Passion and defiance: film in Italy from 1942 to the present 9780520057449, 9780520050204

Table of contents :
Frontmatter
FIRST ENCOUNTERS (BEFORE 1942) (page 1)
I OBSESSION (1942-1944) (page 41)
II LACRIMAE RERUM (1944-1948) (page 60)
III NEOREALISM, ACT II (1948-1953) (page 90)
IV WHAT IS REALITY? (page 103)
V NEOREALISM IS LIKE... (page 129)
VI DIFFICULT YEARS (1953-1959) (page 138)
VII THE RIFT (1959-1960) (page 160)
VIII THE GLORIOUS SIXTIES (1961-1969) (page 181)
IX HIGHLIGHTS OF THE SIXTIES (page 221)
X THE CHANGING IMAGE OF THE MOVIES (1970-1982) (page 249)
XI THE DUSK OF THE LEOPARDS (page 289)
XII UNDER THE SIGN OF VIOLENCE (page 307)
NOTES (page 319)
BIBLIOGRAPHY (page 361)
INDEX OF NAMES (page 375)
INDEX OF FILMS (page 383)

Citation preview

PASSION AND DEFIANCE

Sen ee PI or FER MEA EB RECEP RL RARER TS EERE R WeRRR CATee RNRS CASao a Rees Her URES SiVitae RR fs” SRR «2 Sho ACR RAB Ne 2 2SAES hteRS eae eeSha, Sh eee oueny nee ERE ae eeTe a es Se Coc Sd TS, Ma wentee cine Says Mr omeeeeeE eaeNE Mey ere ete ARNIS hee Saeeae 0,ERENT SER ROS cee SE eget ERR eh Wea MNS SEN Sue nee EeNS es ete Re iteECG le inal eeheaSO ee ROR ae Re a AES eee Re eerie SUERTE none, ete SE RR SEE Ss ESE SRE SN RS. EE I etyaan tN ey Nee CLeeeLII LOR OSE RP OLE EP CATE LAGS a Sr te EO EN RCS RRR: peace St, SEES SR is SE SAREE isSERS eeoo eee eS ie Se REaeSe Se tnenLSE 2aRa Poe hairs ranRY ooOO ease de ange RRRAY MeeOEE eenDRT een RES etterUP SEER eR eNO yn”SEER JESSE REEoa Ree ATEON SerSESS meee NR RR RO IRN OT AS ShNIRS LeeSSO or Re NI Be sold eee NR STEERER EROa SI aoeerties ooo ante ere otcg eh nto ig thet ERRERR TOREREREAD ERR ES REMC! soeTP ran eos on ase ORESeRERUN PPAR TE te Be NeSep tae SOMERS RO Rea ERS TRae a ene Lap ete Se PN ehanay NN CERRITOS SLIT BL SSRN EA 1S SER ROO ORI AI SENT ar antec tin egestas MET ES Ee Pere st, Lee ON TER SES a ene umn aie cere cee, eae ee SEMI EILEEN RS RN Oe EEE DRE SS SE Sa Rr aR Tan een Sd SES OSES ee EI eR EECEES SSR ae RRSTse YTae SsRate 5 LONE eRRR RESaUENCORE Ee Rae escos. ee tyOn WER Legacee RSIAS RCSA REARSP NIES ft Ree OeGee ae >ROR BEESREREUR SR SS SRGR SARE. OPO PES SES SerR AER ar ee ke RE Re LS EE aRONEN BR RRR SenARTY ROR RR Sa Re EER oe, SCO OS OREO SO ee Bhd RN 8apace AORaR POR ORS SS rm nkgiht Valen ore er ead

BR ay OS ORE OE ee Gas EE SEE SRE SUNG Soe SR Soe a ee Oe ee ED RTT ROO IRN De a RT SNe ii ee ROE ral ante asians ae he SS SS ane eo Ro ese ae ROR SE SC ER tie Bee SS Sot ER A So RSE aS Re Se BE

Ee re ey FR RI IR I ay OR ne ee te ee ee a Ns Sr re ee nS EES Se Secs RRR sR arate OTE TA RR ERLE EON ORE Pe UR NN Rd

SERRE RGD EN rane eyRD Ra a aa ed lier taRAT pets aapte ata OES SIR ORE ERS Soo MS SGI Seer Sooner toes eRTithe Se.teeALS SE aeSee Hee ee vata Sete TY ERS SSR Ror sriseeh winapi en SSC pM oan en apn Beat eee RO LEN EE STE ROCCE RATinc oy AR LN UScis OSE ORICON ORE Me Ra Cece SRS SPEN Sine Suan mameoe ce ete Rae me a SERRE: ye, eer RERERN RRA SEFSRE A RESNe DOT CELE NaSSE ORS RRR Aawpa OOS ONTO Oe EO LOT REN Ra ea A ett ibEOE ety 3aR nN EN Be SCE SS a oe ONES ENR OSCR ERS OO RR ne TSRS cat RC BEES NES ES BORER ES SSae eR ASR SST CL SE SEE RR SES aSEES Re? TS ee RNR tS eS Pe RR aRRR atte enERA SeTSES aTRSOBESE eet ae SRN 2SSA See aoe esRe RO Pe SOE EE AIO eesRUE Re Se CRaU ERC RRS EOE em MERE OP DIR ONS See NSS Sa, SR BUNS Senge FY, eck WRN RRR OFSate gute ARTE Soe» TS A RARER SES RS EER RSPR RR RIRAIS RRR eR RIPRE PELE DLT ACP FRaa a OPA Eefeat ee REAL oO DE SRR EE eae ee Pie ROL SRS SOEIERE] MOR PRON Cotas, oe we eee rans uirag ae caeiiten manera saNnte eee at PN SES eeOT Sealey Leer Se OR Tate ctSO iaeSE SS ARN ee Sa cenNONE ESE PEI Be ee se ORE RCD EASTER ETS ORES NEES RERTE ERRRR OEE ODLCS TREES DONC Nae CetMEN MRCS CDRP RIAsagen traceSNOT ne SF ae RENE Sy Oy Oe nent eT eT mareatnane eTCEE Nae Hen Se PO OoET agate PePot tee OED e RSS PSS SES Se Sa nS RE ROR AA ERS SAI REO ARIRS iain es nti tents ROMER See AO OEE RRR eRe SERED EY See RE MON REROD sores, sists Ren we, Seton meee Bee eR eS SRUR he TN, MENS 2TENS LIER, SEPOE Se SEE EOE ES ER» ne Tee SRS SAS tee TER RO SORES LeEaRARE RRR EOS RRS co aa EnSC RR OR SE RT ERR EES CeCe ES aaENGR See East eR OSES SeYO ys, BE, GEER SSR Senei asin ee ear eters. oS RRR DR RRR RRR RE DD RRR RODS TEASER ORR EER SR Rape ane RREER EAT, oe ne NG ee T,Peo see TS ESPs aSee SSRs BSS oh SRR SES SR SERRE RS SOS SRO URE age RR RRO IRE ORR EATR eA EOE NSE SRS SOE RIERUD OS SRR SRC Se aA ER RR aeRE RRR ROR osSn. eeON, Cae See RO SEER RAS TERE RINE ok, SOR” « PG ASSEN PSSE, AE este SOS NR, NER aeSar SOREN RE BPEL Soe eee ee ifr SRS ES ERS tomer Tre Ne sa ISIE eae niRR Nt een, oni ee OPEB Sn Rana SE eo mR treo Cee NES Wate me SRN Ee eR Ca SRN RS *+ ESS SR arSee oe Bae RAP ehone Soe OE AN RE SeEESee

