augusto Genina places, Riccardo Averini from Mon - craftsmen of the Italian classic cinema, Guido Botteri, who supported the cre - (which dedicates another Fondo), Ma- selice. As the friendship between a lighting engineer as Arturo Gallea to ation of Maria Zef as a first feature of rio Camerini and other great authors. It Cottafavi and Angeli, extended to a composer like Giovanni Fusco. the Third Network fiction). also connects to two other funds in the spouses, it has always maintained, the All this, as well as the activities in RAI In the belief that, despite the gap that archive, one dedicated to Chino Erma- direct collaboration touches particularly is Angeli that Cottafavi (which even sometimes Angeli has shown towards cora and the one given by the critic of significant periods of their work and seem to develop autonomously), noted his work as a screenwriter, the film may Udine Mario Quargnolo, who was their lives: the first post-war film of the that these figures finally goes through be, as is his nature, a catalyst for a among the most righteous reviewers of director, wrongly accused of revision - the entire artistic path, inside the cine - wider artistic dimension, the Fondo Maria Zef ; but the focus is extended to ism politically ahead of its time to the ma but also in the theater, in poetry, in wants to bring together documents and other figures of the “little homeland” historical events, in fact one of the fiction, in their general humanistic texts of the entire work of Angeli, with - Friuli: Giuseppe Marchetti, Novella works that with more brilliance and humus. Cottafavi was often poets direc - out thereby substitute for other Cantarutti, Michele Gortani, David freedom combine universal and contin - tor: a Angeli and Averini are added in libraries, but proposing, however, the Maria Turoldo, Gaetano Perusini, and gent, and in which the relationship his television Alfonso Gatto films aim of the widest possible collection, Pier Paolo Pasolini. between both activities during the fas - (author of a foreword to one of the vol - such as tool use and study, and as a The discovery of a radio production of 44 45 Angeli transmitted in just over a month Maria Turoldo, Carlo Sgorlon, and oth - dear to us: Caracciolo, D’Errico ...). Francesco). This small, perhaps ran - from the first shock in Friuli in 1976 ers excerpted from Antologia della poe - Also it can be surprising that this broad - dom nobody films son comes to us unites the rediscovery of Angeli the sia friulana by Bindo Chiurlo; voices: cast predominantly in the Friulian lan - today with a look bare on the disaster. commemoration of the anniversary of Omero Antonutti, Miranda Martino; guage was broadcast on national terri - It was probably built by chance even that tragic event. production : RAI (Radio Primo tory without any translation: and is con - his title, but today seems far-sighted, Programma); origin: Italy, 1975; length: tinuously stretched in a happy despite not only from today's earthquake, but 51’. everything, disidentitario, be said to more generally to the destruction that ODORE DI TERRA Sound recording (from master) from stand between the Friuli and said now facing the world, not unlike the RAI (Fondo Siro Angeli in Cineteca del Realizzazione: Ermes Dorigo; contri - Italian. (s.m.g.g.) way in the 1920s, with another title Friuli). butions: Siro Angeli, E. Dorigo; produc - emblematic, the beautiful Elvira tion: VideoTeleCarnia; origin: Italy Giallanella for Umanità was able to With a reference in the title to the sec - 1990; format: video, col.; length: 55’. UN TERREMOTO PER TUTTI remember and with a presentiment. ond of shock duration 6 May 1976 DVD (from master video) from produc - (s.m.g.g.) destroyed an artistic and social life of Director: anonymous; production : tion (in Fondo Siro Angeli of Cineteca centuries, this realization is only a first CEDI-Diocesi in Udine; origin : Italy del Friuli). 1977; format: 16mm, b/n; length: 19’. impression (due to a run a little con - AVANZI DI GALERA ventional) too controlled. In fact 16mm from La Cineteca del Friuli. That the only long television interview already the surprising closeness to the Director: Vittorio Cottafavi; story: Giu- with Angeli (but you would want to see event (which unfortunately followed by La Cineteca del Friuli was born in seppe Mangione, Antonio Colasurdo; her much longer) has not been made other shocks) put themselves in contra - response to the 1976 earthquake, he screenplay: Siro Angeli, Riccardo by RAI, where he was radio executive diction with the encyclopedic system to has collected many remarkable event Averini, Gigliola Falluto, G. Mangione; for decades, but only in later years, by poetry and song of villotte Friuli, with materials (only in part already collected cinematography: Arturo Gallea; editing: a small issuer of Treppo Carnico, stunning Miranda Martino as it is the on DVD editions), and others are still Loris Bellero; music: Giovanni Fusco; thanks to one of the greatest scholars of main voice of Friuli and Trieste searching (including a Giuseppe cast: Richard Basehart (voice Giu lio his work, Ermes Dorigo, says the move Antonutti (where the mentioned friend, Taffarel film). There are the works of Panicali), Valentina Cortese, Eddie very bashful way of Angeli, in the Friuli even of our festival, Guido Botteri has Friuli amateur films Lauro Pittini, those Costantine (voice Emilio Cigoli), Flora and Carnia nature and that it was his devoted a monograph, also with the of the Venetian Enrico Mengotti, the Lillo (voice Lydia Simoneschi), Walter own. writer’s contributions, upcoming for precious documentation Giulio Mauri Chiari, Antonella Lualdi (voice Maria In these 55’ every word that comes Comunicarte / Alpe Adria Cinema edi - and Valeria Bombaci, movies on the Pia Di Meo), Arnoldo Foà, A. Gallea; from him is the sign of truth, and we tions). It was expected from the poster reconstruction of regret Trieste-Roman production: Giorgio Venturini for Pro- hear him read some beautiful verses, of «Radiocorriere» the further entry of Gianni Menon and the Venetian Ro- duzione Venturini; origin: Italy, 1954; including one that begin: Posso affer - Friuli Carla Gravina, unfortunately fall - dolfo Bisatti ... Among these films, who format: 35mm, b/n; length: 94’. mare che esisto ... sublime evidence as en for several probable commitments. deserve a comprehensive proposal, we 16mm (from 35mm) from Cineteca Sono nato ma by Ozu or To Be by Leo To us, however, the outcome of this particularly affects the anonymous Bruno Boschetto. McCarey. (s.m.g.g.) transmission seems miraculous in its short film of the Diocese of Udine, with inevitable failure, in its will to react to his spirit stamped by the Church of “The case histories of innocent women the destruction evoking the dead who Paul VI, in which those who were at and innocent women is very wide; the 55” COME SECOLI take in hand trowels to rebuild with the the origin uncertainty, indecision often legend and the story ... want women, Director: Gilberto Visentin; edited by: living ... maybe there appears some - appear lumps of conscious contradic - in most cases, are the cause of all evil. Siro Angeli; texts: by Siro Angeli, Pier thing that metafascista rhetoric that has tion (still pushing the “Roncalli” broken Starting from the Bible ... The writers Paolo Pasolini, Novella Cantarutti. Ca - Angeli crossed and diverted in the in the tradition, so perhaps most excit - and I have formulated a less severe terina Percoto, Ippolito Nievo, David 1930s and 1940s (with others who are ing of today’s “communicative” of Pope judgment against women than it cus -

46 47 tomarily is used to present. Perhaps, in b) Franco Scaldati in Franco Maresco the course of his life. Speaking with his author of F for Fake - is somehow a vic - contrast to a world where the mistakes edited by Fulvio Baglivi usual voice over, Maresco therefore tory, is the value in recognizing its los - and violence reign, it was necessary to speaks of Scaldati career, its importance ing dignity, Cassandra unheeded, but soften the colors with the sweetness GLI UOMINI DI QUESTA CITTÀ IO NON in having brought to light the most whose voice will eventually force to get and femininity. I do not know: but the LI CONOSCO - V ITA E TEATRO DI archaic aspects of Palermo’s language someone.” characters are not always as we want FRANCO SCALDATI and in having given voice to the last, to Alessandro Aniballi, Gli uomini di them; often, as written by Pirandello, submerged. Is gradually to light a par - questa città io non li conosco , Director: Franco Maresco; screenplay: they appear to us as arrogant and allelism that is becoming more evident «Quinlan», December 9, 2015 Franco Maresco, Claudia Uzzo, France - imperious. Perhaps for this reason the in the course of the film, that is to say sco Guttuso; cinematography: Tomma - three women in the film are the crea - how a program like Cinico Tv should so Lusena de Sarmiento; editing: F. tures to which the public will be joined, Scaldati, since those bodies deformed FRANCO SCALDATI , AI CONFINI DEL - Guttuso, Edoardo Morabito; contribu - as has long been fond of the three and grotesque photographed in black LA PIETÀ tions: Franco Scaldati, Roberto Andò, actresses who interpret ... The story of and white are sons of visceral theater of Director and editing: Ciprì and Mare- three couples blends in film history, Emma Dante, Goffredo Fofi, Mario this other great figure of an artist from Martone, Giuseppe Tornatore, Roberta sco; cinematography: Daniele Ciprì; articulated through life a police com - Palermo. [...] Maresco perhaps as never production: Cinico Cinema/La7; origin: missioner (Luigi Tosi) computer into Torre, Enzo Vetrano, Umberto Cantone, before, we speak of Palermo, Palermo Emiliano Morreale, Gabriele Scaldati, Italy, 2007; format: video, b/n; length: which the six characters, from which of that dirty and vital blood who did 25’. branch off with various resolutions, to Giuseppe Scaldati; production: Rean not know yet neither Berlusconi nor which they return at the most impor - Mazzone and Anna Vinci for Ila the building speculators, talks about Palma/Dream Film/RAI Cinema; for - [UNPUBLISHED MATERIALS ] GLI UOMINI tant moments in the film. We are there - the puppet theater, the roots of a cul - DI QUESTA CITTÀ IO NON LI CONO - fore in front of a story that, like a river, mat: video, col. and b/n; origin: Italy, ture and a 'popular art, whose seething, 2015; length: 86’. SCO - V ITA E TEATRO DI FRANCO has the tributaries that branch off or whose suffering has taken shape over SCALDATI converge toward the central trunk.” DCP da produzione. the centuries until you come to be Cottafavi in L.M., La storia di tre expressed, in its last layers, first in Director: Franco Maresco; cinematog - avanzi di galera , «Film d’Oggi», “It followed the structure is very similar Scaldati, then in Ciprì-Maresco of raphy: Tommaso Lusena De Sarmiento; July 8-15, 1954 to that of Io sono Tony Scott : a histori - Cinico Tv. Then the black pessimism of editing: Francesco Guttuso; origin: cal reconstruction that passes through which is littered with the film - it still Italy, 2016; format: video, col.; length: different phases - including the ascent - speaks of a man who was completely 25’. and up to a present of desolation and forgotten by the institutions, as we are defeat, of disappearance and disinte - shown in the final - is colored by other “The relationship with Franco was born gration, loss of social and collective references than in the past. The epic shortly before I met Ciprì, was the mid- memory. Even Scaldati as Tony Scott, is story of the losers do here, in fact even 1980s, I believe we showed Um berto a forgotten, a repressed, which has more conscious and it is no coinci - Cantone who was already an actor of enjoyed only partial recognition, partic - dence that, just at the end of the film, Biondo. Among us there was immedi - ularly in the eighties, but instead of the there is a quotation from a poem by ately empathy because despite the age American clarinetist has not closed in Scaldati dedicated to the defeat, difference we had many things in com - on itself and, rather, has continued to because the loser is somewhat more mon and also many similarities. First promote theater culture in Palermo, brave, more worthy of respect. And the we watched both with the same sensi - arriving to hold workshops in neigh - exaltation of defeat - in addition to tivity to the humanity that was disap - borhoods and to experience first the being a typically Orson Welles mecha - pearing, to the districts that had been underclass lives and recognize them - nism, which makes us recognize anoth - emptied ... I were fascinated by a lot of selves in it, as he had always done in er parallel between Maresco and the his humor, even in his theater never

