We do not want to die: Word to Oreste Palella (Expanded Dreyer in progress, I)

79 Oreste Palella, , the Mafia alla “polentoni”, emphasize the goodness of sbarra director, it came to the character the merger between the cold rationalism of Marshal power [in Se dotta e abban - of the north and the heat of the south. donata , 1964] after being preached, he They will be three love stories to affirm says, to that of Vincenzo Ascalone [...]. the need to compose, between north And as a director? “I have not had the and south, the new Italian family. » boom but have never been a mediocre. Giacomo Gambetti, Sedotta e Being an actor in fifty years is an expe - abbandonata di Pietro Germi , rience that inspired me so many things, Cappelli, Bologna, 1964 and that will serve me well as a film - maker. [...] Indirectly the Germi movie was helped also to my Mafia alla sbar - CATERINA DA SIENA ra . In fact, after In nome della Legge , Director: Oreste Palella; story: Fernan - after Il camm ino della speranza it is do Leonardi; screenplay: F. Leonar di, O. born the problem of seeing ; I Palella; cinematography: Alfredo Lupo; could not imitate it, I could not make it music: Leopoldo Perez Bonsignore, last; nor lush, all beautiful like in Jessica G.C. Carignani; cast: Regana De Liguo - [Jean Negulesco, 1962], for which I ro, Rina De Liguoro, Teresa Ma riani, directed the second unit.” [...] Oreste Ugo Sasso, Guido Gentilini; produc - Palella directed the first film in 1946, tion : L. Perez Bonsignore per Cigno Caterina da Siena , under the name of Film; country: Italia, 1947; format: “Orestes” (“because, he explains, was a 35mm, b/n; length: 92’. period when fashion wanted foreigners 35mm print from La Cineteca del Friuli. and exotic names”), after some experi - ence in newsreels during topical the «I am proud of being knocked to work war, and activity theatrical university in an extremely difficult period, in and a short work in cine-owl; He had 19 47, when the outlook was very dif - staged inter alia Asinaria and some of ferent from now. Headed Caterina da Plautus No Japanese, also collaborating Sie na , wisely especially spectacular; I with Mario Landi and Enrico Fulchi - was never able to make up for certain gnoni. Now, among his films as a direc - tastes and needs, I had to make many tor, as well as Caterina da Siena and sacrifices. The rest of the amazing plan Mafia alla sbarra , remember Cristo è the film met considerable success: cost passato sull’aia and Il grande viaggio 14 million and a half, had a return of [that Non vogliamo mo rire ?]. In a few 390.» months he works Il sole dietro la neb - Oreste Palella in Riccardo Redi, bia , to be shot in and Sicily, with Fabio Rinaudo, Piacciono in periferia , perhaps two of the interpreters Sedotta «Cinema», n. 133, 15 May 1954 e abbandonata : Stefania Sandrelli and Roberta Narbonne . «The purpose of the «In the sixth centenary of the birth of film, he says, is advocating the end of Catherine of Siena, patroness of the division between “terroni” and Primary, organizations and associations

80 have organized events of various kinds From the review preventive film (8 designed to celebrate the great saint of March 1950): «It is [...] the story of a par - our land. As part of these events the alyzed girl, Dani, who falls in love spir - Cigno Film wanted to cooperate in the itually the boyfriend of his cousin, celebration with a film that translate on Roberto, who never had the opportuni - the screen the mystical world of ty to see if not photography. Suddenly Catherine, describing the life spent all the sick girl dies. While his soul travels through towering historical events, a in the afterlife, he is invited by a white fervent religious activity and by a bold figure of an old tramp down, for one and manly policy activities and social. night, in the ground to find the com - The Holy Father was so benign interest panion for eternity. [...] The current in the making of the film. The Pontiff, script does not deviate from the earlier receiving in special audience the pro - draft if not in the final, where he ducer Leopoldo Perez Bonsignore, the replaced the original suicide of the director Oreste Palella and the protago - hero [...]. Moreover the old vagabond nist of the film Regana de Liguoro, reason is entered - kind of deus ex deigned like The photographs that machina - which, with its frequent were offered and delivered the best supernatural apparitions, should recall wishes for the success of the film cele - the theme of immortality of love. The brates such an endearing personality at rough work of verismo and surrealistic the heart of every Italian, every artist, tone, inspired by some foreign films every Catholic.» (Scala al paradiso , Joe il pilota etc.) In «Rivista del Cinematografo», which the souls of the dead resume October-November 1947 their journey on earth among mortals. no need to point out the difficulties of such works, where a formal delicacy of IL RICHIAMO NELLA TEMPESTA / G LI the script must match a perfect techni - AMANTI DELL ’INFINITO / E LE STELLE cal realization.» NON ATTESERO INVANO «Palella is a man of about forty, a Director, editor: Oreste Palella; story: Sicilian and as such friendly and elo - O. Palella, Carlo Guidotti; screenplay: quent. [...] Palella knows what it means O. Palella, Argi Rovelli, Carla Tavianini; to set a film intended for a slightly cinematography: Alfredo Lupo; music : sophisticated audience, a film without Paul Giugniani; cast: Silvana Pampa - the lure of great actors, a film with no nini, Renato Baldini, Gabriella Sangro, guaranteed minimum. He also knows Carlo Tamberlani, Amedeo Tril li, Rena - what it is to make a film about the to Malavasi; production: Ezio Lavoretti bush, without announcing it, without per Eros Film; country: Italia, 1950; for - spending big money on advertising, no mat: 35mm, b/n; length: 88’. one talked about. [...] In 1950 Palella 16mm print (from 35mm) from Cine - directs a film that truly can be consid - teca Bruno Boschetto. ered typical for the purposes of our