PPE oni a IRE eee otter ee EE en a nei ho ee BERS OR Ree ORSe Sn,“oenepta SNOT eR RE ee NRE OSsees tS SRE Seats eek EEROR RG ON SenER ECTSRR roar enNE ME BEES GG Sgi,ee eeeha Go ee ne gsRSeRea OR ee Rr RR enamine apeel, area ea cole Toman et ORS Re SNORT

SEKSR AD ER RTO ESTE a DS ROnh AEE Paaraeas on ne RRaEO ENTER eee ne MRE SRS CLC ENO RCSAROE REECE RS Pe“= Se aSEPP ROI ESS SOSA Se SOES Se eter rete Magnet Red LES Oe ROR Saag eeAN wrthRNR Ze Ca RCN ete te ee, BEES SRR SS ERR RESINS SOScote oR 4Pee SE RAERT eR ES Pg aac hang a Od fs egRRA a ene cae RRMRED Rm I ss. eaeppetete ea ee asEES SeeSe ARR SERES OES 4SeET nrteenth SS “PRE EE, SERA RO Sear sierra teatro nee oe eet tN e RUE neRTE Gb NOOO NTN SEES SSS OE RED OO OTEE SEea aeee SR REND MRE oR SUee Teees MERE nnn,aSoRETR sonra oe eRe” NT eeeAOE ANS Sse OO, ae, Ries SURREY toga teeeey eT eT Sa a REET ASR ROCESS aa POR ERD REET SORDID AP DORE OEE RRR RD Pad ROR RS ERIC SS OO Se oR END eeSRR! OP OeLEN ENar TPO Me a aeNS IS cal ES, aSoe tabENRARER eeeee aeSS eS AeS ERAS. NSSare DENY Se ST Ym REAR RI OA SESSA UN ALE AeSSRI EeSADIE aSee NGO I EN te OEY RRS RENE SEAR CRaIONIRES NERRERIRSNN ons ereENE Seoess, aes mete Serene gta a 2ete RR SN REAR RE eySSRN Re RE ees eCROREE HR SS ISR RRO IRI SR ROR EER CaS Re ae ee Sar ED OI DEES RS RRR SSSR SES eeSRT Se CE RS ei HNN SNS SERS See Same ahs aSS eeems ET ee em Sthe Se Ree CSS ROR AR Rta aeSE aR RAE OAR OO RR TAR eeLAS oeTE aeSST tea Nt ep Ogee teOR att LAE Yale EE ROR RRR OS eSem Se, Nn MR Ts odUR ee SE 4.OO DeRE SEN soe eeeave SS RRS Se or Seea SER RRS Mere, See Hee pee NS 2 SS ie ERE RRR UR a IEE Sy RS OR SRS Sosa NY eS8SNS nePSR SUSE ERROR SSNS aig MRR RNR RR REO RES RSE PRS ae ae ETS ee SS PALAIS ERR OED ERLE SUE RL EeOTA a EpSe2RT ASS SSSR eee ee ESE peer ee FEE RERPRR Te Sp OTE DETR ONS SEG SRNR ae See oeeaees ose ben LENE ee

Pe RE BRO GSS SE SRE A oO OR Soot OE RE, 9h SSee ROPER icra din: ete ance Sed WY SEE SUS, SSN Ss RRR TERRE SREdagen SEER ERE EOEcones IREESRe 8 Brees SRSSESECSS ee URORE a eyRS eeeRS PRR Saaremaa rea nener Meee Hebe EES MS SSRiocek SAS ASS ESe RR SERENE Spo02 ah HNneeeSR Peete ianRS ae iSY ete aaa goin anther nly al manent 3 1aAne ETERS RETSSSR Oy SER AG RS SOR OE:saree ERR Raa eee ce ee BSReee E RES SONS, RE ORCORS endFEN ae BEES Fees Apart eon a SCR a rata cance penton cheat Seeon en 7a aESET neato bee es na Se SERRE OeSEES CUS ESSER SERPS RORDERRY ESR oe pte SSS PRE SEER ee ERIS Bae oieSE SemSEE NS Sea a SE oho Rs et cae Ee SEES SSRSSOS eGR OR oc CSteEOed NEERRN GOGAT SGaSBee BeSRS RS EERRL, SS BoA EN eR ISee RED SE eer Seai SORES EL Suu EUSE SSSR REESE ASSEERE Seo Phe BOE PEER RS ONES SR a |SEY EERE SESS SoS SSR SSSSEN SS ed RETR a NE So Be eeESSA eeeesteerer ee ee ah PERS Pn Sa AG RBS BALI RE eS BR, SHOE RE RE SOUR EN eyNOR SORES ee oso as RR Ae hr ane eee eee eee itEE AN SRUe LEA aaIsSSR TESS ELE ARBRE tte UR son at SIRE Bom SSN Be ORE paeyARR RENEE ye ee SSSR OREN REE . es aeRSE re nN ee hf eG ER Ln TMPER TES NES IEPOR SEES.Lehner Se nn ee ee eeOU Tee we 2DeaUDYENG SUP Ss RS WATTS Lan oS ESR SR tat ate. tu ee ry reFe mE ag Pe a TST eT stele oSSe RPE SBJE SR NSeee eA NSEN eee TN SOLAS RR RRO RSE I PRR OES Te Eee LL Et TINUE UR Dt ene EN Scere ee ehhh athe ent TM ag Pte ane ah Pray 9 PER BS ER, Ot SSE SS RR NS RA a bo SE Ee CR OE EN, OE BE TS PEE ae ESSE SOE a Rates oS a OSE Sten oe” Be tS Re RS Ee Oe Se RES SE ee SISOS eR RCE SO RRO EE a OR RETA pace 2 8 SN eT es Ta Sel i Oe ee Dee eae eR ERTS Se a Par cee ete AS eR ROR Soe ie See See OE, ASRS CRRA SY SENS SR a SRT eon NeSa