48 49 Self-Portraits in the Mirror: failed comedy, a genre he loved very much and from which he took the sense of the ‘rhythm’; I always said that Jonas Mekas Franco was also a comedian. Another fundamental aspect is that Scaldati was self-taught, the books he read them and Jackie Raynal doing the tailor, if they had gone to seek alone; was one who read every - thing, was omnivorous. For me it was important to meet a man who is novel approaches to literature, film, art, in the same spirit hungry, chaotic and anar - chic, I had too. We discovered that we attended the same local cinema: Dante, Italia, Eden, Noce; we had the same passion for some popular music ... lit - erally had a common background, that I had already found in his theater. [...] When Cinico TV explodes, Franco was one of the few to understand what it actually confirming its sensitivity and attention, and that his younger friend, I, I brought forward my way his poetry , his vision. He also understood that we could have been fellow travelers and not only ‘heirs’ as we called it years later. [...] Certainly Scaldati was ignored by the cinema and the cultural appara - tuses because he was good, but not to move in the ‘right circles’, did not fre - quent the salons, was a man introvert - ed and shy that he did not and could not sell. As I wrote at the time of death he was an old man, in the sense that it came from a world with other values and has begun to take its first steps as an author in a unique time for Palermo.” Naked, Viaggio in Italia 1 - Conversazione con Franco Maresco , «Film Parlato», October 26, 2015

50 51 Everything will disappear. JACKIE RAYNAL films ranging powder. But at the same Born in Poilhes in 1940, Jacqueline time, always while you are talking, Raynal was as an actress, and especial - somewhere someone makes a movie, Everything will be reborn. ly film editor, a presence that unites or a video, in short, someone creates some of the most intense figures of the images. Someone new, very young, the Nouvelle Vague: Jean-Daniel Pollet, we do not know. Here, and in Africa, or Tribute to Marina Pierro Eric Rohmer, Philippe Garrel, but also Asia, in South America, Alaska, every - the heretic José Bénazéraf. He has cre - where in the world. It is still amazing, ated and starred in several films, such millions of video cameras! And so these and Walerian Borowczyk as those still under construction, are images are produced, they are realized. works in progress deferred. Some are of the factory image, routine Among others he collaborated to edit - images. But there are people who make ing and directing: Merce Cunningham them as they would poems. really they by Etienne Becker, Jackie Raynal, do what they want with the images, and Patrice Wyers (1963), Cover Girls by enjoy! In general, people take them - José Bénazéraf (1963), La Carrière de selves too seriously. That’s the problem Suzanne by Eric Rohmer (1963), La today. Too serious ... think too much. Boulagère de Monceau by Eric Rohmer Plan. But it is better not to plan ... When (1963), Héraclite l’obscur by Patrick you plan, you would like your plan suc - Deval (1967), La Concentration by ceeds. And you have the tanks behind Philippe Garrel (1968), Détruisez-vous: him, and you have the guns to imple - le fusil silencieux by Serge Bard (1969), ment your plan. No good, these are the La Maman et la putain by Jean people who think.” Eustache (1973). Among the films she made: Deux fois (1968), New York Story (1984), Hôtel New York (1984), Notes on REMINISCENCES OF JONAS MEKAS Jonas Mekas (2000), Bandes à part Director : Jackie Raynal; story: André S. (2001), Around Jacques Baratier (2002), Labarthe and Janine Bazin for series Portrait of Simon Lazard (2003), La Cinéastes de notre temps ; production: Nuit de l’ours (2005), Gougnette (2009), KIDAM; origin: France, 2015; format: Elliott et Bulle (2013). video, col.; length: 52’. Blu-ray ( from master video) by produc - tion. NOTES SUR JONAS MEKAS Director and editing : Jackie Raynal; André S. Labarthe entrusts a mission cinematography: Adam Kahan; origin: impossible to Jackie Raynal: create a France, 2000; format: video, col.; portrait of a filmmaker who has never length: 26’. stopped making portraits. What can MP4 ( from master video) by author. never Jonas Mekas film that has not already been impressed on film? Jackie Jonas Mekas, from the movie: “Every Raynal provides a prodigious effort. second, while you are talking, there are

52 53 Nobody’s Children FLOATERS universe, the poetry of Rimbaud and Breton, the Buñuel film, photography Director, screenplay: Marina Pierro; cine - of Man Ray. There also in common a Italian films collected matography , editing: Alessio Pierro; great interest in Freud and psycho - music: Johann Sebastian Bach, Mauro analysis, astrology and the esoteric Giu liani; production: M. Pierro for world and mystery of Gurdjieff and by Simone Starace, II Cupressus Film; origin: Italy, 2006[- Helena Blavatsky. But mostly we unit - 2016]; format: Digital, b/n and col.; ed us - we found out by working length: 9’. together - the same visual conception of the film, in which live the fantastic IN VERSI and the poetic, the divine and the dia - bolical, and “the étrange fascination.” Director, screenplay: Marina Pierro; cin - [...] His short film as a director, ematography, editing: Alessio Pierro; C.E. Himorogi , pays homage to the film music: Johann Sebastian Bach, W.A. Borowczyk with the return of objects- Mozart; cast: M. Pierro, Gianluigi Zelli; fetishes of his films, stripped of any production: M. Pierro for Cup ressus kind of classical narrative. Film; origin: Italy, 2008[-2016]; format: Himorogi born as a composition of Digital, col.; length: 24’. M.P. haiku, a form of Japanese verse of the poem of seventeen syllables. With the HIMOROGI fundamental collaboration director of Director: Marina Pierro, Alessio Pierro; the painter Alessio Pierro, who also screenplay : M. Pierro; cinematography, worked on the set design and photog - editing: Alessio Pierro; music: Bernard raphy in the film, we wanted to pay Parmegiani; production: M. Pierro; ori - tribute to the artist who has created a gin: Italy, 2012; format: Digital, b/n and dreamlike visionary-only world, bring - col.; length: 17’. ing back a vision of the genesis of his DCP from the authors. works, together the close link with the objects for him animated like an actor. Give movement to a figure drawn in sequence, to move the object using the MARINA PIERRO , THE STRANGE FASCINATION technique of stop motion or directing OF A QUEEN OF THE NIGHT the actor were the same thing. Added Cecila Ermini. Before knowing Boro his to this is the significant musical contri - art studies ranged from esotericism to bution of the great French composer painting, a kind of preparatory ground Bernard Parmegiani, chanting evoca - fertile. As it did in your artistic partner - tive and fantastic images that become ship this common matrix? the real core of the narrative action in Marina Pierro. Our meeting was predes - an imaginary time. tined: Walerian loved the Italian cul - Cecilia Ermini, «il manifesto», ture, architecture, literature, music. I May 4, 2014 had an absolute passion for surrealist