81 inquiry, the film who vainly search in country: Italia, 1953; format: 35mm, the directories: Amanti dell’infinito or b/n; length: 80’. Il richiamo della tempesta . His story is 35mm print from Archivio storico del very significant. The film tells of two ci nema italiano. lovers; one of them died, the other reached on earth for a day: the subject «In 1952 Palella produces Cristo è pas - that the author does not hesitate to sato sull’aia , drawing from the subject describe as surreal . The conclusion was to a popular legend, that in the time of that love still between a man and a harvest Christ go to the countryside in woman, even beyond death. “There the guise of a beggar, and that misfor - was something unreal - says Palella -; a tune strikes whoever refuses alms. Film simple story, told without the commit - in which they are treated the themes of ment of major technical equipment, in popular superstition and simple love. which I had tried to reach outside the “The movie has some really beautiful usual atmosphere. I had very favorable spots - the author assures us -, true critics, although the film was presented faces, intensely dramatic scenes. There in on 18 August. For the first is a happy ending: I did not want to fall time I did see on Silvana Pampanini into the conventional. I wanted to be screen in a dramatic role, without mak - archaic and ruthless, otherwise I would ing them show their legs. I threw have really missed the goal.” The film Renato Baldini in the movie. But I do remained four months in censorship, not know why, perhaps for some reli - and was eventually recommended cut - gious matter, the film was not allowed ting a love scene in a barn; It was for - to mandatory programming: the pro - bidden for children under sixteen and ducing company, Eros Films, failed, not admitted to compulsory program - while managing to pay all. They were ming. Only on appeal, and in these last not paid for the sharing, that is, the sub - days, it gained ten percent. Following ject and directed”. » the vicissitudes of the film charterers they refused to pay the bills, putting Riccardo Redi, Fabio Rinaudo, Piacciono in periferia , cit. the producing company, Segesta Film Palella, in some embarrassment». Riccardo Redi, Fabio Rinaudo, Piacciono in periferia , cit. CRISTO È PASSATO SULL ’AIA Director: Oreste Palella; story: Paolo Mocci; screenplay: Gerolamo Fava ra, P. Mocci; cinematography: Alfredo Lupo; music: Lodo Lodi; cast: Franco Fabrizi, Gianna Segale, Giuditta Tutaeff, Pier Ugo Gragnani, Renato Malavasi, Amedeo Trilli, Sergio Bergonzelli; pro - duction: O. Palella per Segesta Film;

82 I can save you: Wysbar/Wisbar, feminine presence over the Heimat (Expanded Dreyer in progress, II)

83 FRANK WYSBAR the country. Thus started the great by Olaf Möller interlude called emigration: USA where he lived for almost twenty years (and Frank Wysbar/Wisbar’s career is oft two even took on citizenship), did several halves yet one piece; and what holds it splendid films for the bottom feeders of together, is the enigma of death – the studio system (most famously a something the trained officer knew inti - variation on Fährmann Maria called mately from the teachings at the Strangler of the Swamp , 1946), became Prussian military academy. When he a pioneer of television (he directed ao. made films in the German Reich, start - episodes of Fireside Theater ), and ing in the and contin - ended up a human wreck due to his uing deep into its Nazi-run successor, rampant alcoholism. The Federal he excelled at a cinema of female pas - Republic of became his life sions and transcends — climaxing raft… When he went to Adenauerland twice: once in the more Dreyer-than- as a US-American, he became the only Dreyer’ian Anna und Elisabeth (1933), successful re-migrant in FRG cinema and then again in a ballad of love first mainly due to a series of films about defying than defeating death, WWII, grim and brooding anti-specta - Fährmann Maria (1935); with Leontine cles of suffering whose meaning could Sagan [& Carl Froelich]’s Mädchen in not be found in death; here, man and Uniform (1931) looking now very women merely perish – the pathos of it much like an integral part of his œuvre all can be found in the gaps they leave – in fact, considering the differences in which are usually quickly filled with ending between Christa Winsloe’s the - someone else. In this cinema of car - atre piece and the film, a change that nage, inner turmoil and spiritual impo - stresses the need for a change in social tence, his last melodrama about love attitude towards education more then suffered more than lived, Barbara lesbian desires, Mädchen in Uniform (1961), a modernised version of could be seen as a Weimar-version of Faroese maverick master Jørgen-Frantz his later classic Fabrik der Offiziere Jacobsen’s lone novel, was almost (1960). Wisbar might have disliked the casually ignored. For the liberal and Nazis but still he stayed – despite the left-wing establishment of the FRG 50s fact that his first wife, Eva, was in per - and 60s, was something of a riddle they manent danger due to her lineage, had no interest in solving. When he ancestry; that he could continue his died, few cared. career was mainly due to the discreet protection of an old friend who was a high-ranking and very influential figure in the Nazi hierarchy… Still, after the Kristallnacht (as the Nazi pogroms of ’38 are still called in English), even he understood that they needed to leave