Be SEOR IES SSi fam US EE ROSIE SE See GE aaaEe aS OE ERE STEER EE, PEO SE ILLS Bytenet ied eee Pecsne eeeeern ee ee UE RON a Paucar Sinn amet ym nin ony nmeRSET hd ehRRR ee aOER a eR Sao ahee EEE DDE ONES STMn eSSO BR ae nie EM Gok Sangin nad aeEEE sedOE, ws Saget Mite EE RS RRR gs ese icee tenets ennai IR RDO RISTO RO EO Bins iinet SL [SERA SES LS RNS eis eaten eee FW AOR as Gee ne feAE es See RRS TEN Ran Rae See acre SR ens NI loaoe ae LO RRR ARS RR IE NEC ROY SESE Cyne Suc) SANT UIne en EA AE SERS SS Se oR OD FSS SEES FSR ORE RY ASO TR LL OTR ROR RR NAR oe ene oT Co Ob adOS NE OLED oN iy ee 1aOS SRT Sc eR Tee: Sod SS SENS Se RR aON Seocd CREAR RRR EE AORTA EDR OR SERINE SOON TUP ORO BTS et SEAR ALR PEER RERT RS EONAR RTE tO a RES EES “AEE SEE OP neRohe ieER 3, SUE, TESee aERR oe PV ME VE SURE SOER ES ES ARES Bate ce Ra ee eo ET acLIED ae NTI TESS Ee ReOLR RENE Re BeNOR SOSA SARIN SERRE SRT AH SRO OE wee ME eora EE 2S RI Peretti, Mile ne LAR PS SSS SEES SSS BSRR eS Cee eer RRO Ae ;ie Se a RT Se eseat Ges gegen ne RS RNS RAE, SS eoRL tat tol SEES ok SSCS RRR CH CORES Pe aaRRR Ea RE uence tae gehen ataBE ver ene Cape death ge oc SOs TS SS RR 7adh RO SESS SSO ST See BORE ESLer BERS SEER, RAR ERR RN NERRR REN ORO KERO CeEEA RRRSieIS LEER RCE tear eo neESD. Settee re aTT AE SOLS Eo SS aR RERRC SENS SRS SEN SENS SS SRS ee Loaders PRO Cope SRR RS RErence Sooaer oa ge Rae SE Re Sti OMEN US Fore SN AN Ne AEROS SRS LS RI ED, RRR Sc SCRE SREY TH CO ROI 2 PEEae SO CES ingen aeee nenen Tehan eneae REanita Seletigen SEN CAS LS IROI aHP RRS OREN RSSS TRAE AREESE OL REL LERS, RRR eSSR RRRTT US UR RNSe Taeee SRSeRe :i Re RR SN NERRON OSS Osea aRORR aa RODRU RRatEES TER a LORS ee NREBIC SE CRS RO NEE EEE ARO BE NN SEES : ves WE ISIE SEE) STS TE LTE RR SRS ee er eeoe AES ERS eS 8SRR NR eNO RR SR eeRIS EE SRS ESRRO RSirseaeomcorenttan coment PAs ey, aeSeo Samanta "SRG aOE ERSTE ERT ORES SeeEEE Nee ee titan at Tn SLL SLES oh pass BA SEA ORE OR SEsORC aeee OIE RRSERENA ERS SERRA Aeee RaRc EON ES $A PSA iradtedeeteren ee tn eA ee peti:ATE OO TO SONAR SORE RORDRO EROS TERE DR EROS ERSe SoeMsg geetSSS OT Ieee ON eRaSERS SSRene MORES FN rete SSRUS PORE eeeeRNOE eRee Rite nen OTR RELI Ri RNR TE I Heer EO OI i eo SE AOR EEE nee , Ne A iitoy LSS ELSE SE TELS SS sperUN dtanneres ninLe RRO ORENSE UPR nauennr ee eesREN SERRE SetRees 3S SePRL oo RR paren erire Sa ee eS HO eee a oneaten og ges SLetlsSOIREE DS Sn i SURPASS ss OF IT ERRORS ceraennear ees ES SteeESS ee ae SPN See BsaRmoe RO ERNIE BRE SOARES SEES ORR RROEE Sees SrSO coemennnorerr eaten ae Nea $Lee SP A SIRR ch cam er eat aaaWns noticia UES ATEOIS TOUS tee DOSS SES TOSSES OEbee NR tae RRerate Aa ROR RS SN SNR OO RR,EO te RRR SRE Le SSNs St RP AROme ENN EER OCCA OL On ORRthE RIS EEO RO AERIS RSASESE IS RE RN ROE OE OTT SEER ERO CO eR Vo She ioRRCE Litt (no Se Weiner Sem ot Cerna ewer secoNanas, Mera Sere eae TS SSSR SS eR ee Ee Se Bie SEE enARRON Se YGARE TDRD es SSNS ITE LI SARRSTCS RRS SSE REN SSA wi a ER £2 anne 2, SERRA Seer eeSERRE ee ee aeeeER EER oRSCRE Ne UE

SS Se SE Sg eeeae altDURE classpath oe APN AeeAe A Shetiaaot t EE AnSoS nee ASRe oaaS RRR pees SES Se REN ROSESa ee CRN ER eeSe aieee SeSSE eR SSR ibeETE SE WELD nsSEES DUT SES SeQe OR SRS RSC ‘Ba SE TT DH RSE RSSn RRO ST EE ELD A ei aeSANE Neeean ENA NNSN RT RR SSR SRSS ee RC PAReS eeeice SEteen ahd me earsnent intraSRR necBERETA enn nr ener SR Ee ee ReeDn BERR RTS EES NS RENT RNR ERRSEeRMRE NURPSE RON ER

5SER Ee aA ae ireeae cee FER GE RE tetpepe SSao tafeeee ea URINE OURAN RR RE eeTn Pe SE RRS ANTES PNR Ry RE ENR Poa gy DNec te OC EE SES See nite ne iano roe iene TENSEI lo DeUAE SSI SEE SSRIEU PRIA ea ORR eee Saree ae ae, Ta SSSR SN RS RE RRS EOS ROR acaee EN ee RES Rese oh een ered enc aetna ae Jee SE it EET SRS Ee ISDUE RS OR RRO CAS aSR NPR eae oO EE EeSS tap ee SESS SER RS RRR Ree ere erm ree ESS ee RC oe ee ne ee a tele ee ESS 1SRSLS ERR RRR RE RENATO SERENE ES Sy Se ee eS RS ENRON RR NEDO NSCOR SOO OTeee EET RC aaei at SS CORONER RRC BRERA OCR ERR ROE SORES oeET SS SRS Se eeree ARORA ERROR RS ia ttCREA sitin Mee ere ecard on nero ee nySRE alten na EES RR SEES SoOT reaeneean Ree ee eo ttee RED eS inos aN eatSSE te SoA RSUEy UaRRR hy Ne SRE ee SEE Vie en aaentre ne iheames raat ed eaRRR opee nie TN oeSe REARS RR REN Se OR eSURR REIS ae ReaeRNS SN REN eaeSR hT PA Tae RS eR REE EROR ee Se aaSERENA Oc teRy en arg CE ea ER SeTE RR RNAS SEERA a AR ROR «amr SNg EON SSNS LU eeSe SERS Me SERRE NOE, RET REOS ROARS OSS AE SEES GRE RE, RO aORR TNERProd RRL SEee RR RRR RN TStiteREN SRR RRCERRO sen TR SCRE EES ryRonn Sige SESS SSS eteaes, em aNteh RR SEES SESE CRESS eeSSR REST CESS Pap eee. NRE RR RENIN RONDE RET BD Le SEEN GTI EEE OR EDEN EEE AN ETT EeeSONORA ogLRP preety ROR a eaeente Oe CNP RR OR Re asIRR ae THERE SRO ORR RO NORE SSReae Eh Saree reese eh Se EEE eeaA SE SoSR Te SERS STS SEE ESAS SEE AE ON 0 EeSS RR ee SERRR ReORE SRR SNEE NE ROO aRO TRA RRR REE SoC ee ae Seay STA Me Soe LY Fat eyee RiSOS RRR ARS ROSAS eS ERISA RORRIDDLE ESASaSHa eeROSE EE RRR TASER RO NON SS aU ITER RRR ORC BoreSRDS RES LES Bees yeONO SSESERRE ERRNera SRS? een eaaes Feet APA SRASae2SSRA Ee ROR RS ERNE de REET SSPE Re SE CSS Ue eg SSE a Se OO CHER ALDMC PIO ROA SERIE SOUND IU ee SNRPRS ROE ESSSA RAN REC ERSAC ee FOR Nee, Peru NPe Neeie, PRLeae NT TN ES eta a ee EO “NRTA a ae, SyeS CE