54 55 TEHERAN is a topical films, whose subject had Montuori; music: Giuseppe Becce; cast: script: Il corriere del re , from Stendhal’s Basil Mason, William Freshman and Rossa no Brazzi, Irasema Dilian, Il rosso e il nero . Righelli received us at Director: William Freshman [and Akos Tolnay, was derived in part from Valentina Cortese, Carlo Ninchi, Aldo his home, in via Flaminia towards Giacomo Gentilomo]; story: Dorothy documents provided by the British Silvani, Laura Carli, Massimo Serato, Ponte Milvio; He ushered into the din - Hope; screenplay: Oreste Biancoli, intelligence. Some years ago, at the Camillo Pilotto; production: ing room where there was a long table, Basil Mason, A.R. Rawlinson, Alberto time of the Tehran conference notes, Fincine/Domus; origin: Italy, 1947; for - and he was at one end of the table. He Vecchietti, Giovanni Del Lungo, Akos the British police learned of an attack mat: 35mm, b/n; length: 92’. told us: ‘I want to make a movie from Tolnay, W. Freshman; cinematography: that was preparing against President 16mm (from 35mm) from Penny Video. Il rosso e il nero by Stendhal; but I have Ubal do Arata; editing: Renzo Lucidi; Roosevelt in the basement of the already done, has been one of my music: Enzo Masetti; cast: Derek Farr, American legation. The authors of the Preventive film review (August 14, greatest achievements in the silent era, Martha Labarr, Manning Whiley, John document - miraculously foiled - were 1947): “The story exposed in the pres - it was called Il corriere del re [Der Slater, John Warwick, Enrico Glori, some individuals of dubious nationality ent script is a clear reduction of the geheime Kurier , 1928] and was played Enzo Fiermonte (voice Alberto Sordi), who were all brought to justice and writer Stendhal’s novel of the same by Ivan Mosjoukine’. Then everything Vera Bergman; production: John that certainly were acting on behalf of name. In this exhibition many narrative went well: he began to write on his Stafford and A. Tolnay for ICAI/ an enemy power. It seems that to dis - elements of the original work have own, ‘the first scene’, and so on Stafford-Pendennis; origin: Italy/UK, cover the plans of the bombers was a been transformed and others silenced; throughout the rest of the film; every 1946; format: 35mm, b/n; length: 89’. British journalist, whose figure is pre - avoided altogether was then the part time I had written something to reread 16mm (from 35mm) from Penny Video. cisely evoked in films by Derek Farr. about the ecclesiastical career of the it aloud, he turned to me and asked, ‘Is During our recent visit to the Scalera in protagonist. So far no objection “We speak English, english spoken , in it okay? we agree?’; I did so; then asked the theater n. 6 turned a bustling scene because, you know well, how much the film studios of the Circonvallazione Steno, who was so, and went on, like a of the Bazaar of Tehran, which was freedom habitually uses in the film Appia, best known as the laying of tank! Since we were no longer in the attended by numerous extras in multi - adaptation of literary works. But the Scalera theaters. [...] They all look mute, the characters had to tell jokes: colored clothes. The scene had been authors also wanted, with some inap - British in there, the production manag - the scenes, the environments, the arc of set up with a taste particularly veristic propriate jokes of dialogue, giving an er Valentino Brosio, the Count de the story was the same, made of whole by Veniero Colasanti and it was very arbitrary meaning to the title of that Carpegna manufacturer: all nice and cloth by his silent film, only that we picturesque. Among many Levantine work, by explaining to a character in ready to give detailed information on applied the jokes, the most obvious. In and Arab from the dark face, there was the story that the two names of colors the production. The director William eleven days we wrote the whole only one natural color, and seemed to ‘red and black’ would mean the reac - Freshman, finally, is an angel: he never script!” be very sad in the midst of so many of tionary party and the conservative, raises his voice, speaks cordially with referring, it means well, at the time Mario Monicelli, L’arte della commedia , everyone and even if someone has to his countrymen who spoke with a edited by Lorenzo Codelli, strong accent of Trasteve. when the action takes place, while the Dedalo, Bari, 1986 go to hell, he does it with much grace same Stendhal says that to Rouge et (but so far did not send anyone to Italo Dragosei, Alla Scalera si parla inglese , «Star», March 2, 1946 noir he means his military career and hell). The film that turns the currently his ecclesiastical career of Julian Sorel. PIUME AL VENTO Scalera, produced by John Stafford and It therefore seems appropriate that Akos Tolnay to the ICAI, entitled such jokes (screenplay pp. 9 and 10) Director: Ugo Amadoro; supervision: IL CORRIERE DEL RE Teheran and is played by two young should be deleted to avoid little flatter - Goffredo Alessandrini; screenplay: U. highly popular British actors, Derek Director: Gennaro Righelli; story: from ing on Italian culture.” Amadoro, Stefano Canzio, Fabrizio Farr and Martha Labarr, together with the novel Le Rouge et le Noir by Taglioni, Gabelli, Domenico Paolella, our Rossano Brazzi, Vera Bergman, Stendhal; screenplay: G. Righelli, Mario “Immediately after the war I met G. Alessandrini; cinematography: Sergio Enrico Glori, Enzo Fiermonte, Luigi Moni celli, Steno, Ignazio L. Nicolai, Genna ro Righelli; Steno and I were Pe sce; editing: Giuseppe Vari; music: Pavese and Valentino Bruchi. Teheran Ernesto Guida; cinematography: Carlo called suddenly from Righelli to make a Alberto De Castello; cast: Leo nardo

56 57 Cortese, Olga Gorgoni, Cristina Velvet, emblems of the Empire Austro- the center of a major atout : he small that moved him to make this his new Mario Ferrari, Peter Trent, Dante Mag- Hungarian Empire (double eagle); and Augusto, a child of less than two years, film - the most dear to her heart - the gio, Enzo Cerusico; production: Bucci the beat of Mark is removed: ‘They are with great communication. Around the most important for assumed moral, the Film; origin: Italy, 1950; format: 35mm, the masters and we must treat them small move William Tubbs (the profes - most challenging and the most satisfy - b/n; length: 82’. with respect’ (p. 18).” sor), Lia Amanda (a new discovery of ing for its prestige as an artist and film - 16mm (from 35mm) from Penny Video. Moguy, in the role of mommy derelict), maker. And he never spoke of his work Nino Milano, and other more or less - all of which is and remains a master - Preventive film review (July 22, 1950): CENTO PICCOLE MAMME known actors.” piece - so enthusiastically and with “The story is set in a village of the Gaetano Carancini, «La Voce more secure certainty of having accom - Basso Piave, occupied by the Austrians Director: Giulio Morelli, Léonide Repubblicana», March 11, 1952 Moguy; story: Jean Guitton; screenplay: plished artistically worthy work and during the invasion of 1917. In the spectacularly efficient.” father's house, Anna is consumed while L. Moguy; cinematography: Giorgio “The war, this unconscious unleashing Orsini; editing: Dolores Tamburini; Leonida Moguy parla di Cento piccole waiting for Stefano, an officer of the of all the forces destroying, has - as mamme , «Il Messaggero», March 5, 1952 Bersaglieri, with which you were music: Carlo Innocenzi; cast: William comets - a long and gloomy ruins of engaged in the previous year. The air Tubbs, Lia Amanda, Clelia Matania, Au - moral, civil decay wake of infighting, in gusto Pennella, Checco Durante, Juan bears the weight of oppression, accen - which regurgitates all the evil of the I CALUNNIATORI tuated by the arrival of eight Austrian De Landa, Beatrice Mancini; produc - men and things and in which it takes its officers, who take residence in the tion: L. Moguy for Italian International lurks over the worst instincts, no longer Director: Franco Cirino, Mario Volpe; same house. Among these emerges the Film; origin: Italy, 1952; format: 35mm, held back, passion, no longer con - story: Enrica Bacci; screenplay: E. Bacci, handsome Captain von Toepliz, sur - b/n; length: 105’. trolled, in greed, not lesser, in the long - A. Bisognino, F. Cirino, Mangani; cine - rounding Anna of assiduous court. But 16mm (from 35mm) from Penny Video. ings, no longer limited. The film, which matography: Mauro Chiodini, Oberdan the privacy mistress irritates von is often photographic chronicle of the Troiani; editing: Jenner Menghi; music: Toepliz that, to make up for the humil - “Leonide Moguy filmed in 1936, Le life, perhaps too stressed to play coolly Antonio Capodanno; cast: Achille iation suffered, does place under one mioche : a candid tale in which were and sometimes complacently the worst Togliani, Laura Nucci, Turi Pandolfini, roof the maid Marta Florens, rookie for narrated the adventures of a good pro - aspects and most striking of an Evar Maran, Carmen Brandi, Cesare the Austrian armed forces in the village fessor, showy raining at home an illegit - inevitable phenomenon although hor - Fantoni, Renato Malavasi; production: theater. Anna, who is forced to give her imate child, takes him in a girls’ board - rendous. [...] Well, this Leonida Moguy Alcyone Film; origin: Italy, 1956; for - room, looking with contempt this inter - ing school. Now Moguy, redeemed the film, Cento piccole mamme , want to be mat: 35mm, b/n; length: 89’. national star, which it considers the history of that time producer, wanted and it’s like a ray of sunshine that 16mm (from 35mm) from Penny Video. enemy spy, while in reality Marta is to replicate for the public to the rosy brings humanity shocked and disheart - conquered by dignity, pride and the intrigue today, entrusting directed to ened by the announcement of the Plot from preventive film review (July patriotic spirit of the family, of which Giulio Morelli. The subject, now set in storm returned serene, the light of a 17, 1956): “The fifty year old Giacomo he is host. [...] This is a pretty basic Italy, appears terribly aged, especially new hope, the warmth of a revived Dani returns to his country after many affair, which aims to make lever on designed to be a celebration of absolute goodness, for which the heart, the years of absence and finds his cousins, attachment of the Italian public for the goodness, that is spreading from the heart of all, can once again beat, host - Carlo and Elvira, who live in an old body of Bersaglieri and certain patriot - first to the last episode, which affects ing noble and eternal feelings. [...] And house owned by the same Giacomo. ic reasons linked to the memory of the all the characters [...]. Giulio Morelli as was once the white dove to Noah to He was in his youth a disappointment other war”. told all adapting to the tone of the text bring the first announcement of the in love and is still a bachelor. Giacomo A second review, to now over films and engaging enough to come happily flood ceased, today the innocence of a knows Dorina, a sixteen year old girl, (November 29, 1950), claims that “are to the last shot. And the little film flows child, bright and pure, is entrusted with granddaughter of an old fisherman of deleted scenes where you see some on nicely to the public by the kind and the task of giving men this new tidings. the place. Gia como is interested in the dancers who wear cloaks with easy heart to the emotion, because it is So Leonida Moguy explains why ideal girl, who has a beautiful voice, and is

58 59 Small World, Big Shadow able to convince the old grandfather to Lady Manenti was Godmother to the close, at his expense, Dorina in a edu - first turn of the handle had been estab - cantato in Rome. [...] Some time passes lished), in which it was recognized and (The Venetians are crazy, I) and Giacomo revises Dorina, who mentioned only name Cirino as a direc - became a woman now. The girl falls in tor.” love with her benefactor and the two end up getting married, despite the considerable age difference. When Car - lo and Elvira learn the news of the rich cousin’s wedding go on a rampage, especially Elvira that in his heart he had always cherished the dream of marry - ing Giacomo. They think of revenge and practice a diabolical plan. Invite Dorina in the country and Carlo will seduce her to make her look guilty in the eyes of her husband.”