84 MÄDCHEN IN UNIFORM agrarian, [...] on a basis that the Italian post-war cinema has accustomed us to Director: Leontine Sagan, [Carl consider normal, but then in Germany Froelich]; story: play by Christa it was quite unusual to be judged a lit - Winsloe; screenplay: C. Winsloe, tle less than revolutionary. [...] Friedrich Dammann; cinematography: The exceptional circumstances in Franz Weyhmayr, Reimar Kuntze; which it was conceived and produced music: Hanson Milde-Meissner; cast: Mädchen in Uniform are no strangers Hertha Thiele, Dorothea Wieck, Emilia to the success and the same style of the Unda, Hedwig Schlichter, Ellen film. The extreme simplicity of the Schwanneke; production: Deutsche story, the sacrifice of certain traditional Film-Gemeinschaft; country: Germania, features of German films of the time 1931; format: 35mm, b/n; length: 88’. ([...] the intention is almost always 35mm print from Stiftung Deutsche implemented to overcome a simple Kinemathek. problem of education to achieve a crit - ical picture more general about the dif - «It should first be attributed at the time ferent manifestations of the German Mädchen in Uniform was produced. spirit and its most troubling contradic - We are in 1931 is about to end the last tions) are justified and blend in the act of the tragedy of Weimar and confidence that the author clearly Germany, despite its thirteen million demonstrates the necessity of his film. voters workers, it prepares to hand The film depicts life in a boarding over his freedom in the hands of school in , reserved for official monopolists [...] and their snipers poor daughters, however, belonging to National Socialists. [...] the aristocracy. Mädchen in Uniform had the merit of The protagonists are the orphan being imposed in dense and difficult Manuela von Mainardis, the head - this time as the best film and, in a mistress, Miss von Bernburg, governess sense, as the real, big surprise of the loving and understanding, and in a season. Taken as a comedy - Gestern sense the school itself, such as the und heute Christa Winsloe - who had environment. Soldierly discipline, made the rounds of art theaters of imposed by the director, in order to sti - German schools and co-produced by fle the femininity of the students, it has Deutsche Film Gemeinschaf, Mädchen the result of exacerbating the morbid in Uniform had primarily the character side of their youthful passions. [...] of independent production. Second he The director of the educational meth - was directed by a woman, Leontine ods are thus not an exceptional result Sagan, a pupil of Reinhardt and his first caused by random circumstances, [...] movie experience. Finally, the perform - rather than traditional education ers were all women, for the most part Wilhelmine, which, in turn, have not actresses, but girls of the middle precedents in German history and do and upper middle class and aristocracy not end at all with the defeat of accord -

85 ing to Reich, but they will find their need, rush to her, pretending to be most logical outcome in education healed and blessed.» National.» Enrico Roma, Concorso Callisto Cosulich, Ragazze in uniforme cinematografico internazionale , e tiranni in borghese , «Cinema Nuovo», «Cinema Illustrazione», n. 32, 1 April 1954 3 May 1933

«In the first part Anna und Elizabeth ANNA UND ELISABETH reminded us of La guarigione delle malattie by Charles-Ferdinand Ramuz, Director: Frank Wysbar; screenplay: the more we found the same atmos - Gina Fink, F. Wysbar; cinematography: phere and some of the same land - Franz Weyhmayr; editor: Alice Ludwig; scapes of the famous Swiss novelist. [...] music: Paul Dessau; cast: Do ro thea A curious film, original, sometimes Wieck, Hertha Thiele, Carl Wery, slow, as required by the script, and Mathias Wieman, Maria Wanck, Carl admirably played by Dorothy Wieck Balhaus, Roma Bahn, Dorothea Thiess, and Hertha Thiele, the latter even Karl Platen; production: Kollektiv-Film/ extraordinary. [...] Terra-Filmkunst; country: Germania, The scene in which Elisabeth gets up to 1933; format: 35mm, b/n; length: 74’. walk is top notch, as well as other 35mm print from Friedrich-Wilhelm- moments of the film; but I repeat that a Murnau-Stiftung. few scenes could be relieved, because the images are exceptionally expres - «Important, artistically, is the German sive, thanks to the two main perform - Anna und Elisabeth (Terra Film) made ers. Herta Thiele makes us forget about by Frank Wysbar, played by a good being in front of an actress. His acting group of players that excel Dorothea reaches the perfection, a level that eras - Wieck and Herta Thiele, the two es traces of the trade. known stars of Mädchen in Uniform . Congratulations also to the director, The subject is unusual: a humble vil - which unlike many others saw no need lage girl who watches in prayer, one to show us in the first scene a long dead, the singular did happen to see view of the village, on the pretext of him resurrect. From that moment, she creating the atmosphere. Here on the is considered a saint, and so you contrary the atmosphere comes gradu - believe in her, in her divine power, that ally, and the story is concealed in the a young lady paralyzed, immobilized rhythm of events. A definition that for years in the chair, ends up regain - perfectly accords to Anna und ing, in a supreme effort of will, evi - Elizabeth is the one that Christian dently a nervous shock, the own two Sénéchal [...] proposed for works of set - feet long remained inert. ting paesana of Ramuz, who “are so At this second miracle, the innocent new in their earthly realism to create a fame spreads and all the sick, those in hallucinatory, in when a visionary

