Who has read Conversation in Sicily (1941) of Elio Vittorini (1908-1966) knows that he met one of the greatest books of contemporary Italian literature. Caught by the Sicilian legend, Odysseus our memory retains above all a man in motion, taking income away, wandering aimlessly before going to find her mother, soon accompanying his tour of bites to dark and poor hovels, before wandering into the village at the option of several meetings, finally surrendering to voices, ghosts and phantoms. The novel first appeared in serial form in 1938 in the journal Letteratura Florentine then, with the legislature rusant fascist in book from two editors. Censorship did not wake until 1942, when the vigilance of the Holy See denounced the novel as "immoral and anti-national" in L'Osservatore Romano . And it is precisely those viewers are accustomed to bad the filmmakers the most static of all cinema, Jean-Marie Straub and Daniele Huillet, who would seize all that space and any this movement?
Straub isolates existing dialogues or transformed from their indirect style, and six years later, Huillet would make a movie, but is not the business that they can find people available two or three hours daily for several months, something no player today can, does, does not know how. They then take an old suggestion of a theater (Buti Tuscany) without troop fixed. With ten workers in the neighborhood, all of Sicilian origin, the filmmakers go on the adventure of four performances closer to the theater than were then most directors of that time, terrorized by the film aesthetic. Editions Montparnasse propose with the film, capturing a front for this show , which will measure the specific genius of the stage and screen, with the same text, same actors, same directors stage.
Although Jean-Marie Straub often overlook the wealth of film Sicilia! rises, with Moses and Aaron Schoenberg (1974), Amerika / Reports Class alleging Franz Kafka (1983), and Antigone of Sophocles, Holderlin and Brecht (1991), among the peaks of their work. Cutting - available from the publisher Toulouse Shadows - identifies five head-to-head Silvestro: the port of Messina with orange seller, paid in oranges he fails to sell ; in a compartment, with the Grand Lombard dreaming of a new order or a new order and a thug who pretends to be an employee of the cadastre; in the kitchen with his mother, moving and funny, which turns the Beaded confrontation and cruel, mingling fathers and husbands, mistresses and lovers, socialists and St. Joseph before the Chiesa Madre Grammichele finally with a sharpener who wants to see again a real blade, the one we made the revolution. Six players immersed inhabited, carried in a modern text and scholar who said their country and their memory, when the actress, for example, can barely read and seamless appropriates its highest literature, as in all other diction set as an opera. This is not a way of speaking, typing Straub are genuine scores comparable silences punctuated with pauses and half-sighs: Purcell and Monteverdi in our ears. The filmmaker Chronicle of Anna Magdalena Bach (1967) does he not often that behind Jean-Sebastien Bach three centuries ago of rural culture? As for that famous and deceptive stillness, she takes us to shake and quiver with them, live incessant gaze, facial expressions and intonation: a hand moves and the world explodes.
We here reported the cabinet 5 published by Editions Montparnasse, where you can find the documentary Where lies your hidden smile Pedro Costa, devoted to the filming of Sicilia! themselves and their assistant on the film Jean-Charles Fitoussi Sicilia! If gira , which we also read the testimony intelligent and analytical, part of a set folder included on the movie. These two additions and true films show that if the cinema of Straub is indeed controlled by a very simple means implemented, as we seem simple Matisse and Picasso, their only care is their madness beyond any able to give shape and seems to be obvious.
© Photo: The text of Elio Vittorini cut, typed and formatted by Daniele Huillet, highlighted by Jean-Marie Straub. At each stage of rehearsals, Straub uses a different color: "The Straub there are a text as a musician there is a music from a score. Musician: how music that partition is it the text? And filmmakers: what the text is the text it, what reality? . Jean-Charles Fitoussi, The letter Film , No. 8, Winter 1999.
0 comments:
Post a Comment