The film, made on a budget of only 36 million, is produced with the participa - tion of the authors in the profits, but the proceeds will be affected by a regional distribution limited to a few areas (Sicily, Emilia, Puglia, Campania). The grievances of the two directors, will answer a letter from Alcyone Film dated February 28, 1957: “Mr Mario Volpe [...] must solely and exclusively to the good heart of Miss Bacci - forget about a bad incoming action by Volpe years ago when he was director of the film Le due sorelle produced by Venere Film of which was then the ' adminis - tering the same Bacci - the directing together with Mr Franco Cirino the film I calunniatori produced by Alcyone Film because it had to be film director Franco Cirino only, and what does faith in our possession of the letter of Manenti Film on March 12, 1956 (in which the rental and for sheer wicked - ness of third fell through after the same

60 61 MOBBY JACKSON the captain - ‘round the world.’ [...] The friends and fellow communists cine- SCANO BOA deliberate emphasis in the story of the philes of Pula, realizes by himself and Director, story: Renato Dall’Ara; screen - fairy tale tone, the introduction of some just for fun his first short film, inspired Director: Renato Dall’Ara; story: R. Dal - play: Giorgio Arlorio, R. Dall’A ra; cine - lively and colorful sequences, such as by a true story happened a few weeks l’Ara, Lucia Avanzi from the novel by matography: Carlo Bellero; editing : the ‘novillada’ (free corrida of young before in Scano Boa, last strip of sand Gian Antonio Cibotto; screenplay: Zimmerwald [Edmondo Lozzi]; musica: bulls through the streets of a city) also and Mediterranean territory in the form Tullio Pinelli, Ugo Moretti, Benedetto Roman Vlad; cast: Lawrence contribute to raising the level of the of long island about five kilometers Benedetti, Rodolfo Sonego, Giorgio Montaigne, Lissia Kalenda, José Jaspe, script. [...] separate the delta of the Po from the Cavedon; cinematography: Antonio Mario Perrone, Franco Cobianchi, The figure of the protagonist instead Adriatic. Sixty years later, Lamberto Macasoli; editing: Armando Nalbone; Isarco Ravaioli, Walter Santesso, Archie preserves the heterogeneity characteris - Morelli is the only survivor of the crew. cast : Carla Gravina, José Suarez, Alain Savage, Vittoria Prada; production: tics already detected at first reading; Cuny, Emma Penella, Walter Santesso, Mario Colambassi for Ara Cinematogra- nor could it be otherwise because, “Chairman of Cinecircolo Adria, was José Jaspe, Olga Solbelli, Giulio Calì, fica; origin: Italy, 1960; format: 35mm, Polidor, Marisa Solinas, Gianfranco obviously, a multipurpose inspiration Vittorio Sega remember impending b/n; length: 79’. Penzo; production: Francesco Corti for presided over the birth of the character. 60th anniversary of Scano Boa, first 35mm from CSC-Cineteca Nazionale . Cinematografica Lombarda / Ara Cine- Maintained in mid air between reality attempt to Renato Dall’Ara behind the matografica / Luvi Cinematografica; ori - and fable, written with obvious effort camera. In April 2013 Rovigo breathed Storyline and judging by the review pre - gin: Italy/ Spagna, 1961; format: 35mm, and attention to detail, the script seems the atmosphere of the 91 years old ventive film (May 6, 1959): “Elementary b/n; length: 88’. to be inspired to very ambitious inten - Giancarlo Morelli loss, parliamentary and generous, the sailor Mobby Jackson 35mm from Lab80. tions. [...] and communist mayor during the flood is a dreamy globetrotter passing from The film’s director Renato Dall’Ara (the of the Po in 1951. The funeral proved one port to another, from one “Scano Boa is the name of a fishing vil - author of the story and co-author of the unable to report in Rovigo his brother embarkation and from one adventure lage into Pila di Porto Tolle, to the screenplay) is the author of the short Lamberto, rose from Rome where he to another with the ease of an acrobat extreme of the Po delta, in the province film ‘a subject’ Scano-Boa, winner of lived for more than 40 years. Lamberto whimsical, well-liked by peers and of Rovigo. [...] Of this desolate stretch the first prize in the competition FEDIC Morelli is the only survivor of the group beloved by women for its essential of sand fell in love a novelist painter 1957 and praised as a revelation by the of friends and comrades who in 1954, innocence and spontaneous generosity. and photographer of Rovigo, Gian press (including an article by Alessan - on the heels of the enthusiasm of But one day in a remote street, Mobby Antonio Cibotto, born in 1925, son of dro Blasetti).” Renato Dall’Ara, realized what is meets a half-savage girl, Esmeralda, believed to be La Sortie de l’usine anti-fascist anti-fascists, wild wanderer. who lives with an old uncle set in the Lumière of Polesine. The shot of 1954 [...] Scano Boa was a strong film, from search for a hypothetical undersea unique genesis: a double debut. It was L’ ISOLA CHE C’ERA and today’s reflections Lamberto treasure, made the subject of court of Morelli on the historical sediment of filmed in 1954 a first version in 16 mm an unpleasant and arrogant admirer. To Director, cinematography, editing, pro - the last sixty years found a space for which had depopulated the festival of subtract her to his environment, Mobby duction: Alberto Gambato; story: A. discussion in the current images of amateur filmmakers, in Rapallo and in takes the girl with him in the city and, Gambato, Vittorio Sega; contributions: Scano Boa, uninhabited island at the Montecatini. So successful that go later, falls in love and plan to marry. Lamberto Morelli (voice) and scenes mercy of storms, the earth also timing around the world: Cannes, Berlin, Perdutosi behind Esmeralda, though from the short film Scano Boa (1954) margins, where everything seems Madrid. [...] Mobby is for the first time without by Renato Dall’Ara; format: HD, col. already happened and still possible at Remake the film at large, with the real boarding and even without money; and b/n; origin: Italy, 2014; length: 10’. the same time.” (Alberto Gam bato) film and real actors, of course, had must therefore accept the offer of MP4 (from master video) from author. become the obsession of its director, Captain Flores - which is something of Renato Dall'Ara, thirty-six, architect of a local Camorra boss - and embark on In 1954 the director of Rhodes Renato Rovigo, owner of a shoe factory, joined one of its ships to fulfill - according to Dall'Ara, with the help of a group of the PCI. Seven years later, supported by

62 63 the Milanese Francesco Corti owner of “It is useless to look on the map the between those who feel hard life of the music: Francesco De Masi; production: ICET, Dall'Ara was able to turn the doc - locations named in this book (or countryside and dreams of escape and Mario Colambassi and José P. umentary into a feature film. [...] The groped free character identifications). who is attached to that life as your Villanueva for Dacofilm/Lenzonifilm/ shooting had their share of misfortune: The geographical accuracy is not a blood. The Polesine is about landscape Argos Producciones; origin: Italy/Spain, a couple of floods did evacuate twice delusion. The Delta Padano, for exam - and psychologically functional environ - 1966; format: 35mm, b/n; length: 92’. thirty people in the film. There were ple, does not exist. The same applies, a ment.” 35mm from Cineteca di Bologna. more people in the crew who in Scano. fortiori, for Scano Boa. I know, we Piero Zanotto, Veneto in film - According to the most favorable have experienced.” Il censimento del cinema ambientato nel “Misadventures chain of a pure heart - reviewers in its best moments the film Gian Antonio Cibotto, Scano Boa , territorio (1895-2002), Marsilio/Regione Bueno para nada is the Spanish title - approaches the height of certain Vallecchi, Florence, 1958 del Veneto, Venice, 2002 hat does not lose his optimism. sequences of L’uomo di Aran by Designed, written (in the company), Flaherty, or makes you think of La terra directed and starred by the Paduan trema by Visconti. Seen today, even if QUANDO LA PELLE BRUCIA [P ROVINO DI WALTER SANTESSO PER Santesso, actor since 1951, which had a FEDERICO FELLINI ] deprived of the dream book character Director: Renato Dall’Ara; screenplay: moment of popularity when Fellini Cibotto, reminiscent of certain islands Benedetto Benedetti, R. Dall’Ara; cine - Director: Federico Fellini; cast: Walter gave him the part of Paparazzo in La and some films from arthouse festival, matography: [Emilio Varriano]; editing: Santesso, Ingrid Bergman [off], Leopol- dolce vita . Set in a rural Spain outside Japanese ghost. [...] Luciano Cavalieri, [Edmondo Lozzi]; do Trieste [off]; origin: Italy s.d.; for - history if not the weather, it is faint If we want to keep Italian cinema, we music: Oscar Pacelli, Bruno Chiavega - mat: 35mm, b/n; length: 2’. un'operina of grace, full of echoes felli - can put together Scano Boa and to; cast : Lissia Kalenda, Bruno Cattaneo, DVD (from 35mm) from Cineteca di neschi: angelism, picarismo, poeticism, L’antimiracolo by Elio Piccon (1965), Olga Solbelli, Manfred Freyberger, Bologna. loneliness, the circus, the street. Its lim - last censored films of Lux Cristaldi, Antonio Bullo, Spartaco Rumor, Rossel - its are sentimentality and self-pity.” another goddamn work on Italy impos - la D’Aquino; production: Mario Colam- - What interpreter of La dolce vita would Il Morandini 2015. Dizionario sible. [...] bassi for Daco Film; origin: Italy, 1966; you trust the lead role in an upcoming dei film e delle serie televisive, Zanichelli, Bologna, 2015 Despite a projection in Locarno, Scano format: 35mm, b/n; length: 83’. film? Boa went wrong and as needed while 35mm from CSC-Cineteca Nazionale . - A Walter Santesso, because it repre - picking on someone, if they took first sents a ‘type’ with his personal charac - L’ IMPORTANZA DI AVERE UN CAVALLO with bad weather, then with the black “In a small town of Polesine, Wandina teristics defined. and white was setting, and finally, as if has been targeted by malicious gossip Federico Fellini, from medium-length Director: Walter Santesso; story: from we were on the island, with the of the people for his conduct too free. film Walter Santesso, una vita per the novel by Guido Rocca; screenplay: women.” A day disappears. It is thought to have il cinema , Province of Padua, 2009 W. Santesso, Ibello Borsetto; co-direc - Tatti Sanguineti, Il cervello di Alberto drowned, others believe has fled. So tor: Maria Cecconello; cinematography: Sordi. Rodolfo Sonego e il suo cinema , even Antonio, her husband, partly to Silvano Savio; music: Francesco De Adelphi, Milan, 2015 EROE VAGABONDO find her. He stops in Loreo where he Masi (the De Mutis-De Masi’s song Un meets a girl, Nevi, who reminds him of Director, story: Walter Santesso; screen - cavallo bianco is sung by Sandro his wife and who falls in love. Nevi and play: W. Santesso, Lucia Avanzi, Ibello Alessandroni Jr.); cast: Luciano Rigoni, [I NTERVISTA A GIAN ANTONIO CI- mother wish to leave the country and Borsetto, Antonio Lenzoni; cinematog - Cristiano Benetti, Mario Stefani, Guido BOTTO ] would like Antonio the learning from raphy: Manuel Rojas, Aldo de Robertis; Bernar, Roberto Benetti, Pietro Grandis; Shooting: Giancarlo Marinelli; contribu - those inhibit the girl’s father, attached editing: Alberto Gallitti; cast: Walter production: Lumicon Film; origin: Italy, tions: Gian Antonio Cibotto; origin: to his land. [...] Santesso, Nuria Torray, Antonio Prieto, 1969; format: 16mm, b/n; length: 42’. Italy, 2004; length: 5’. Uneven film, which has branches in Olga Solbelli, Giulio Calì, Tota Alba, 16mm from Cineteca del Friuli (Fondo DVD from production. various strands, including the contrast Albino Principe, Renato Terra Caizi Regione Veneto).