i Ra A aaeREREAD ata tn sea agin RSLS nian apeEERE eng ett ee REN Ee RRSe Seesi TERI Nia anne er aSE BE SONNETS PRES aioe SR SSR Ye EEE ee ete SPEER ROO RAT RIOT tS ee Ne RRA Eon ONY NiaSERRE ee Feae ea ENns ee Se EE RN PeeteSSS ee reSRS ST SSAPES eR TS aMRR SLE SES Raaeed EDN a a ence CeHEI teRene PR TENeRre SE RTA NU Lo CTen RSE SECSSp ENSone CS are CRONnOSESS RR NURS aSEERA UU ES ne ea SEER AU oe eT ED Ty YSSSE A ERE RE SR Tee RY So Ss RS Pe iRTEE Uh Goth acc EO es AS OR eR Spa ae ee ce ten ea ae Se er raat i chaEO etait aeraSRR SO eRe ERR REAR once rae eR RS NS SeneR mR eySEES NS Spa Se a AES NT Rae RES Dee Re TS MRISSoG SR TLRESE ET | mee MT SeRe eT Se ERS SSISRasta ARERR ARES Ga SEO a ECE RR REE ERE RNR eee DESEO RES OS INO es OR RR eR BAR RN ae, SEEN, oS MERE Sea Dae wR, cota, Pht ee Shee SAR SES ee Ts PRR So oes ar eA aR NR

LRSa ROP RSER DET eRSEE RO isc PRSRR SASALE ERE ROR ERATER RICR DCE ORRRL TTDSOCIOL CREE EONS Lees = ERPOND EIT OPA ORS STRONY ECR erento ee eR eeree ee ee aeRE D SBT SS AS Lk RENE ssCORED ae sist tee GAN on aEE RRO RSA Eee RAPA EERO ne RR RoR ORE RT ERERTA RY SENN CORR Seen RN REE SStearoom OER eeeeueetem, TR 2a ee PS PS ee SAN SRE anes PES,TS OntaSTRSTR SSER A CT Se oe pete ec NN

oeUre SheaiaSeba as ote cemeni aca gaia hse ae gua rien ee aeROR BnetRRnah Seno SRG eReet SRR oRRT STs oeRO meOLN Re FREE INE OEE Ol ENTLE NRC EEN OGRE NESE RU ee ao denote nana eaeana ets oe aEocean CORO ee Re ea Raahoa RRSein ERROR RRR RROES ORE SNemE eee PP DottNE RNAI SeeRENT NS BraeAR a SeeR SOE ee ae heAAR PERE ES TE Oe re SEES ee ng FRRRE FESNOE RRB TR re ae re AEROREIS RTE Sh

ORNIN See

PLOT MSne OR RRR a REO IER RRR AERPay SNORE ROADS SOE a Satin RR RRcee PPAR ERRteain ce ese. ine Bonnet eet ee SNS SN eRe One ayON BELSON, caterer eT eee See RSA Rt gle Get MS SS tees hs Sc SESSRENNES AR RRR reERR enn nnn Pe Gals ciRTS ay ate gered eeaLcements cette A aeNDOT ee ae PUA Ce REC RRSUS SoeRRR maura NER RRR RRO Ra RSReCOR RcPAA ree HD ea meee em eeeWemrenneennos Oe, aes hana awe eeeeAare PSA NESR EeI tes Geter nePR ooSEES ARSE RONSON NR ae a

ROSA DRED RE ESE en ee re SNP tS ON EN NESE is SEO RCO RE RE Se ORS EP ERE TEA EAT SN Rs at Soa RRR RNY aay acc denne te O68 CESS SOR Se RCN SESS Mace ee Sat ROTTS 8 Se RR TiS Re aN PRR N IG a ee Beat RATA «WN SETA AS PORE thats, oa Fete A CRA RE RE a TOU RRRigERR RRR BAEC RIS ARS RR ECL ares Roe AYai Lna ST Sod eatenROLLA SOR NCR Te eee SORES ennee SR eS DEE TORS RE eens MRS ARES A RR ES MR RRNA era oR eRENN eenN nateee STE ao tote Te ES Be Reeae a eee eeieena eel Shere ante er RRR ato eat ne anata ga ISTE SaRRR OS ERVIN EROS Be samedi PNAC SPE tae, afte dah, SSeS SA POLS S SINS SaaS RRO LR DEE Leah ee ; PSS aREN RR SOOO USAR RESIS ET TAAIS RCO CRD SERy RR SeSEAR eRaE at Son RRR LPI N ERe Peano eteOPO Ee ele ae te Ree Ay CeMS EE CUT ReSeer! RA AERC NCEA ar inert ZEEE caer Pe Oe cae eaten anata anei RRO TSO RRR RE Berets nee SRN SR teRRC SSRAYRA Reyeu nate eee RE eae MOT ANE ESeeERE TERS BUS RAR RR RRO AN aCRORE LEO OR oTSUSE aS ROT SR REE On Re ROE NE SN OTR ees Ree era OCS EE ER RARE RESO ORR SR SEE ee Res aineee ate aase aa nae oeore eaten nee OOS NORE LTR TY SSE SSSRR RIO RRS RON OE RIISEER oe ooSee RESO RNeae AONE EL ROL eee Seu nae eter inne SESES ER SRIO Seren at etter REE ee RIN RE oeREST oeNRE hePANE Ed CRT SERD RST Dh RSCO aRR RY REET aPRESS aa omtnic ie ie Se Sea oa eh aie icine Leonean renee cree reece aROR enee ceeIESRS nln Ae La nb viata RIiRRRS RAN RANS RNS NORRIS eauCRRA UTM ARRAS Ge RR, ae Sate NOREEN ENO CRRA CR RO aR ERR ESR A RED RDN RAO Sahe RRR aauntae aR DD LePE ROR IRENE ETD OREM AY ROLE SERNA EE ERE eRROR SeCrees EECORO eS EE) ODUR SSS ay SEASON PRA LENGE SeOaSAR RRC RT A RT ROR SyeS eee AE ee PR See Ree RNC CSE Re ERLE SR SE eostate PRN SRR RRS GeSiGRR Sa eR RI SER MBN ERS eeMeNEee aCESE ae aNORE eR RE aR oe oe