86 imagination captures the everyday chase him, which, according to the details of our lives”.» description of the young man delusion - Lucien Wahl, «Pour Vous», al, are the agents of death himself. The n. 264, 7 December 1933 following evening she responds to the sound of the bell and find again the stranger on the other side. [...] The last FÄHRMANN MARIA resort of Mary is to sacrifice in place of man who now loves. [...] Of course, this Director, story: Frank Wysbar; screen - film had nothing in common with any play: F. Wysbar, Hans Jürgen Nierentz; other film of the Nazi period. In prac - cinematography: Franz Weihmayr; edi - tice it is a silent film, with a few pieces tor: Lena Neumann; music: Herbert of dialogue, accompanied by bright Windt; cast: , Aribert soundtrack of , pho - Mog, Carl de Vogt, Peter Voss, Gerhard tographed in an exceptional way by Bienert, Eduard Wenck, Karl Platen; Frank Weihmayr. Wysbar and production: Pallas Film/Terra-Filmkunst; Weihmayr took their players and their country: Germa nia, 1936; format: team and led them away from the stu - 35mm, b/n; length: 85’. dios, in the remote wilderness of 35mm print from Friedrich-Wilhelm- Luneburg near Hamburg. [...] In an era Murnau-Stiftung. of slapstick and historical pomposity, Fährmann Maria is a really strange «Fährmann Maria closes the series of note, and you can read a variety of supernatural films that began with The symbolic meanings in the plot, some of Student of Prague in 1914. [...] At the which will certainly not flattering beginning of the film, a boatman in a towards the Nazi cinema. The men on place far from his hut feels playing horseback chase the hero riding in hopscotch across the river. He brings black on white horses, like the SS. The his boat on the other shore, where it figure of the Unknown (Peter Voss) that takes on board a strange, silent man. In almost never speaks, is taken directly the middle of the river the boatman from Lang film, Destiny ; He is obvious - drops dead in the arms of the ly the agent of evil and death, but it is unknown. This story gives rise to the not indifferent and insensitive. [...] rumor that the river is inhabited by an Goebbels was disgusted by the film, evil spirit, and it is impossible to find probably because the meaning of the someone willing to do the boatman. A story was not clear. [...] When he emi - homeless girl named Mary, who was grated to the United States, Wysbar looking for work at the resort, accepts remade the same story under the title the post. The first night of her new job, Strangler of the Swamp .» she is called to pick up a wounded David Stewart Hull, Il cinema nel Terzo young man who is clearly on the run. Reich. Studio sul cinema tedesco degli anni It makes him cross the river, and does 1933-1945 , Cinque Lune, Roma, 1972 not respond to the calls of those who

87 STRANGLER OF THE SWAMP in a period marked by La casa sulla scogliera and Dead of night the ghost Director: Frank Wisbar [Wysbar]; story: stories at last beginning to be taken F. Wysbar, Leo J. McCarthy; screenplay: seriously. But the PRC was the poorest F. Wysbar, Harold Erickson; cinematog - of all the Hollywood studios, even raphy: James S. Brown jr; editor: Hugh smaller than the Monogram, and all I Winn; cast: Rosemary La Planche, expected was a horror little film from Robert Barrat, Blake Edwards, Charles turning in one week, with less than $ Middleton; production: PRC; country: 20,000, to accompany products like USA, 1946; format: 35mm, b/n; length: Mad Monster or The vampire . Wysbar 59’. did not disappoint the expectations in Video copy (from 35mm) from Anno terms of cost and manufacturing plans, uno. but gave the PRC what looked like an “art” film, a work which, although «Frank Wysbar (1899-1967) is one of unable to match the lyricism of the the lesser-known German directors and original remained unmistakably roman - more interesting. During the early years tic and German. [...] The PRC, probably of the sound he produced two very shocked by the result, he tried to bring fine films - Anna und Elizabeth (1933) the film as horror, inflicting a typical and the movie tonight, Fährmann horror soundtrack that not only antici - Maria - then leaving Hitler’s Germany pates the suspense, but impoverishes to arrive in 1939 in America. We know the moments of silence [...] so impor - little of his early years in this country, tant in creating the atmosphere. But except that pledged to disclose its anti- it’s a small film so remarkable that you Nazi position with a long series of pub - can defer on these limits, and also on lic interventions. His Hollywood career those of Rosemary La Planche, beauty was limited to four interesting low- queen who would undertake a brief budget films shot for the PRC, as the and negligible career, and starring curious The Prairie , a western shot Blake Edwards, who would then have entirely in the studio. He returned to done better as a director.» (William K. work in Germany in 1957, making Everson, 1987) eight more films [...] but never regain the prestige of the past. On the basis of Anna und Elisabeth and Fährmann Maria , Wysbar may nevertheless be put on one of the most original poets of the silver screen. [...] It is no coincidence that Wysbar, arrived in Hollywood, he decided in 1945 to produce a remake of his best German films. After all it was basically his creation that had not been seen by the American public, and also