64 65 First Italian film premiered at the film The setting is Villa Previdi in Madonna “Santesso has composed a very funny ments different tone, was to be the festival for children in Mar de La Plata, di Erbé, in the province of Verona.” film, polite and smiling, which made story of emotion for which he had essentially self-produced by Santesso Piero Zanotto, Veneto in film - amends willingly some ingenuity, some come into his life, a confession and his wife Maria Cecconello. Despite Il censimento del cinema ambientato nel defect of the structure, for the sake of addressed to the viewer directly, with - the international success in Italy he had territorio (1895-2002) , Marsilio/Regione simplicity, fresh and candid directness out going through the interviewer's a very limited circulation and was del Veneto, Venice, 2002 with which tells the kind, and even field.” broadcast on TV once, March 3, 1972. uplifting tale ... ” Anna Zanoli in Stefano Francia Dario Zanelli, di Celle, enrico ghezzi (edited by), LA CARICA DELLE PATATE «Il Resto Del Carlino», 1979 Mister(o) Emmer: l’attenta IL VOLO DI TEO Director: Walter Santesso; story: Flavia distrazione , Museo Nazionale del Cinema, Turin, 2004 Director: Walter Santesso; story: Maria Paulon; screenplay: W. Santesso, Ibello Borsetto, Adriano Cavallo, Elia Guiotto; [I OE...] G UIDO PIOVENE E... IL Cecconello; screenplay: W. Santes so, “Most interesting movies of the trans - cinematography: Marcello Gatti, Fede - ‘B ATTESIMO DI CRISTO ’ DI BELLINI Ibello Borsetto, Daniele Stroppa; co- mission RAI Io e... , 1972, curated by rico Zanni; editing: Alberto Moriani; director: Maria Cecco nello; cinematog - Director: Luciano Emmer; concept: Anna Zanoli, where important cultural music: Francesco De Masi (the song La raphy: Angelo Lannutti; editing: Franco Anna Zanoli; contributions: Guido figures are compared with your favorite guerra delle patate by G. Guardabassi Letti; music: Gianni Ferrio; cast: Giulio Piovene; production: RAI; origin: Italy work (art work or otherwise - is the and F. De Masi is sung by the Coro di Pampiglione, Maria Fiore, Philippe 1972; format : 16mm, col.; length: 15’. case of the EUR by Fellini - with some - Voci Bianche of Paolo Lucci); circus Leroy, Allan Hayes, Maria Teresa Ruta, DVD (from master video from 16mm) thing to which the character feels par - counseling: Ashrafi Mahabadi Biyan; Anamaria Ghiuseleva, Michel Rocher, from Fuori orario. ticularly drawn). In most cases, these cast: Tommy Polgar, Walter Margara, Daniele Stroppa; production: Remo are paintings, confirming the fact that Luigi D’Ecclesia and the children of Angioli for Real Film, with the partici - Emmer continues to carry around in its Chioggia; production: Sergio Borelli for pation of Ada Saruis Bandiera; origin: [I OE...] G OFFREDO PARISE E... most varied forms (carousels included) Juventute/Lumicon; origin: Italy, 1979; Italy, 1992; format: 35mm, col.; length: PIAZZA SAN MARCO his reputation as a sensitive director to format: 35mm, col.; length: 93’. 98’. 35mm from Cineteca di Bologna. Director: Luciano Emmer; concept: the audiovisual narrative of paintings 35mm from CSC-Cineteca Nazionale . Anna Zanoli; contributions: Goffredo and painters. [...] “A gang of kids is committed to defend Parise; production: RAI; origin: Italy Completely open, however, turned the “The story about the eleven years old the lives of some cats and in particular 1972; format : 16mm, col.; length: 15’. episode with Parise, curiously launched Leo, son of divorced parents, grew up save one, stolen by the owner of a cir - DVD (from master video from 16mm) by irreverent vision of a souvenir like in the countryside with her grandmoth - cus in a child. Man, in fact, convinced from Fuori orario. ‘San Marco in the Snow’, which intro - er at a pace dictated by nature and of being able to make walking on duces the description of a beauty felt always valid between old values, in water creatures, he is responsible for “Io e... was born from the desire of the like all linked daily existence: ‘Not you confidence with the barnyard animals, ‘mischief’. He will be driven by a director Fabiani, who wanted to pro - can think of a Piazza San Marco who has taken to heart a bunny. One ‘charged’ with the launch of potatoes ... pose to the viewer of the TV attractive - abstract, museificata, we must think of day his mother makes him change his Award winner for Best Film at the ness of a meeting with non-school visu - it as a work of living art.’ The images, life by transferring it to the city. New Festival of Giffoni Valle Piana. Exterior al arts. It had to be the opposite of the meanwhile, tell the dawn of the habits, the companions selfish and the in Venice and Chioggia.” much vaunted conversations Kenneth Venetian heart while slowly awakens, news that the country house was sold with the arrival of garbage collectors Roberto Poppi, Mario Pecorari Clark for the BBC. The British series in addition to the killing of her bunny, (edited by), Dizionario del cinema was saved only the starting point of the and municipal interventions who feed throw it into turmoil leading him to flee italiano: dal 1970 al 1979 , one to one relationship: a famous per - the pigeons, then the opening of the as a gesture of rebellion and rejection. Gremese, Rome, 1996 son in front of a masterpiece he chose. bar, the beginning of many activities [...] But the work of art had to have com - and the most varied works. Until every -

66 67 thing comes to life, and comes the In the mid-50s, he start his work as PARALLEL CONVERGENCES bianca (1941), the contiguity Rossellini uncontrollable crowds of tourists.” director of photography (sign, among film marks De Robertis.” Guglielmo Moneti, Luciano Emmer , others, Comizi d’amore and Uccellacci Sergio Grmek Germani, I registi Editrice Il Castoro, Milan, 1992 e uccellini by Pasolini). Thanks to his LA VITA SEMPLICE professionalmente affermati , in exceptional skills, Bernardo will partic - Storia del cinema italiano 1945/1949 , Director, story and editing: [Francesco] ipate in the construction of about 400 Marsilio/Bianco e nero, de Robertis; screenplay: [F. De Ro bertis, Venice/Rome, 2003 CONTARE SULLE PROPRIE FORZE films, including as director, editor and Giovanni Passante Spaccapietra]; cine - producer. Bernardo, ‘engineer by 自力更生 matography: Barcaroli [Bruno Barca - chance,’ stood out also in the activity rol]; music: [Ennio] Porrini; cast: [Lu - GENTE COSÌ Director: Mario Bernardo; with the col - journalism (based, among other things, ciano] De Ambrosis, [Maurizio] D’An - laboration of: Aldo Cesolini, Cheng Wen the quarterly “Note di tecnica cine - Director: Fernando Cerchio; screen - cora, [Giuseppe] Zago, [Giulio] Stival, Tung, Chen Jen Tze, Chen Pao Shun, matografica”) and teaching (held shoot - play: F. Cerchio, Giovanni Guareschi, [Giovanni] Cavalieri, Anna Bianchi, An- Franco De Masi, Misa Gabrini, Lai Iu ing chair at CSC for 25 years Rome). Giancarlo Vigorelli, Leonardo Benve- na Mancini; production: [Max] Calandri Chi, Amerigo Latin, Luigi Orso, Anna Bernardo has filed with the Cineteca di nuti, Giorgio Venturini; cinematogra - for Scalera Film; origin: Italy, 1946; for - Plutino, Ferdinando Verde, Wang Huan Bologna about a hundred of his films phy: Arturo Gallea; editing: Rolando mat: 35mm, b/n; length: 83’. Paol, the peasants of the brigade Me materials (prints, negatives, processing Benedetti; music: Giovanni Fusco; cast: DVD (from 35mm) from a private col - Cha U, the fishermen of West Lake, the materials, fragments ...). Among the Adriano Rimoldi, Vivi Gioi, Camilo Pi- lection. People's Militia of the City of Ma Lo, the boxes of this precious collection, there lotto, Renato De Carmine, Saro Urzì, population of Beijing and Shanghai; are some films made in the early 70s Alberto Archetti, Nicola La Torre, Luigi “With the path of De Robertis cross, as production: La Guaita Cine matografica; for the Republic of San Marino. In 1972, Tosi, Raf Pindi; production: G. Ven - well as Rossellini, two other filmmak - origin : Republic of San Marino, 1972; San Marino is among the first Western turini for ICET/Rizzoli; origin: Italy, format : 16mm, col.; length: 90’. states to recognize Red China, and ers, younger authors decidedly unclas - 1949; format: 35mm, b/n; length: 85’. DVD (from Digibeta from negative Bernard following the delegation of the sifiable works, such as Giorgio Bianchi, 35mm from CSC-Cineteca Nazionale . 16mm) from Cineteca di Bologna. small republic in the first official visit to director of Uomini sul fondo (1941), Chinese soil. In addition to mounting and Giorgio Ferroni, who will share - “Gente così by Fernando Cerchio (here “Mario Bernardo was born in Venice in an exceptional event reportage, took exactly as de Robertis - the Salo expe - is a Venetian name) counts in the 1919. After being partisan commander the opportunity to realize the docu - rience, cowering in factories Scalera in script, among others, of Giovanni during the War of Liberation, founded mentary Rely on their own strength, Giudecca to escape the dangerous Guareschi at the time of signing the in 1946 in Bologna the Omnia Film filming the historical sites in Beijing, German curiosity. foreground on the ‘Candido’ the week - and, soon after, the CREEC (Consorzio Hangzhou, Shanghai, and giving us an The two Venetian De Robertis films, I ly greater political impact and success. Regionale Emiliano Esercenti Cinema), extraordinary documentation of the figli della laguna (1944) and La vita It is a film which is still cited among the setting up a regional distribution circuit phase of collectivization most advanced semplice, are precisely what remains of cases of neo-realism is not recognized come to count 82 rooms. Meanwhile, proven popular in China, culminating his actual illegal activity, carried out in time, and it therefore expects the bring a van itinerant cinema in 16mm in Cultural revolution.” under the auspices of the Social consecration at the hands of some in the Apennines countries. He moved Republic. Andrea Meneghelli, Dossier Mario repentant critic. [...] to Rome in the early 50s working on Bernardo , in Catalogo Il Cinema They appear as two works of great Gente così had been a movie wanted scripts and screenplays but soon left Ritrovato 2008 , Cineteca di Bologna, consistency and freedom, in which war and defended by Venturini during the penniless. He then began to work for Bologna, 2008 already belongs to another world, not Milan period, much to quarrel with the BNC-Filmico, a laboratory specializ - unlike the episode of the friars in Rizzoli in order to keep the award to ing in Italian editions of foreign films: it Paisà , however, made in 1946, a year Cerchio, which Rizzoli did not want. is the fundamental passage from writ - after the war ended. But how could unseat a friend by the ing to art. But again, after co-directed La nave predilections of Venturini? Cerchio, the