EUG ee ESE OR Aanc aeeeRs eae eeINSE eee RRR ES ORR SRN RRR SScnSeSS SSN SeEE eARCN eee EMRE RAT RU ROTO oo a achat eR ean ER RD Tee DenESS RN SSS RRR NIECE SCN RIGS SARS RRR SUP SCN oe SERIO lee a Reais eat BS hat NEE ae ee ee OE innee ard ion tating alien ORE RTECS i BS SSS nyo Se REI IIs BE SEES? SE TeROR Sais a RT eeeich eet Rete Sa eR TG EEA OR ean ORRSn SO REEAEN SS SnSR ESEee Sie OOD ha in aReon sn cetSIRT na CERRO oeCS eT BRR PURER on Dn Uy BEE, ne ICARDA ESS 2nUR RRMA SCEgeRR

eS eeRA eeRe WEEE DUS hlheanemone SES US oe RRR eSSe2regen OBL 0or oo EEA Se Bad RR Ssene0Se Ba NE tel aeaeect ee CNS EdAO SEES RRC RRA ONos en gn Me HULL Son St Ee oeoh on MR SEIS eed PSOne Se OS SE ONna pl Sr REO RES YE SURE SSSR Re eg ane ek AS aeSEES eRe BT aoses ee ee SAREE Sn ai SC it epee RRR SOS ode OER Se Te (PREP SESS SL UE RES SSdhNRE Tg RS 1S EOSaesEE eeee Dee heater

eeee eeeeREE eeee2eeORES RRR Se EEE ESSE SR BEES SRR REE SEke oe ee ee ea EE 1os RRS SS SEES 1So REELS cae SES oS EDR Seeo on8 RS nSEB RS ee ee SSSE SEosTC FES peEE Ses 1gle EE TEES oes URCEE ESE SSS RR Re CRIs Seepe aa

ROE ERican ES RR RRR aD ALAR RR RS SS Oa RERC GREER RSRE aS CRORE aS SONSSUES USES) aS rhe SUL Ss oc etn naND ot 1SAR II LE EET ED OEEeeOnges SRS 51.59 SOIR aE WRESTLE RI Bs eas aea Pe Sipe tonne ar aREMR retALS NeIS anROR i SSS RE NSO RRRSEAUTO 2 a MARS Eebene oe See eeeWa Leet SRRR RRS oe LE ASORTE ORT RRO IR RRR ER ELE OE ERS AU ERRORS Re ae teat ete 9CME SI) ot EN COE Ss Saree yds aSeiei: RRS SE ees oe ERERin Lensee Sg 2ARRAS RES BEER RR RS NREaeas igs

Se Ray Nein eteniartineat ein iin acid ene ee cere eaLe CEREUS Sh) to SSS ae SEE . 9Riga R RRR, ho OE SER oO ge Pp PRR Ses eee EERIE SOE OAS SS ORS a eS) ee Un) SU es DR oe ERT SL es ee ES RRR einsRR ee SEER RRR ete BcIeres ip ASRR SAC peguininti sa at oda Anh eaRUE eeea ine tecata Sete ee tTBEES nieeS tetie OS |eDOSER atCoO he SUS RE APRRS 2S RRR EY oo : Se ee RE ISeeRRR SN Re aN Eee ORRR RO

SeaSa ager cee AE ERS a ergata cea iSSeS abate en HERO oo SE A oe eeRS eee ES BRR BR Ra or ee ee ILENE ER ea ES ROC (CEST ENE oS ae, SRE Oe LRR Oa eEE ROSG Oy RRR ROR Eg acti CA J Sa SRS ateteC OREN eeERE RSS SNE oR RIOR MES RRR Ncai ROE SRC RR .OSes .REAR :ee .SR + EG Sean LO BETO OTE PD LORRI RON Oe SeERS Ree ERR Mr Ta MORMON Sentra oT, RRC DART OARS reece ceeSOE ne na ea el aU es Tege | WIS ISD En SESE SEES esr ESE enter cee + Pol LN OP SE IML Liege COL ER HLLE RNS EE OTM Renae Tae annieecsiisiennen nee ee, OD SORES DS TE TERE Eener RECS SEES SSL AOC EE SR SL ME aeAO Soe RR SER aececneneemmtem SoDEER, COIN ETL PORT SRO RR aeraie CE RMR A S OSE thet 8 SSREY SORT REE ADLene DSS RR REE Reates netSOT BAI OR AERC RE RC NOU - ‘7 aay 4SeoyPOPPI ly 2ane Ss ws PCC oO OP edErecn aR etRE RON ae EN RROD RRRRU IE pS SRO RR SORES eC Rem sy eae eC OORT POS a tee ES ee ERE LEU ES SE NE SO BREE ener2So da Ses PERERA SS Sadi reteAR NeReSRR ONSSa RSENS SR ae Dt Seneen en temtte nema 3 SNe ne.CRAG RR :cee BeOSORNO Sites eeeeI TAR SS So Sa eorpeeoeo anataSS SRE at RE a tiemnagener nme anines Sea SNR RR SST Te ae enamine oie Pine Ret SS OR ATEN ERERY AOR RSIY CSE RENO TROND ST RI RY SERRE RSA RRA RD ny a eee NEE ECOSTORE NEE EEE EEN BOLE EMERTER EE Se TT rie hsaCieleaee' tare»nee Smee ches NEUE"oo TE a Sa ae bar toca oerRRR em ee I ee rN TR ORI LEIS RT MTR eeSea SIAL GLE SOIL REE Tite Seiten ORR SCR SES LOA MR NEEL ARDROSSAN OORT Rao anne oyesRayeaPREaeDRaAMER EOGREENS a eeeSeaR EE ee ee sna wn) SO SSS SR enMeSec SERRE ESTdAPRN easSetael pO aeRROD 5 ee