88 When the film is hot The body of the bodies in the image

89 [GIORNALE LUCE C0133 ] Barzizza, Carlo Ludovico Bragaglia, COME NASCE LA PELLICOLA Tonino Delli Colli, Mario Craveri, FOTOGRAFICA E CINEMATOGRAFICA Gabor Pogany. So many films shot on film Ferrania, including the first Italian Produzione: Istituto Luce; country: Ita- film in color Totò a colori . We like to lia, 1941; format: 35mm, b/n; length: 2’. play with the twist of fate and find out Montaldo is also a town in the province In 1923 at the presents the first of Savona, near Ferrania. The circle Italian positive motion picture film. In closes. 1926 under the name Film Ferrania, it becomes a brand that is increasingly asserting itself until 1932, when he becomes Italian leader in the produc - LA NOSTRA CASA NEL VERDE tion of films in Italy. A document of Director: Emilio Gerboni; country: Luce describes the process of manufac - Italia, 1976; format: Super8, col.; length: ture in the laboratories are located right 27’. in Ferrania (Savona) when the film was Copy video (HD digitization of Super8 still in the cellulose nitrate and there - at Lab 80, Bergamo) from the author. fore flammable. The film is presented within the film that follows. Emilio Gerboni graduated at the school for cinema operators in Turin in 1954. He worked at Ferrania 3M for fifteen IL CINEMA È UNA BOMBA . D A FERRA- years in the graphic arts division, prod - NIA A CINECITTÀ uct development, quality control, train - Director: Anna Lajolo, Guido Lombardi; ing and marketing. For the magazine voce: Giuliano Montaldo; production: “Ferrania” has created several photo RAI; country: Italia, 1989; format: vi - shoots. He taught courses in the graph - deo, b/n e col.; length: 55’. ic arts industry and for twenty years Copy video from Cineteca Nazionale marketing director Policrom Screens. (by permission Lajolo-Lombardi). As a journalist working with several Italian and foreign graphic magazines. Giuliano Montaldo lends his voice act - In addition, passionate cineamatore, has ing in this process that ideally starts traveled the world and filmed mainly from Ferrania, the historic factory, pro - in Super8. The constancy with which ducer of films, and reaches its destina - Gerboni accomplishes this short family tion par excellence: Cinecittà. Famous films, is certainly the first thing to which cinematographers, directors, actors and you will be impressed: throughout the laboratory technicians recall experi - whole of the construction of his new ments and successes of Ferrania films. home, Gerboni relies on camera the role Witnesses of the meeting except of the project witnessed: purchase the between Ferrania and Italian cinema terrain, the casting of foundations, up to are among others: Raf Vallone and Isa the roof covering and furnishings. For

90 over a year, in every decisive moment of Short film shot two years after the the yard the camera captures the various founding of the Cineteca Italiana, at the stages edification. This, to steal a term to hands of the same Comencini. The professional film, is the first time. The route explains how the films, now out second time, however, is the human fac - of circulation, VE- nivano brought to tor: the family can finally get into his pulp and regenerated to create new new home and live in all its seasons: objects. A bitter fate, if we think of how lunch in the garden with friends and many masterpieces have been lost for summer barbecues, snowmen with ever, but also one of the first examples heavy snowfalls in winter. We are in of highly hazardous material recycling, Gorle, a residential district in the city of which does not seem to affect the Bergamo, a short distance from the cen - director, leaning instead on the ter, in the meantime become quiet and impending need to be a film archive. peaceful destination of the most affluent The Cineteca Italiana of Milan is the Bergamo. It was 1976 and today the result of this relentless determination house is still the core of that family. The in safeguarding and constant enhance - children growing up have left but there ment of film heritage. are returning introducing other charac - ters (always to remain in the structure of film language): their children. During LA VALIGIA DEI SOGNI moments of celebration, they find them - Director: Luigi Comencini; screenplay: selves so three generations under one L. Comencini, Giuseppe Bennati, Ettore roof. Often family films involving and Maria Margadonna; cinematography: deeply moved that small group of peo - Vaclav Vich; editor: Franco Fraticelli; ple to whom they are intended, retrac - music: Mario Nascimbene; cast: ing the tracks of their past. So why this Umberto Melnati, Maria Pia Casilio, film manages to touch deep chords Roberto Risso, Ludmilla Dudarova, even a stranger who comes across in his Helena Makowska, Xenia Valderi; pro - vision from the first time? As often hap - duction: Mambretti; country: Italia pens, the will of those films is disrupted 1953; format: 35mm, b/n; length: 84’. by the look of the observer and the 35mm print from Cineteca Italiana. meaning of those images suddenly is another . A 1953 film which contains parts of the short film Il museo dei sogni , shot by the director himself some years earlier. IL MUSEO DEI SOGNI The films, real passion of the protago - Director: Luigi Comencini; production: nist, becomes his main problem, due to Cineteca Italiana; country: Italia, 1949; their flammability. Saved from the format: 35mm, b/n; length: 10’. shredder, and projected in the institu - 35mm print from Cineteca Italiana. tions of education, films catch fire and this is precisely accused the unlucky

91 protagonist, Ettore Omeri . He manages Max man Coop/Kilda Film; country: to clear her name and a wealthy bene - Italia, 2015; format: video, col.; length: factor will give him the chance to real - 12’. ize his great passion: a museum of Copy video from the author. Cinema. Many autobiographical refer - ences of the director, who in 1947 in Since 2014, movies are no longer dis - Milan was the founder of the Ci ne t eca tributed in film. Paolo Romagnoli was a Italiana. Luigi Comencini was one of projectionist and his past life in the pro - the first conservative of film heritage in jection booth becomes a documentary. our country. In archive scenes appear In recent years, the wave of nostalgia among others Italia Almirante Manzini, already postmodern, there are many Francesca Ber tini, , articles written about the disappear - Eleonora Duse, Pina Menichelli, Amleto ance of the film and the projectionists, Novelli and Bartolo meo Pagano. these figures seen almost as a shop craftsmen, architects of the last movie magic. With this film he wanted to doc - DUE DOLLARI AL CHILO ument a world that is closed, that changes shape before our eyes, and a Director: Paolo Lipari; screenplay: Gian - trade, for many charming, always lived ni Comencini, Matteo Pavesi; produc - in the shadows, became the symbol of tion: Fondazione Cineteca Italiana; an era that goes down. country: Italia, 2000; format: 35mm, b/n and col.; length: 18’. 35mm print from Cineteca Italiana.

