The Wedding Director Il Registra Di Matrimoni

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The Wedding Director Il Registra Di Matrimoni THE WEDDING DIRECTOR IL REGISTRA DI MATRIMONI MARCO BELLOCCHIO FILMALBATROS, RAI CINEMA, DANIA FILM, SURF FILM IN CO-PRODUCTION WITH FILMTEL WITH THE SUPPORT OF EURIMAGES PRESENT THE WEDDING DIRECTOR IL REGISTRA DI MATRIMONI A FILM BY/UN FILM DE MARCO BELLOCCHIO INTERNATIONAL PRESS Le Public Système Cinéma SALES French Press Celluloid Dreams Laurence HARTMANN-CHURLAUD T : +33 6 1802 1358 In Cannes 2 La Croisette [email protected] 3rd floor assisted by Alexandra FAUSSIER T : +33 4 9298 9650 T : +33 6 1461 4841 F : +33 4 9298 9648 [email protected] In Paris 2 Rue Turgot, International Press 75009 Paris Alexis DELAGE-TORIEL France T : +33 6 8021 4988 T : +33 1 4970 0370 [email protected] F : + 33 1 4970 0371 assisted by Zeina TOUTOUNJI-GAUVARD [email protected] T :+33 6 22 30 1296 www.celluloid-dreams.com [email protected] In Cannes 13, rue d’Antibes ( last floor ) 06400 Cannes T : +33 4 9368 6270 / +33 4 9368 6218 F : +33 4 9368 6195 In Paris 40, rue Anatole France 92594 Levallois-Perret T : +33 1 4134 2032 / 2201 F : +33 1 4134 2077 4 PRODUCTION INFORMATION Title: The Wedding Director - Original Title: Il Registra Di Matrimoni A film by Marco Bellocchio Starring Sergio Castellitto, Donatella Finocchiaro, Samy Frey Italy / 2006 / 100 min / Color / 1:66 / Doldy DTS / Italian The photos can be downloaded on : www.celluloid-dreams.com & www.lepublicsystemecinema.com Les photos du film sont téléchargeables sur : www.celluloid-dreams.com & www.lepublicsystemecinema.com THE WEDDING DIRECTOR 5 SYNOPSIS Franco Elica, a film director, slides into despair after his daughter marries a devoted catholic. When he is asked, to his horror, to make yet another version of Alessandro Manzoni’s ‘The Betrothed’ he flees to Sicily. Hiding out in a small village he meets a host of colorful characters: a man who makes his living shooting souvenir wedding films, a film director who is faking his own death to finally achieve the fame that has eluded him all his life and the cultured nobleman Prince Ferdinando Gravina di Palagonia. The Prince commissions Franco to shoot the wedding of his beautiful daughter, Bona. He falls instantly in love with the Princess and decides to make it his mission to save her from a marriage of convenience. Franco Elica, metteur en scène, est désespéré par le mariage de sa fille avec un fervent catholique. Quand, par ailleurs, on lui demande de réaliser une énième version du film “Les Fiancées” d’Alessandro Manzoni, il s’enfuit en Sicile. Réfugié au fin fond d’un petit village, il fait la connaissance de trois personnages. Un homme qui vit de ses films de cérémonies de mariage, un réalisateur qui se fait passer pour mort afin de bénéficier de la renommée qu’il n’avait pas de son vivant et un Prince cultivé mais ruiné. Le Prince Ferdinando Gravina di Palagonia lui propose de filmer le mariage de sa fille Bona. Franco tombe instantanément amoureux de la sublime princesse et décide de la sauver de ce mariage de raison. 6 THE WEDDING DIRECTOR 7 DIRECTOR’S STATEMENT For me a film grows from an image. The Wedding Director too started from a chance image – a young bride and groom being filmed by a “wedding director” on the beach at Scilla in Calabria. What struck me as I sat watching (just like the main character of the film) was the obedience of the two young people. Just like professional actors, they did exactly what the director told them to do. These two youngsters still had all their lives in front of them, lives in which they could do whatever they wanted; but for them it was as if life was already determined, as if their joint “I do”, signified their unconditional surrender, as if their entry into marriage meant embracing the obedient and rational world of their forefathers. 8 So later, when I came to develop the idea into a screenplay, I imagined a character – the film director Franco Elica – who is faced with the situation of having to film a wedding and instead, sets about sabotaging the wedding. His efforts are like a “political action» but they are motivated not by politics, but by an unexpected passion for the future bride, Bona Gravina, Princess of Palagonia. This passion leads Elica – like Theseus in the labyrinth – to the saving of Bona, and protects him from various mortal dangers along the way... But since he is not a born hero the quest is often beset by problems; indeed, it is almost as if he is afraid to win, to have the woman he loves and to be happy with her. When he is just one step from victory he risks losing everything as if he were deliberately making a mistake. This intermittent strength and vigour, interrupted by mental blanks, moments of cowardice and sudden retreats just as Elica is near success, determine the movement of the film; a continuous