Rename Tv tSOE my Po GRRE agsn ie AS Ee NOeer RE EIR RES PRR ee oe ee Fe ee eSSS SS aSS te (oh BEES SS “57RR, OER wy ea Eees RRR RR» SRee ey eee So AM iEEiSES ioe eEetnc . SSS SS SR ROR Oe RRO ORS RRO IN ORR NES OLE te ES oN CE SOS URE STE OU San RSE oO ER EERO SUEDE, 8S TIE Reo RR tee ES SR a es BAS ay SEE RR SERS SSE UE ot EEE a Na rtaat 6 PRT. PERE OR ERD OE SN ea a OBOE NORE OIE OR RR EE Ree SE A OR AIRS SOTTO SPS Feo, ed ’ ea Pena AoeaeR oa CS SRE EIS RR i So RR hacer ea ns EeOT SR EE eC Eo ey ON Si en SNS TN GARR eaARERR, a SERB go eR RR SS RRR Rig tte oe Te ee, PSECoe anRE RD BSOR CR RE RR EN 2 SORES EERO SgBR SRS ishBRRRGE Sane ea rtSc GRR RS ic or. +eae cannes SIESTA SeeRY see eeeT Se Bee wae" oY, Setag eg SUES Bee ROE aE CD RE RRO, Oe Soe 8.ROR RAN RRR aSo CSC, SpA Tay Be Te Tae TEP eeBER; ee Se SES RC SS RCTS 85 CORRS AER Rg RES oo tet BOYen ieSs ear BN t to, Cs NR RS RECS eS a eee eh a ae ao RD EY RRO A TR aR OER a Sra REPRESS AIOE oC TORE TES SRR oS aos RR AERA ce RN Rs AROS oie Mee Re are? Peet ics ee Ba oS aor Ra ean es ce fi ee Ne AR MER eee aitOS wahtSERRE IRE Ss WEY SRR Ee a SPSER Sa SIRES ES,aSEES oehe eaeSos. Be RRR ae ae SR weYo) 8S onlao SOE cA So SISOS os? pos any, PBWSRRR SSS ERa RRR SR tte Ascore RUSE a ae iatte aSee o, ARNT eR, PRsee EE SEE ERS ERR SEeeNa ee ee eePREECE aeSEER FE ea TRON eee oOet RCS eRe... cane PRE ER eeSS ee SOREN SR Rs ERRRR greece ne SR ne eas ROGET SSby, RS CS SES ES Ee aida ROELSE es SeifESS HERE Loe «SRP CaaS

ee eee eee Ce Soe ee Ue GR Tt 3) he (Sata een a ar RRC SS ER RE STS SON SCO RR ERE Te SIR ere nen ma ee TNO SFE IME Ss NAR ERI EEENIN a Ree et eS PO NSE NEE REIN stetree tte eran Re Male wo tate Ae San eaetaer es tae ye tee 2 1 aut ee, See RLS Seo LORI ES gS . Be

Sa Ce Se REIS eee ERRNO ORR oeSeas nt DECC rae oe IRR LCN aeetORIN OR RRR SLSS SSBRE penananiy OE ee aR ERE in ECR ASS > aS , SR SR RcaISOC eRe aRT oSSE aRESCA OE— oSSR ae SI Se Reet SRI Se te eo eee OORESES BERS 02 SF URI Se AEEE RR BR Petett olES UNSESS Re JSS Rees a since TsESSER 1 BERS SS ra eae yb 1”?=tee ODS SRO sR ROARS PERRO SCEPC eeR CN OE RENEE SRP aR SR Racers on dts Bi yaglen See ee one SEES aeBET aS elt oe RARER Sy a, 4 Se na RRR ENT RS Se SRR On TO EI ah SSRN RN ARERR CNSSR Sree, rons oteSO dt eea0 BL el eh TRS TS Sy CUP Ln, SOROS aetna nearer cy vets ater 2°, sees PS Rg SEER ne eo aera coo eos eae Rena MERE 00-1 RET RRS SNE aOe Se Eetssia See eeSF Re ae a PE BE UTS ty _ER Seen ug ON 2Mae Ae SEA Sc RRR eee SERRE SS Nn eS ER ears Ce eae RRS RRS ooRS Nee sare, Settee i Ne oc aS 114 5 aa, DN, eee OL RRR e ene COSI eR RRR ST BRR RDU PRE I PUPS ROO aeSe erepee a BEE RR SET TUE SAE ee nnRR REBia RE peat IR RRs Sets RRO RS Peed Peel aeAO te eo, Bee AESERN ae roe ne an OrrBeem or

ee NS ee Ee Se Ee ee eseaNBee SEES NIRS ReBeraSS BR eeLee TOES Cage, wie” tube SeTE Se eeeeaDRE A OY ao ES eae OE RR JESSE A ERC RR: OS ORR ReRs eee Fie gg Fer OG a fete Se I AER Res Se 5. oR me RR See SareeEO Rea RIES ee Cece es RES ae RRR ROSS a OR RNBe entNd aR Sa 5 ON tee BS SryPE te bag CAD OE eeeR A tae:

Sheena ates RO arenee eR eae EES ERR en SS correSeen ERSeae USS gLeee SSSR SR weg SRG Es Ec(aBe an Ren Sostacaemanat rates arian SRE onSa Pega Lado RIak 2 AR ogSite AEseePagel a atEe gmAe ty Reorrc eaeS ee Wp eeSER Oe eOE RSon eaNe RRR RRRRO RRSERROR BREN ore ee Re eRe ten, Bs SR RR SEsanemia Se Rh ete SEN ec SN eR 1 ry Bees tar 1as SR neaPe ate Igte8aes Re hatte ee BS, OE SURO nn aR RRR RRR IRIN ee aE FRR TINRGAE Es Soeen TIEisRE RTee ats oysee ar: AOR RSaeSSIS RR eT AOR SOCEM store OR ice! ateet ne aante itEP Soe SRSERE oS ERE, SERS ee oRESR AOteeRR Reo peas REN URES SRR AR ds on RTOS SEES ee SUS 1ER AS et em RISSORIA aoe coor ae eS eae ES RP ENGR EEN, RES ING SE es Seneca SER SOIAOS EE SS co DES Sen nies Reese RRO So OUR "ASR EERE SRC NCR aot, Rome eA PENS eZeeHES Uaioe eee SRS eeaN Rare RSSNS Stee NEE Ae SENOS GENS eeSE recone aed SORT OR SERS STITT Ceee KARR OReet DIR bee eR ooo I AIS ELDIER I OI Ae=SS eR ORNS RRO RRR TERR RD ORRIN RRRRR RRRRAL SSS Fe RSTO, oo SeURE TNRE SS LEE EES Se SETS RGRaaa RES ee ESaca eaIaISIS OE ci, RRS Se a SESE Reo RRIR SEEN Co RRR RRR TS Rei ote ae! TERRES SR REN SS IPS Pee Ae EO AEs 3 ROR Res BESOS EN oa aE SP hs apie een ceREESE eR reaURC "ORR SAREE BRI oh ERR SRSES PR EE NS IR RRC SRS re) atoR NeTREES feRR SERIE RE Se egA NRE on PRN Ree RE, Raa SacSn SeCnn RE SOS ESE RC AS RAEN SSG GR eC aA eeSEE DOLORES Nag EI aOR RESO Ss CRC SRR oo RR PE ACR SeSE ee aRaa iSEO PROees ee SOU NS NR RN RAR neSue ESN ARS Seo RERTS SERES ee CR oa URGES SEARS Se esaSSE conctoe yn yeyND? ty. PSK SRD en ORR BSS RRNas aRN RS RRR RRR NRSAE RE SRS SR ORR SOR RS SO: PePRU Soe SU LAL NearCO RR ROR OSE tnt hy RSE RSRE 2SURE SLPR I Ce SS Ie ey aE WO STE BENS INRET Ses,RSS SON See LeRRR SEES EN Tet S EASES Bee eat REISE Ra RRR