Not far from the intent of Luigi Comencini with his Museo dei sogni , this documentary makes us discover the fate reserved for Kodak films dis - posed in an establishment in Liguria. And now a blockbuster movie at the box office, requested for months in all rooms in the world, after a little back to become a common object, conducted through the shredder at the price of just two dollars a kilo. Several tributes to Museo dei sogni , which contains some scenes.

L’ ULTIMO PROIEZIONISTA Director: Vito Palmieri; production:

92 Persistence of picture

93 DEBORAH DE ROBERTIS AND MILLE Luxembourg institutions that seemed OCCHI 2014 more enlightened they canceled the show, there a tough legal battle in Video with the photo shoot made by which we can only wish to Deborah a Andrea Lasorte and Aaron Burn video. success despite the current worrying Country: Italia, [2014-]2015; format: vi - loss of institutional support. The deo, col.; length: 29’ in loop. appointment remains for us to 2016, Copy video from Anno uno. but we await assurances from always intermittently communicate with her. Was it a mistake? Not the choice of The only certainty of his cross our lives video-projection on the big screen last are the images that we see in the loop year Miroir de l’country and starring throughout the festival: the beautiful Deborah De Robertis, in his presence, fotoservizio of 49 photos that he took video that was continuing his appear - for “Il Piccolo” in the lobby of the Hotel ance at the Musée d’Orsay under the Colombia, Andrea Lasorte, and of vaginal painting by Courbet: that which is reproduced in the catalog first, choice we are convinced as she was, seductively pre-spread (taken from the even though the author herself was beautiful red ranging from sofa, nail hesitant to move its vision from the polish and lipstick); and the video that museum space and online to that of the this event has taken Aaron Burn, where room; and even though no one else in the extension near her with timid the world wanted us to snatch the excitement in her smiling assured of a event, and the complaints now permis - need of the body (such as remembered sive (except the Islamists hells) will “Lilith” Jean Seberg) observed with an have returned to service their classic icy fund that we would be the only work of provocative image enhance - unreal. (smg) ment and censored, and even in Trieste on staff it was feared that the event exceeds certain limits (which the uncertainty of Deborah has perceived and avoided). The blunder on which doubt is the appearance of Deborah in our world, even if we are sure of exciting day after the festival passed with her still in Trieste, with the vision of his other videoperformance what promise of his return this year. But soon it became clear that the festival dates would coincide with its major exhibition in Luxembourg, and then it has postponed the return to 2016. Now, however, we learn that the

94 Abysses of passion

95 a) The Last House on the Left. Small tribute subsequent Craven movie ... but not to Wes Craven before his inevitable return to Elm Street, to face the legendary monster he [THE TWILIGHT ZONE ] THE ROAD created». LESS TRAVELLED Joseph Maddrey, Beyond Fear. Reflections on Stephen King, Wes Craven, Director: Wes Craven; screenplay: and George Romero’s Living Dead , George R.R. Martin; cinematography: Bearmanor, Albany, 2014 Brad ford May; editor: Greg Wong; music: Dennis McCarthy; cast: Cliff De Young, Margaret Klenck, Jackie b) Boiling ice. Jancsó/Ronconi/Pa solini Bernstein, Clare Nono, John Zarchen, Christopher Brown; production: Persi - LABORATORIO TEATRALE DI LUCA stence of Vision/CBS; country: USA, RONCONI 1986; format: 35mm, col.; length: 45’. Director: Miklós Jancsó; texts: excerpt - Copy video (from 35mm) from Anno ed from Calderón by Pier Paolo uno. Pasolini and Las Meninas by Diego Velázquez; cinematography: Nino The peaceful existence of Jeff is dis - Celeste; editor: Roberto Perpigna ni; rupted by the appearance of a ghost, guests: Luca Ronconi, Gae Au len ti, that forces the protagonist to confront Gabriella Zam parini, Edmonda Aldini, his past, and in particular with his deci - Miriam Acevedo, Marisa Fabbri, Tullio sion to desert the call to arms during Valli, Franco Quadri, Ugo Tessitore, An - the Vietnam War. tonello Fassari; production: Cooperati- Last of the five episodes which in the va A.A.T.A. and Cooperativa Tuscolano eighties Wes Craven takes part in the for Raidue; country: Italia, 1977; for - remake of the cult television series The mat: 16mm, col.; length: 77’. Twilight Zone . Copy video (from 16mm) from Fuori orario. «The Road Less Travelled starts with a series of nightmarish visions and then «Calderón has entrusted to a Miklós turn into a story of double, which Jancsó documentary, when it is still in Craven returns to the themes of the testing phase; Hungarian director is Shatterday . This time, however, two favored by the circularity which deter - versions of the same woman complete mines the movements of the first act, in one being, with the more fortunate congenial to his predilection for the that I agree to share the nightmares of sequence shot. But for him it comes to the least fortunate, in order to become experience on an experiment, regard - a complete human being. The Jungian less dall'esprimerne the narrative. implications of that idea - to integrate Indeed, in the years when still strug - their shadow-side into a new identity - gling to realize the importance of the would continue to bleed in many of the video, however, it is completed, the