68 69 young editor of Quelli della montagna “is more from the reality. And the crit - Carmela Sazio, Dots M. Johnson, «Paisà is presented in close to the first by Aldo Verga no, where he had ics knew immediately. The cinema has Alfonsino, Maria Michi, Gar Moore, Mostra (indeed, Manifestazione) d’arte received perhaps the first lesson terse perceived him and Renato Dall'Ara film Harriet White, Renzo Avanzo, Bill cinematografica in Venice, in the post - style and image care, lesson also confirms it. Unfortunately the great Tubbs, Dale Edmonds, Allan, Dan, Van war, 18 September 1946. The chronicles extended assistance director Cottafavi - Roberto Rossellini was unable to com - Loel, Cigolani; production: R. Rossellini of that period insist on this at the last here is a far end of the line that unites plete his wish, a film called Italia mia, for O.F.I/Foreign Film Production; ori - minute arrival of a copy, in time for a the first two Turin directors Venturini - which was to open with a seagull fly - gin: Italy/USA, 1946; format: 35mm, smoke morning projection to the press Cerchio was said works in Venice dur - ing over Scano Boa. He told me that for b/n; length: 134’. at the Malibran theater and then to the ing the difficult years of RSI. [...] him Italy was the one that he loved.” 35mm from CSC-Cineteca Nazionale . public at the cinema San Marco, in the I insist on remembering Cerchio, G.A. Cibotto in Gian Antonio Cibotto afternoon at 16. [...] It is not the first because together with Vernuccio and e i vecchi pescatori del suo Delta padano , time (it was already success with La Cottafavi, is a typical case of copyright «Il Mattino di Padova», October 8, 2003 “With Paisà Rossellini is the spirit of the nave bianca ), and not the last, that ignored and undervalued. If the weath - Resistance in the broad and inclusive Rossellini presents his film at a festival er has done justice to Cottafavi, the human geography. Using a sample itin - in closing, as a ‘surprise film’ for adver - other two are pending.” ALLUVIONE erary, leads in successive stages, two tising strategy, perhaps, or because in different peoples to the recognition of Lorenzo Ventavoli, Pochi, maledetti e “Oreste Palella and Roberto Rossellini fact, as it would seem in this case, the subito: Giorgio Venturini alla FERT a common identity, common reasons would have to direct together Alluvione , film was released from the laboratory at (1952-1957) , Museo Nazionale for life and struggle, to experience a 1951 film on the floods of Polesine the last moment, even ‘wet print,’ pre - del Cinema, Turin, 1992 higher death, side by side, for the same sumably for the continued assembly which included as cast Franca Marzi, ideals. They are mainly the human rea - Silvana Pampanini, Rossano Brazzi and and synchronization. This also explains sons to constitute the force of truth, how much of Rossellini’s films (except Raf Vallone. ‘La Gazzetta Padana’ of OFF because the director does not go in those television) involves ‘variants’ (or April 1, 1952 announced the start of search of the political motivations that ‘second thoughts’ if you prefer) ITALIA MIA filming at the Ca’ Bianca in Adria, but determine the behavior of his charac - between the version presented at a fes - since then he heard from again.” “Italia mia , another film without a sub - ters: their suffering, passion and mutu - tival and one out in Italian or foreign ject and without actors to find ‘the Giancarlo Beltrame, Paolo Romano and al respect will unify the plans and dif - salt, as is the case of Paisà . [...] The Ferdinando De Laurentiis (edited by), ferent ideological assumptions. The humble Italy, with its passions and its Luci sulla città: Rovigo. Sogno di ability to test for differences occurred flaws’, becomes the dominant thought un paesaggio tra cielo e acqua , moment Rossellini discovers the collec - only in 1998, when the Bundesarchiv- of Zavattini. [...] Zavattini improves the Marsilio, Venice, 2007 tive face of anti unorganized is as if he Filmarchiv in Berlin (the state film design of Italia mia and proposes to had realized that the history of Italy, library) did have the Cineteca Naziona- Rossellini (December 1952). But it does who continued to live in the rubble le of Rome, just before I got to direct it, and looked for reconstruction, could, not do anything; Einaudi proposes it as PARALLEL CONVERGENCES a lavender (positive fine grain proceeds a book series: De Sica should organize on the basis of a general policy choice, directly from the negative) again but a book on Naples, Visconti of Milan, [LONG VERSION ] PAISÀ considered redeemed by his suffering missing the last roller (the last ten min - Rossellini on Rome. In the end only and to remove, as soon as possible, the utes approximately). It did not take Zavattini will do the first and only vol - Director: Roberto Rossellini; story: R. memory of fascism to look forward to. long to realize that it was a different ume: Un paese (1955, in collaboration Rossellini, Federico Fellini, Sergio Ami - Although, for the moment, it was cer - version from the one known.” dei, Marcello Pagliero, Albert Hayes, with the photographer Paul Strand).” tainly not in a position either to predict Adriano Aprà, Le due versione di Paisà , Silvana Cirillo, Una svolta epocale Klaus Mann; screenplay: R. Rossellini, F. or to ipotecarlo.” in Stefania Parigi (edited by), Paisà. nell’attività di Cesare Zavattini , in Cesare Fellini, S. Amidei; cinematography: Gian Piero Brunetta, Il cinema neorealista Analisi del film , Marsilio, Venice 2005 Zavattini, Totò il buono, Bompiani, 2013 Otello Martelli; editing: Eraldo Da italiano , Laterza, Bari, 2009 Roma; music: Renzo Rossellini; cast:

70 71 Italian Cinema [RUSHES ] SANTA BRIGIDA Director: Roberto Rossellini; cinematog - Beyond the Wall of Time raphy: Aldo Tonti; cast: Ingrid Bergman; origin: Svezia, 1952; format: 35mm, b/n; length: 9’. 35mm from CSC-Cineteca Nazionale .

“At the end of 1951 makes Rossellini filming for a documentary, that has not been finished, in the Convento delle Suore dell’Ordine del S.S. Salvatore di Santa Brigida in Piazza Farnese, Rome. It’s called Santa Brigida and shows some take of shots where we see the actress Ingrid Bergman arriving at the convent, the nuns know and then helps them to manufacture apparel packs. The documentary was commissioned by the Swedish Red Cross for victims of the flood of Polesine.” Paolo Micalizzi, Là dove scende il fiume. Il Po e il cinema , Aska Edizioni, Florence, 2010