alternation of complete happiness and its immediate negation, of utter ecstasy and paralyzing tension. It parallels the sexual act itself, which tends naturally towards orgasm and a concomitant loss of consciousness but is constantly threatened by the all too conscious fear of losing control and of losing consciousness itself... Perhaps that was my real starting point. The ultimate conquest of the woman, Franco Elica’s first real conquest, ends the film on a note of genuine optimism. Elica’s quest takes place in an imaginary Sicily, chosen perhaps for its unforgettable blue sea or for its archaic, mythological qualities. The film is full of external shots of boundless landscapes, by night and by day, with the sun, the sea and the sky. Yet, it has a strangely interior dreamlike feel, looking from the dark towards the light. Pour moi, un film naît d’une image. Il Regista di matrimoni est né d’une image prise au hasard, d’un couple de jeunes mariés filmé par un metteur en scène de mariages sur la plage de Scilla en Calabre. Ce qui m’a frappé alors que je les observais depuis mon siège (tout comme le protagoniste du film), c’est l’obéissance dont faisaient preuve les deux jeunes gens. Tout comme des THE WEDDING DIRECTOR 9 acteurs professionnels, ils faisaient tout ce que le metteur en scène leur demandait. Ces deux jeunes avaient toute la vie devant eux pour faire ce que bon leur semble. Mais, pour eux, la vie semblait déjà écrite d’avance, comme si leur «oui» conjoint signifiait une reddition sans condition, comme s’ils adhéraient par le mariage au monde soumis et rationnel de leurs ancêtres. Du coup, lorsque je me suis attelé au scénario, j’ai imaginé un personnage – le metteur en scène, Franco Elica – qui, se trouvant dans la situation de filmer une noce, décide de «saboter» la cérémonie. Il s’agit pour lui d’un geste politique, motivé non pas tant par militantisme que par une passion soudaine pour la future mariée Bona Gravina, princesse de Palagonie. Cette passion pousse Elica, à l’instar de Thésée dans le labyrinthe, à sauver Bona, et le protège des nombreux pièges mortels tendus devant lui. Mais parce qu’il n’est pas un authentique héros, sa trajectoire est souvent semée d’embûches, comme s’il avait peur de gagner, de conquérir la femme aimée et d’être heureux à ses côtés. Alors qu’il est tout près de remporter la bataille, il prend le risque de tout perdre, comme s’il se créait des problèmes délibérément. Le film est traversé par des soubresauts d’énergie et de vigueur, ponctuées d’absences et d’instants de lâcheté et de renoncement – au moment où Elica est sur le point de gagner. C’est un va-et-vient constant entre un bonheur total et son contraire, entre un sentiment d’extase absolue et d’angoisse tétanisante. Cela fait écho à l’acte sexuel même qui tend naturellement vers l’orgasme et, conjointement, vers une perte de conscience. Mais, dans le même temps, ce bonheur est menacé en permanence par la peur bien connue de perdre le contrôle de soi et sa conscience même. C’est peut-être là le véritable point de départ du film. En s’achevant sur la conquête ultime d’une femme – première vraie conquête pour Franco Elica –, le film se clôt sur une lueur d’optimisme. La conquête d’Elica se déroule dans une Sicile imaginaire, sans doute choisie pour le bleu inoubliable de la mer ou pour son atmosphère mythologique et ancestrale. Cependant, même si le film est parcouru d’images tournées en extérieurs, de nuit ou sous le soleil, et de paysages sans limite, j’ai le sentiment que la mise en scène part de l’intérieur et que l’atmosphère du film est d’une étrangeté onirique traversée de lumière naturelle, et donc d’espoir. 10 THE WEDDING DIRECTOR 11 12 FILMOGRAPHY 1965 Fists in His Pocket Les Poings dans les poches 1967 China is Near La Chine est proche 1967 Discutiamo, discutiamo (episode of Love and Anger) Discutiamo, discutiamo (épisode de Evangile 70) 1969 Paola Paola 1969 Viva il primo maggio rosso 1971 In the Name of the Father Au Nom du père 1972 Slap the Monster on Page One Viol en première page 1974 Nessuno o tutti (poi noto come Matti da slegare) Fous à délier directed with / réalisé avec Silvano Agosti, Sandro Petraglia & Stefano Rulli 1976 Victory March La Marche triomphale 1977 The Seagull La Mouette 1980 Vacation in Val Trebbia (docu-fiction) 1980 Leap into the Void Le Saut dans le vide 1982 The Eyes, the Mouth Les Yeux, la bouche 1984 Henry IV Henry IV, le roi fou 1986 Devil in the Flesh Le Diable au corps 1988 The Sabbath La Sorcière 1990 The Conviction Autour du désir 1994 The Butterfly’s Dream Le Rêve du papillon 1996 The Prince of Homburg Il Principe di Homburg 1999 The Nanny La Nourrice 2002 My Mother’s Smile Le Sourire de ma mère 2004 Good Morning Night Buongiorno, notte THE WEDDING DIRECTOR 13 SERGIO CASTELLITTO As an actor / acteur (selected
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