96 Laboratorio di Prato on waiver commu - the ability of intuition, imagination or nication to communicate an emotional rebellion of the viewer goes on a rant. experience, by means not ephemeral». Those of Pasolini are rants - beautiful, Franco Quadri, La scena elettronica , interesting, banal, conventional, rhetor - in Luca Ronconi, Gli ultimi giorni ical, exciting - and not comedies.». dell’umanità. Dal Lingotto alla Stefano Socci, Pasolini a teatro. televisione , Aleph, Torino, 1991 Conversazione con Luca Ronconi , «Cinema e Cinema», n. 43, «With all its limitations, from a theatrical May-August 1985 point of view Calderón seemed like a good story: to make exactly what Pasolini did not want, a theater show. c) Cinema on the bottom. The promise of has stimulated first and foremost I an Ciro external element to the text: the Laboratory of Prato on Calderón had BUIO IN SALA been included in the program as a variation on the theme of Life is dream Director: Dino Risi; cinematography: of Calderón de la Barca, and not only Enzo Od done; music: Mario Nascim - for what the author hoped to say bene; cast: Renato Nardi, Gaddo Calderón , as for what the text express - Treves, Adriana Asti; production: Film es objectively in comparison with La Service; country: Italia, 1950; format: vita è sogno and Der Turm by 35mm, b/n; length: 11’. Hoffmansthal. [...] I think Pasolini did 35mm print from Istituto Luce. not think the representation of his plays, so it's no surprise that it does not «Walk, on a street in Milan, a man, like happen. Are read, and get that corre - so many in the big city. Walking, with spondence that poetry can have, but faux leather bag from one street to you can represent them in very unusu - another, from store to store, to offer al cases, such as in Prato: if the seat had brushes, or jewelry. It's a win, one of not been to the laboratory, but that of those that life, with a patient work all a normal relationship between the the - hours, of all minutes, pushed to the ater and the public, hardly I put margins. The daily struggle is difficult Calderón scene. [...] I'm interested in a for men like him who lack courage, work and not the author: this at the authority, self-confidence. But there cinema, in the theater, in front of a are, fortunately, in the city, the places painting, in music. I resent the author's made just for forgetting and forgetting. prevarication. [...] A playwright has to That's why our business traveler goes make way for the public; if it believes to the cinema: to change skin, get out that the public is a despicable category of life everyday, travel, see beautiful to which inflicting some of his opin - women, love, succeed in life. In the ions, no theater here is the inertia rea - cabin, the operator puts the pizza in sons. An author who does not stimulate the car: he is perhaps the only one who

97 does not believe in fairy tales that, at started to take care of indoor halls fixed hours, the dream machine offers when, in one of the first months of life to the paying public. After the opera - of L’Officina, an elderly gentleman tion, turn off the light in the room. The descended the stairs of the room. He show begins. But we do not look at the returned from Russia where he had screen, keep your eyes on the audi - moved after the promulgation of racial ence. The soundtrack sends us the laws. Before leaving Italy he had been voices of the film-type screen that is operator for newsreels “Luce” but it was being projected: there is everything, the communist. He said that his department cruel dialogue gangsters, the fear, the head at the time had made filming for gunshots, the joints, the music, the scarring the demolition of his house in laughter, the furious rides: the words Piazza Montanara. And close by, as a love and the final kiss. The audience child, went to the movies always trying watches, cries, laughs, wait and to get in without paying. Then he had despairs. And our hero slowly rise, left Italy and Russia had made the pro - comes out of his apathy, he also partic - jectionist until retirement age. Just he ipates, he has his heart in his throat, got back had gone to see those places, and shudders and laughs and is moved. but had not found anything. So he Thus, when the film is finished, anoth - asked me to help him find something er man is what comes out in the day - then, that small cinemas, some element light, a man smiling and walking tall. of his youth and of his carelessness. I Off the real life awaits him, the difficult never saw him again. But in the early money, impossible loves. But the nineties, down with my wasp from movie to anything served. He gave, in Piazza San Saturnino to Corso Trieste, I our dilapidated commercial traveler, a saw that they were demolishing the Rex little courage. A small injection of ener - cinema, one of the rooms of my life. I gy that will serve to pull through, as had a small heart and a great anger. best, even this gray, endless day.» That time I remembered the promise I made to the Lord ... ». Ciro Giorgini in Martina Ghezzi, APPUNTI PER UN FILM SUI CINEMA RO - I cinema di Ciro , «Alias», 1 May 2015 MANI Director: Ciro Giorgini; edited by: Alessan dro Aniballi, Valerio D’Angelo, Martina Ghezzi, Daria Pomponio; country: Italia, 2015; format: video, b/n and col.; length: 20’. Copy video (edition in progress) by authors. «In 1976 I founded the film club L’Officina together with some friends. I