72 73 L’ INTRUSA [5 MINUTI CON ...] C INECITTÀ images themselves, with their sounds in its kind, a perfect thing. [...] It is not are repeated in reverse, with the actors only a caricature of an era, of a world Director: Raffaello Matarazzo; story: Director: Pietro Francisci; cinemato - who continue to speak funny language of lost customs; but it is also and espe - from the drama by Silvio Zambaldi; graphy: Armando Bianchi, Rodolfo even when you return to reality. The cially the caricature of the way the screenplay : R. Matarazzo, Piero Pierotti, Lombardi; contributions: Guido Notari, caretaker of Cinecittà indicates that the world is expressed, suffering, acted, Gio vanna Pala, Giovanna Soria; cine - Amedeo Nazzari, Alida Valli, Alessan - time is up on a clock that moves the spoke; and then theater, and those matography : Tonino Delli Colli; edit - dro Blasetti, Goffredo Alessandrini, contrary.” actors. Because the characters are Pietro Francisci, Sandro Pallavicini, ing : Mario Serandrei; music : Luigi Ernesto G. Laura (edited by), Storia actors, and as such visas and represent - Domenico Paolella, Dina Galli, Antonio Malatesta; cast : Amedeo Nazzari, Lea del cinema italiano 1940/1944 , ed. [...] The comedy ingredients are Gandusio, Titina De Filippo, Mario Padovani, Rina Morelli, Andrea Marsilio/Bianco e nero, conventional amiably. There are Camerini, Armando Falconi, Clara Venice/Rome, 2010 Checchi, Pina Bottin, Cesco Baseggio, unscrupulous adventurers who are eat - Calamai, Amedeo Castellazzi, Giorgio Nando Bruno; production : Arrigo ing the properties of a naive aristocrat Simonelli, Beniamino Gigli, Elisa Colombo for Jolly Film/ICS; origin: who has a good name and a good and Cegani, Paola Borboni; production : IL DOCUMENTO Italy, 1956 ; format: 35mm, b/n ; length: illibatissima daughter; there is the old INCOM; origin: Italy, 1939; format : 108’. Director, editing: Mario Camerini; story: aristocratic family butler (Ruggeri) that 35mm, b/n; length: 12’. 16mm (from 35mm) from Cineteca from a comedy by Guglielmo Zorzi; goes to serve in the house of the ring - 35mm from Istituto Luce. Bruno Boschetto screenplay: M. Camerini, Re nato leader Larussi (Falconi); there is a mys - Castellani, Mario Pannunzio, Ivo Perilli, terious character who has in hand a “The well-known announcer Guido “L’intrusa moves on the background of Mario Soldati; cinematography: Arturo document that could send to jail the Notari simulates a service of Cinecittà the usual stuffy world of the province, Gallea; music: Alessandro Cicognini; Larussi and associates, who mysterious - to achieve in a very short time; begins that malignant behind the relationship cast: Ruggero Ruggeri, Maria Denis, ly dies, and mysteriously disappears a daring series of misadventures, fast- between a doctor and a teacher who he Armando Falconi, Maurizio D’Ancora, document [...]. Of these reasons and paced involving various stars and direc - saved from suicide. Apart from some Lauro Gazzolo, Mercedes Brignone; Camerini characters he has been able tors of: Amedeo Nazzari, Alida Valli, element of ideological progressivism production: Giuseppe Amato for to use with such obvious simplicity, Alessandro Blasetti, Renato Castellani (she had not only a former boyfriend, SECET/Scalera; origin: Italy, 1939; for - with such naivete enchanted, with a [is actually Amedeo Castel lazzi ] ... The but she became pregnant and had lost mat: 35mm, b/n; length: 92’. seriousness so deceptive that a pleasant crew of the INCOM dabs a car in which his son, but he married the same: we DCP (from 16mm from 35mm) from La story came out, ironic, skeptical, mali - are Dina Galli, Antonio Gandusio and are very distant from the assumption of Cineteca del Friuli (Fondo Buffatti). cious, mischievous; but without the Titina De Filippo, then breaks on the Catene ), the curiosity is that she it is action loses its performance or becomes one of the few ‘crazy bitches’ of the set where Mario Camerini makes a film “The screen can not replace the stage with Armando Falconi (Il documento , weak in the episodes, or missing his Italian melodrama, so to say I imple - with immobility, with the conventional honest and entertaining moral.” ment for the passion of motherhood. 1939). The producer Peppino Amato, scenes and proportions, with the falsity described as one who does not want to Paolo Monelli, When discovering that they can not of backgrounds, colors, composition «Film», November 4, 1939 have children adds that instead the waste time, check the set. But the short which is also a condition of its ‘poetic’ man who made her pregnant is going film is concerned to reveal some tricks and its justification. [...] Given this, and effects of cinema, while in slow imagine with apprehension that I went to have one, his reaction is one possi - [5 MINUTI CON ...] T RAGUARDO motion we see sketches with Paola to see Il documento , billed as a come - ble violence, even here, thanks to the DEGLI ASTRI replacement of Yvonne Sanson with Borboni, Erminio Macario, Emma dy of Zorzi put on screen by Camerini, Lea Padovani.” Gramatica, clips from Abuna Messias with Falconi and Ruggeri first actors Director: Anonymous [Amedeo Castel- Emiliano Morreale, Così piangevano. (1939) by Goffredo Ales sandrini and I and with a nice nest egg of artists, all lazzi?]; contributions: Mario Camerini, Il cinema mélo nell’Italia degli anni Grandi Magazzini (1939) by Camerini, but Miss Maria Denis, the playhouse. Assia Noris, Corrado D’Errico, Luisa Cinquanta , Donzelli, Rome, 2011 Beniamino Gigli singing. Finally the Well, my fears proved vain: the film is, Ferida, Goffre do Alessandrini, Giorgio 74 75 Ferroni, Pietro Francisci, Carmine among the readers of the magazine the objects of the Big Dipper, and Ursa is content yet fixed and precise shots.” Gallone, Laura Solari , Alma Clari, edited by Vittorio Mussolini.” Minor, that is - according to the defini - Adriano Aprà, Carmelo Bene oltre Luisella Beghi, Luigi Freddi, Bruno Callisto Cosulich, Il problema del cinema tion that gives of his ‘trovarobato’ in lo schermo , in AA.VV., Per Carmelo Mussolini, Vittorio Musso lini, Sandro italiano nella stampa specializzata , the novel Nostra Signora dei Turchi – Bene , Linea d’Ombra, Milan 1995 Pallavicini, Amleto Palermi, Elli Parvo, in Orio Caldiron (edited by), Storia ‘the fixed points of the ritual, such as, Carlo Romano, Elio Steiner, Osvaldo del cinema italiano 1934/1939 , for example, geraniums, also withered, Valenti, Amedeo Castellazzi [fuori Marsilio/Bianco e nero, candles, spirits, pure alcohol, the ash - [LONG VERSION ] NOSTRA SIGNORA Venice/Rome, 2006 campo]; production : INCOM; origin: tray, the very graduated wine, the mir - DEI TURCHI Italy, 1940; format : 35mm, b/n; length: ror,’ and ‘the so-called variable objects, Director, screenplay: Carmelo Bene; 7’. in all effects more useful and practical PANICO ! cinematography: Mario Masini; editing: 35mm from Istituto Luce. than those of Big Dipper, and he used Mauro Contini; music: edited by C. to almost perennial parts, as fulfilling Director: Alberto Pozzetti; cinematog - Bene; cast: C. Bene, Lydia Mancinelli, “Despite efforts by Luigi Freddi to bring the function of variation between the raphy: Ema nuel Lomiri [Emanuel Ornella Ferrari, Anita Masini, Ruggero up the problems of cinema, these con - chemical officiating and fixed objects,’ Filiberto Lomiry], Giuseppe Belloni; Ruggeri (voice); production: Nexus tinued to enjoy rather poor attention which here are also bouquet of roses, musical adaptation: Raffaele Gervasio; Film; origin: Italy, 1968; format: 35mm and treatment hastily uncritical media, heavy curtains, sheets, telephone, cartoons: Ugo Amadoro; production: (da 16mm), col.; length: 142’. starting with those made especially wreaths of blue or white roses, letters, Sandro Pal lavicini for INCOM; origin: 35mm from CSC-Cineteca Nazionale. to advertise businesses and realizations Italy, 1947; format: 35mm, b/n; length: picture frames; and then look in the of regime: newsreels and radio sec - mirror with truccature variables with- 10’. “The epiphany of the work Bene cine - tions. [...] 35mm (or DCP) from Istituto Luce. out recognizing, trudging, almost in a As for the newsreels, the privacy of state of somnambulism, among other ma is Nostra signora dei Turchi , which remains to this day the film (only film Istituto LUCE suggests that it can not The caption opening: “Unjustified objects, repeating gestures in futile find images suitable to talk about cine - attempt to establish contact; and above so it remains possible this title) more panic is often the cause of great calami - affordable Bene and in fact the most ma. One might conclude that the cine - ties, sometimes with loss of life. This all confront the woman, mother and ma proved unfit to propagate itself. The madonna (Lydia Mancinelli, with short talked about, even in the exceptional documentary advises you never to lose monograph edited by Maurizio Grande exception is the opening ceremony of your temper, relying on the security hair like Dreyer’s Joan of Arc, or Anna Cinecittà, where, however, it is above Karina in Vivre sa vie , thus also a bitch, in 1973, which occupies more than half measures implemented in all civilized of the pages. If they can trace the all the figure of the leader to act towed. countries.” but her face sprinkled with gold dust), If anything, will the newly INCOM of which the hero rejects the love that ‘story’, you can tell the productive con - (Industria Corti Metraggi), led by yearns well (‘enough! It’s over with tract with the deception of Nexus Film that involved the construction of three Sandro Pallavicini, to set aside from HERMITAGE who loves me!’, and it trashes the 1939 onwards a bit of the cinema photo in the toilet at the end); and short documentaries, you can quench space, following the trail of radio news. Director, screenplay: Carmelo Bene; even hotel rooms of which confuses your thirst at one source, the novel Mino Argentieri analyzed two services cinematography: Giulio Albonico; edit - the doors, by falsely sumptuous fur - published two years earlier and already included in 1939 in the series 5 minuti ing: Pino Giomini; music: Vittorio Gel - nishings and vibrant red lights, and turned into theater, even to anthropol - con... metti; cast: C. Bene, Lydia Mancinelli; contrasting tiled and cold baths. ogy from exploration of Salento, then The first, Traguardo degli astri, production: Nexus Film; origin: Italy, Flushes mixed Verdi’s music to radio still fascinatingly exotic land for Italian describes with typical accents of the 1968; format: 35mm, col.; length: 24’. croaks, voices on and off the field, cinema. You can chase traces of auto - gossip columnist a party in the living 35mm from CSC-Cineteca Nazionale. godardiane alternations of sound biographies (the protagonist of the rooms of the Excelsior in Rome, organ - fields and reverse shots dumb antici - building, of the skulls flowers and sea ized by the fortnightly ‘Cinema’ in “The stage set, the situations and the pate the linguistic experiments that will ... to the whole CB gives sight, "even honor winners of a referendum held Well obsessions are all already in place: be unleashed soon, even if the camera the eyes," and everything tends to infin -