Cee er ee Oe BIE RES CSE DIGRESS Ene, Eo SR SR pais -c Tmenmear y DOE ae BR SRR GEE ee REE AS EMEP Eee eae OO ee SS

Pee OS AA ORS Sedre EE SEERA RRR ORR tel geMRSS IeR a ER OR EERE SRNSS RRaare SE & 6SS Rs PRN RRR O BPS SSG ENS SORE ER aSE eR CaaS ROC oR ER aRa RCS SSS LIE SEE SS ER RIS oA RR EEE. SER RR, PRES ENE once Ona SRR RO aRS SAU Bia hag UO ES SR Se RR fled ROSiSSr SO Eo a So Ne asg SMES SN SON oe NARS 1gRRC RN ogee aeRee EN SEES SSS SEE SRSoe aeaSSS ISRAT Reee eS 1ee Ee Be. 1ee Neae RE SI AS SEE eeieSS ee LE Ar ae S01 SS BN ee See RES OO BREE RRS ASRS aeSR SRE: ee JE OR ORES SORES RRS ES SE feEE atS I aeRO A BS OR EE Sih SRR CURT ESO aR, SUR SS RR ee RE en SS ORES ORE NCEE a CCR TIO RNREMRERS oo,“ ES So eaPORE a tnSARI eh Tava Ae : a Reo: ne ee TeSo RN een ot eeRe eee ORES SS RNS rote eae eae Pees eeEEE taeShe NScee see esta Se Ee CRN Ne, ONS SERRE Se, PES See SeSSE SC Rn PSEC RRR NEN CRE rnoR eevee AY ST ISoO eeRES oe RET noaeaPRIS RRne, oeSNS SISSIES EERE ROSE EAR RRC RR ae Sa ct CNR RR RS RRR RRR PARE SSE BS Sg SAU SD US : 1a EER SSNS Ac BROS SENS SNE SE? Ae GATE SIRES RRR a te RS ARERR 2: SRR PRE SR RR RS OR RE RAS RU RRR SSNS SES FRR SORE REESE SENS oO hs SEES RE NBR SRS SEE at RR RR PT SRS ROS ERRORS ns. BEE EE MUSES LS ee Ea ae : SIRT USSR SO Re : wee SESE SESS SSS SERRE Oo SS Ae TR case cen nls Mea ea ele a ES

ea TEE A OAR ea. TE SN RRR i a SRR eg EE SESS SS CS ee SR Bho gO TF DAT BER SL RE rn STUER RSIt SONI Ee oe wl age IS. SORE PADS, UES DEES SOLER SET OS, SOR SR FRR A .Rearaen eo ree SEER "ORE A RRR ARS.SSSeS SESS SSS SoOAEE ; PUES LEER Ble Scr ee gd POSNER CeeeSIRE RRRIEiby noe De : PSNI EDR" SSNs CAPUTO *,7 R OERRES : >. ERE PSE Ns Sho 5 RRR ERIN TERE RARER So oC ROD

MIRA LIEHM

Film in Italy from 1942 to the Present

UNIVERSITY OF CALIFORNIA PRESS ‘Berkeley Los Angeles London

University of California Press , Berkeley and Los Angeles, California University of California Press, Ltd.

London, England } © 1984 by _ The Regents of the University of California

Printed in the United States of America |

10 9 8 7 6 § | 12 11 10 09 08

Library of Congress Cataloging in Publication Data

Passion and defiance. ,

Liehm, Mira.

Bibliography: p.

Includes index. : 1. Moving-pictures—ltaly—History. 2. Moving-picture plays—History and criticism, |. Title.

— PN1993.5.188L44 1984 791.43'0945 83-6667 ISBN 978-0-520-05744-9 (alk. paper)

The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—

Permanence of Paper for Printed Library Materials, | ANSI Z39.48- 1984.

To the memory of Luchino Visconti

| BLANK PAGE |

Contents

PREFACE ix | , FIRST ENCOUNTERS (BEFORE 1942) 1 I .OBSESSION (1942-1944) 41 IT LACRIMAE RERUM (1944-1948) 60 lll NEOREALISM, ACT II (1948-1953) 90

IV WHATISREALITY? 103

V NEOREALISMISLIKE... 129 , | VI DIFFICULT YEARS (1953-1959) 138 Vil THERIFT (1959-1960) 160 VT THE GLORIOUS SIXTIES (1961-1969) 181

IX HIGHLIGHTS OF THESIXTIES 221 X THE CHANGING IMAGE OF THE MOVIES (1970-1982) 249

XI THEDUSK OF THELEOPARDS 239 XII UNDER THESIGNOF VIOLENCE 307

NOTES 319 — |

BIBLIOGRAPHY 361 | | INDEX OF NAMES 375>

INDEX OF FILMS 383

BLANK PAGE

FIRST ENCOUNTERS (BEFORE 1942)

Date: Easter 1940, a few months before Mussolini’s declaration of war upon Britain and France. Place: A ship bound for Capri. Two men meet for the first time. The older is extremely good-looking, tall and slender, with dark hair. His finely chiseled features and tormented expression are reminiscent of Italian Renaissance portraits. He is in his mid-thirties. The other man is short and broad-shouldered, a smiling, extremely outgoing peasant type whose ancestors “abandoned their wives to the lust of the Turkish, Arab and Saracen conquerors.”! Their names: Luchino Visconti and Giuseppe De Santis. Result of this encounter: a film, a milestone —OSsessione. Visconti was an aristocrat, privileged by his wealth and social position to do whatever he wished. Like the majority of the Italian aristocracy, he was hostile to the fascist regime, despising the plebeian Mussolini. He had spent several years in

|i

_ France working with Jean Renoir and in 1940 had just returned from the United

States. He had everything De Santis did not have. De Santis, just twenty-three years old, was an eager newcomer to Rome. He was making his way in journalism, fiercely attacking the current film production in his articles for the journal Cinema. In the circle that formed around this journal in the early 1940s, Visconti was the potential Maecenas whereas De Santis was the “en-

, fant terrible.” All the members of the circle shared an unlimited passion for film and a desire to find new forms of expression for the medium. It is one of the incon-

sistencies of Italian fascism that this journal, with its increasingly overt antifascism, was run by Mussolini’s son Vittorio.