98 Head and tail titles

99 A THOUSAND AND ANOTHER THOU - of Trieste. The program was developed SAND (EYES ) in agreement with the Istituto Statale di Istruzione Superiore Giosuè Carducci - Volunteers, employees and the public Dante Alighieri with the aim to raise have contributed to the realization of awareness among young people. The the promo 2015: the eyes of the partic - video message was edited by Cinema ipants were taken to create a compos - con i giovani , a project of Associazione ite video, in which they own a thou - Anno uno. sand eyes open wide, a thousand views on cinema, everywhere, every time. You just have to open the doors of per - CODA ception and abandon themselves to the vision of a vortex of looks, our. Director: Luis [Fulvio Baglivi]; produc - tion: SCS; country: Italia, 2014; format: 35mm/16mm/8mm, b/n and col.; MY LOVE length: 11’. 35mm print from the author. Director: Paola Pisani; country: Italia, 2015; format: video, col.; length: 4’. Coda is a film material, physical. A film Copy video from the author. made film with films, with those places segments in the head or tail of a roll A preview of a declaration of love at useful to the projectionist and mount - convergent Niki, through his artworks ing and printing laboratories: Film and his lyrics. pieces include information. Coda is a film made with scraps of film process - ing industry, with the unnecessary film PREVENIRE È VIVERE segments for the viewer but fundamen - Realization: Francesca Alessandrini, tal to achieve the zero-copy of a movie Hari Bertoja, Stefano Facchinetti, Mila or to ensure that this is projected cor - Lazi ć, Otto Reuschel; cast: Franco Maria rectly. Coda is a film made of code, is Bertoja, Guido Botteri, Stefano a small movie poster that reminds us of Facchinetti, Marta Jerijan, Simone Later - the material of which are (were?) made za, Amadeo Rigatti Bernal, Davide Sa - with open eyes Cinema. (Fulvio Baglivi) luc ci; production: LILT Trieste; country: Ita lia, 2014; format: video, col.; length: 2’. Copy video production.

The spot is part of the program “Youth and Volunteering: Volunteering in motion”, promoted by LILT ( Lega Italia - na per la Lotta contro i Tumori ), section

100 Le gai savoir meetings with filmmakers and other festival visitors

MONDAY , S EPTEMBER 21 hr. 11:15 Caffè degli Specchi Le gai savoir, 1. A thousand and another thousand (eyes) Meeting between spectators and co cre - ators of the Mille occhi, with the pre s- ence of the other festivals of the city and the region, public administrators and all the curious, and the participation of Fulvio Baglivi and Emilio Gerboni.

TUESDAY , S EPTEMBER 22 hr. 11:15 Salone degli Incanti Le gai savoir, 2. Books are the cine - ma, the cinema is the book of life Readings of non-film works which nev - ertheless belong to the cinema, or rather which the film belongs. With Skype via intervention of Marc Scialom (Les autres étoiles , ed. Artdigiland 2015) and reading dialogues with Guido Ce - ronetti, Paolo Isotta and other authors.

WEDNESDAY , S EPTEMBER 23 hr. 11:15 Salone degli Incanti Le gai savoir, 3. Why the Premio Anno uno? Meeting with Vítor Gonçalves, with the participation of Roberto Turigliatto and Roberto Calabretto, even on large Portuguese cinema (António Reis, Paulo Rocha, Manoel de Oliveira, João César Monteiro ...), its constellation of collaborators (Daniel Negro, Ana Luísa Guimarães, Joaquim Pinto ...) and about music in his films.

101 Anno uno overflow parallel events during and after the festival

OUTSIDE / DAY . W ALKS TO THE DIS - PORTI MAGICI COVERY OF CINEMA IN THE PROVINCE October 3, Lanterna, the third call of OF TRIESTE the event organized by Associazione curated by Casa del Cinema in Trieste Anno uno, partner with the Province of and Province of Trieste Trieste • Saturday, September 19, 10:30 There was once a town of fools A path to the discovery of the San LUCA COMERIO AT THE PORDENONE Giovanni area GIORNATE DEL CINEMA MUTO • Sunday, September 20, 10:30 October 3 to 10 one of the greatest The Carso, the Sea, the Cinema international film events continues the A path to the discovery of the territory rediscovery of a great misunderstood between Opicina, Napoleonica and filmmaker, with the complicity of the Duino Mille occhi and their humble Director

A FRIEND BACK THE TASTE OF A CITY . T RIESTE COF - Friday, September 25, 18:00, Casa della FEE CAPITAL Musica in Trieste at the Salone degli Incanti (ex Pesche - Olmo Amico, Gabriele Centis and ria) every day from Tuesday to Sunday, Sergio M. Germani have a program in in the path on the coffee events and its tribute to Gianni Amico with L’uomo tasting, the Mille occhi sul caffè edited Amico by Germano Maccioni, Noi insis - by Francesca Bergamasco, made for the tiamo! and Appunti per un film sul jazz exhibition by Gianni Amico; first stop in Trieste of a tribute that will continue to Mille occhi 2016 with Brazilian films, his ele - EUROPE AT WAR . T RACES OF THE gies policies and choral, and his other SHORT CENTURY rare films. between the volumes accessible to the bench of the magnificent festival expanded edition of the book edited by Piero Del Giudice (edizioni “e” 2015), output for the resumption of the exhibition in Trento after the first in ... the festival can last years and lives Trieste, with over 100 pages added on, as long as he knows he can cultivate the festival fit for a future edition.

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