76 77 Band of Angels ity to recollect the eternal and dead Studio Nino; origin: Italy, 2016; format: seasons, and the present and alive, and HD, col.; length: 11’. the sound of it ...). Nostra signora dei Blu-ray from author. Wonders from the Turchi is a kaleidoscope of senseless acts of beauty created / found by a man An anticipation of Il quaderno di (to extremes, genius or idiot) with the Stavros Tornes, a preview for I mille Officina Filmclub collection camera filming the thud of the will. As occhi. Nearly thirty years after his the coeval 2001 by Stanley Kubrick, is death, the film parable and human an odyssey that has gathered and Stavros Tornes, one of the most unusu - echoed, in space, in this case exhaust - al directors of the so-called New Greek ed and shattered (like the body of the Cinema: from Italian works to those protagonist), all the stories of cinema, Hellenic, from Coatti to Un airone per even those yet to be written. But the la Germania , by his trials as an actor in collision, the crash, the film begins film to his poems, infinite expectation when Bene puts his hands on the orig - of the last movie that does not realize. inal negative, accepting the invitation of Luigi Chiarini to shorten the film. A few small cut here and there, a snip at OFF long scene in which the protagonist makes of himself and of his pride two MUDUNDU + J ESUS friars, when theoretical and keystone of the film in which the writer rider the The two also Italian projects by Carl martyr become aware of the impossi - Theodor Dreyer, both remained unfin - bility of living as long as do not you ished. Mudundu will be finished by step outside itself and all its possible Jean-Paul Paulin (and Ernesto Quadro - double, and try to destroy you must ne) as L’esclave blanc / Jungla nera alter mingling with matter.” (1936). Fulvio Baglivi, (Ri)epilogo – 2: non abbiamo altro bene all’infuori di Bene , in F. Baglivi, Maria Coletti (edited by), Carmelo Bene. Il cinema, oppure no , Centro Sperimentale di Cinematografia, Rome, 2012

11 MINUTI DAL QUADERNO DI STAVROS TORNES Director: Gianpiero Rizzo; editing: Gianni Centonze; music: Roberto G. Kriscak; cast: Stavros Tornes, Pao lo Taviani, Vassilis Vassilikos, Charlotte van Gelder, Giulio Brogi; production:

78 79 CLARO allow him to want to take action in his in low-light conditions easier, it is very ciani, Cristina Torelli, Roberto Torelli); city? A new form, therefore, the conflict easy. Moreover, the notion of ‘direct origin: Italy, 2012; format : DV, col and Director: Glauber Rocha; cinematogra - between poetry and politics already drive’ is total, since the image and b/n; length: 78’. phy: Mario Gianni; editing: Cristina expressed in Terra en transe .” sound recorded can be controlled at DVD (from master video) from authors. Tullio Al tan; music: Samba de roda, the time of registration. [...] So the tape Maculelê, Bellini ( La casta diva ), Villa- Sylvie Pierre (edited by), Glauber Rocha. Textes et entretiens de Glauber Rocha , tells us so much what happens to ‘oth - In November 2012 Rai Movie promotes Lobos ( Bac chiana n° 5 ), Vivaldi, João Cahiers du cinéma, Paris, 1987 ers’, as what happens to the eye-body a tribute to the work of Renato Nicolini, de Barro, India sung by Gal Costa and manifests hand signals through the undisputed protagonist of Italian cul - several Brazilian and Italian folk tunes; camera. The various elements, which in ture. A tribute to the architect, intellec - cast : Juliet Berto, Tony Scott, Carmelo ANNA the film are separate functions that a tual, an artist who was councilor for Bene, Mackay, Louis Waldon, Betina technical device back to unity of the culture of the City of Rome from 1976 Best, Yvone Taylor, Francisco Serrão, Director: Alberto Grifi, Massimo work, here they interact, and the tape to 1985, changing the cultural policies Cachorro, Janine Janet, Luciana Liguori, Sarchielli; screenplay: M. Sarchielli, does not tell us much that this interac - of his city with the invention of the Anna Carini, Glauber Rocha and the Roland Knauss, A. Grifi; cinematogra - tion. The work is identified then with Roman Summer, a still studied model. inhabitants of Rome; production: Al - phy, editing: A. Grifi; cast: Anna, A. its making, and the document is a berto Marucchi and Mario Tamburella Grifi, M. Sarchielli, R. Knauss, Vincenzo group that lives and works: where life “Ciao Renato! is a tribute to Renato for DPT-SPA; origin: Italy, 1975; format: Mazza, Stefano Cattarossi, Raoul and work experience and tape are Nicolini who with Paolo Luciani and 35mm, col.; length: 110’. Calabrò, Louis Waldon, Annabella moments of a continuous time. Anna Cristina Torelli we created for the Rome 35mm from La Cineteca del Friuli (Fon- Miscuglio, Pilar Castel, Jane Fonda; ori - testifies of a group marginalized in the Film Festival, to remember a character do Ciro Giorgini/Officina Filmclub). gin: Italy, 1975; format: 16mm (from who has changed the culture not only video), b/n; length: 225’. after ’68 Rome: marginalized respect for life (experiences of reform school, in Rome but throughout Italy. It was a “Claro is a clear film, especially if we 16mm from La Cineteca del Friuli (Fon - drugs, prison) and respect at work key figure of the twentieth century, that wonder where Glauber Rocha wants to do Ciro Giorgini/Officina Filmclub). (unemployment, or ‘work’ with an has upset the canon of high culture and get. To tell a story, certainly not, unless unofficial tool as it is precisely the low culture. [...] it is the eternal story of an equally eter - “After seeing Anna by Alberto Grifi and videotape). This marginality is deep - Renato has been a controversial figure, nal city (the film is set in Rome and Massimo Sarchielli it can be said that ened at all levels, from behavioral to because unfortunately in his life he was some of its sequences, on location, in the cinema-truth, as overall experience, the political. Although strictly limited - recognized the role that he could not the most monumental sites of the city). is dead, and that this videotape is the according to the method of film-truths - have. It was not the mayor of Rome, he [...] I rather think that Claro does not beginning, so to speak, of a new ‘art’ or about what’s going on as it happens, should have been; was no Minister of have a key, only the big smashed and better, constitutes the most convincing Culture and it could have been ... closed doors, on prospects that Rocha approach and productive with a new the tape ends up taking on a symbolic value. What was pure analysis becomes Unfortunately has been marginalized, takes care not to spell her: those of medium, the videotape in fact, that the because it was different. It was differ - synthesis.” Western decadence. It is perhaps this cinema-truth has only anticipate, ent as the Estate Romana was different one his way agitated, angry, for simply assume, to dream, but within the limits Adriano Aprà, from all the things that there had been mimeographed, April 1975 expressing his saudade at the end of of categorical another medium, the cin - in Rome. So we wanted to do an hour five years of exile: Brazil lacks, it is ema, that somehow it was forced in its of archive material fitting to pay tribute clear, and try to recreate it in the possibilities. [...] to a Roman in front of which Rome Roman slums. [...] Lysergic? If anything The videotape, for its technical charac - must remove the cap.” (Roberto Torelli) CIAO RENATO ! shiny, anyway moved by the energy of teristics, overcomes the difficulties from who you lose to dwell too long out of the beginning that the film was able to Director, editing : Paolo Luciani, Cristi na his land, in the pride of pure poetry, solve with special inventions to get an Torelli, Roberto Torelli; production : Rai what the even greater pride would not image and a synchronous sound, even Movie/Officina Filmclub (Paolo Lu -

80 81 BELLA DI NOTTE / BELLE DE NUIT light blades paintings and statues infus - ing the object light energy of cinema.” Director, testo, editing, voice: Luciano Paola Scremin (edited by), Parole Emmer; cinematography: Elio Bisigna - dipinte. Il cinema sull’arte di Luciano ni; music: Gustav Mahler; production: Emmer , Cineteca di Bologna, Film 7 International for Rai2; origin: Bologna, 2010 Italy, 1997; format: 35mm, col.; length: 33’. 35mm from La Cineteca del Friuli (Fon- do Ciro Giorgini/Officina Filmclub).

“Luciano Emmer, the director accused of being art’s profaner, back breaking work. He was the only Italian author who for seventy years the art has pene - trated, understood, interpreted and dis - seminated by all means and languages. Emmer resumes his goddess ever in an emblematic film: Bella di notte (1997), rêverie nocturne inside the Borghese Gallery in Rome. Produced by RAI-2, on the occasion of the reopening of the historic villa and Roman collection, the old director gambling and imposes his authorial signature: no interviews and propaganda to sponsor or critics in search of visibility. ‘When the director of the Museum of Villa Borghese gave me the opportunity to enter at night in empty rooms, I found myself with a very different spirit than my previous films. I followed a solitary journey – a rêverie nocturne – revealing, with a small room in the lighthouse room, the works of art that had appeared in my eyes. It was a personal search of the emotions aroused me the works. It was a personal search of the emotions aroused me the works.’ Peculiar choos - ing Emmer contact the Cardinal Bor ghe - se, focusing on the theme of collecting. The director strikes and sculpts with

82 83 Contents

6 One or two things in a thousand Notes on mise-en-scène by Sergio M. Grmek Germani

15 Premio Anno uno. To Be: Vlado Škafar 25 Beloved and Rejected. Migrants, refugees, victims of wars, escape beyond walls and fences in Adenauer’s era Germany 33 From Compassion to Love 41 Bodies and Places 43 Cinema of Poetry, from Friuli to Sicily 51 Self-Portraits in the Mirror: Jonas Mekas and Jackie Raynal 53 Everything will disappear. Everything will be reborn. Tribute to Marina Pierro and Walerian Borowczyk 55 Nobody’s Children. Italian films collected by Simone Starace, II 61 Small World, Big Shadow (The Venetians are crazy, I) 73 Italian Cinema Beyond the Wall of Time 79 Band of Angels. Wonders from the Officina Filmclub collection