: Italian fascism, lacking the organizational perfection that characterized Hitler’s Nazism, was more tolerant toward its adversaries and less demanding of its partisans. Fascist Italy managed to retain the nominal allegiance of more of its intellectuals and cultural leaders than Germany did; fewer emigrated from Italy than from Germany and Russia. There were no extermination camps. Many could travel

, abroad. The tolerance toward nonfascist intellectuals went so far that the Marxist

theoretician Umberto Barbaro was able not only to teach at the Centro Sperimentale di Cinematografia but also to show the best films of the Russian avant-garde to his class of young enthusiasts (among them De Santis) and to translate Pudovkin’s

2 First Encounters writings. Antonio Gramsci, the secretary of the Communist party and its leading theoretician, was able to write the major part of his huge work in prison. In 1938, while the holocaust in Germany was approaching its peak, Gertrude Stein’s The Autobiography of Alice B. Toklas was published in Rome with an enthusiastic preface by Cesare Pavese. At the same time, open admiration for American literature dominated the Italian literary scene. (A 1,000-page anthology of American literature was published as late as 1942.) Cesare Pavese, one of the leading Italian novelists, wrote in 1948 in his Diaries: “Fundamentally, humanistic intelligence—the fine arts and letters —did not suffer

under fascism; they managed to follow their own bent, cynically accepting the game as it was. Where fascism exercised vigilance was in preventing intercourse

| between the intelligentsia and the people, keeping the people uninformed.” Gramsci and many others never returned from prison. In 1938, anti-Semitic laws were enacted excluding Jews from political activities and from some professions. Many authors were not allowed to publish, and censorship was strict. Fascist

Italy was a dictatorship “Italian style,” but it was a dictatorship. Its leaders, “gerarchi,” lacked the drive and professional competence of a Josef Goebbels or an

Alfred Rosenberg, who concocted a Nazi ideological concept and in its name blacklisted hundreds of books, plays, paintings, and films, setting up norms for “true German culture” in all fields. In Italy, Galeazzo Ciano, Dino Alfieri, and Luigi Freddi never managed to enforce cultural controls and never really fused the professional film organizations with the organs of political authority. By design they allowed a limited amount of criticism on specific matters, a policy that has been called “repressive tolerance.” “What is Italian fascism?” asked Antonio Gramsci as early as 1921. “It is the insurrection of the lowest stratum of the Italian bourgeoisie, the stratum of layabouts, of the ignorant, of the adventurers to whom the war has given the illusion of being good for something and truly counting for something, those who had been carried forward by the state of political and moral decadence.” The fascists never succeeded in changing the people’s attitudes regarding two important issues of the late thirties: racism and the alliance with Nazi Germany. Both these policies went against the historically determined Italian national character, which was neither anti-Semitic nor pro-German.

Not many nations are as basically different from one another as Germany and | Italy. Few nations dislike each other so frankly as the Germans and the Italians. Yet

in 1936, through the treaty that created the Rome-Berlin axis, they were drawn

willy-nilly into an alliance. ,

Juxtaposed with the Germans’ inclination toward an often tragic mythology of

duty and discipline was the indulgent, easygoing attitude of the Italians: “die Schicksalstragodie” (the tragedy of destiny) of Wagner and the “bel canto” (beauti- _ ful singing) of Verdi. The ascetic faces of Albrecht Diirer and the joyful roundness of Raphael’s bodies. Hitler and Mussolini. Conquerors and their imitators. There was one attitude Mussolini could rely upon: the traditional Italian appe: tite for victory, the love of victory, even if it was only a disguised defeat. Never was Mussolini’s popularity greater than after the 1936 conquest of Ethiopia, Eritrea,

First Encounters 3 and Somalia and the 1938 annexation of Albania, presented to the indifferent world as a logical reconquest of Roman territories. At these moments he was cheered by the majority of the Italian people, to whom he gave a flattering image of their country as victorious, powerful, and free at last from those features that had generated a sense of national defeat after World War!l. | Did this occasional enthusiasm mean that the majority of Italian filmmakers were profascist? that they became antifascists only at the last minute, when the victory started changing sides?

“Don’t forget what happened in America during the McCarthy period,” said. director Renato Castellani in an interview. When somebody is immersed tn acertain world, he cannot see things clearly, he cannot see things outside this world, have ideas beyond this world. . . . He is like a canary born in a cage. He has no idea of what is outside: maybe the cage for

him is what is outside and not what is inside. Similarly, we had no political problems. We lived in a world organized in a certain way, we were marching forward, and we could more or less approve of the things this world was doing. Very often our approval was wrong. .. . You know, fascism in Italy was bland, there was no excessive toughness or violence.* “Italy is a strange country,” director Alberto Lattuada pointed out, when asked about fascism in Italy. “It is the only country where the religious power, the monarchic power, and a dictatorship existed as a unique triumvirate. I do not think that

| we had ever before seen the head of the church, a monarch and a dictator living together and loving each other. Even if you think you know Italy well, you do not

_ know her. It is impossible to really know Italy.” |

~ “You know, Rossellini is Catholic,” said Sergio Amidei (scriptwriter of films such as Open City, Paisan, and Anni difficili [Difficult Years]) when asked whether Roberto Rossellini was a fascist.

And Catholics are used to being forgiven. The more they sin, the more they are , loved because they have something for which to ask forgiveness. The priests do not like people who have nothing to ask forgiveness for. . . . Fascism did not have the characteristics of Nazism, its blind faith in the destiny of a nation. In

Italy there was a sense of compromise.® ,

“There was once a colonel in Cinecitta,” recalls the film historian Luigi Chiarini,

who, during the fascist period, was director of the Centro Sperimentale di | Cinematografia.

, In each of the agencies there was a fascist. And this colonel came to the Centro . to protest because it was October 28,” and the doorman was not in the fascist uniform. I told him: ‘But I’m in plain clothes, too. If you want to yell at somebody, start with me.’ And that was it. He laughed and left. He was a fascist for

show. The majority of them were.® ,

“Freddi was a party bureaucrat, an obedient person,” remarks Cesare Zavattini, recalling his association with Luigi Freddi, director of the General Film Manage-

ment under the fascist regime. 7

4 First Encounters | He was a man who was happy to be a self-described servant. This was a beautiful quality in him and that’s how it should have been. We cannot even hold it against him because this was his work, his duty. He fulfilled it consistently and sometimes even with a certain joy that made all the inherent oppressiveness disappear. The political element appeared almost as a kind of relationship between friends, a nice tap on the shoulder; and we were not aware of it, because our state of mind resisted such awareness. That was the true manifestation of a regime, of a dictatorship in the full meaning of the word. But we even accommo-

dated ourselves to other things. This was our daily life, a way of life for the whole nation, not only for the intellectuals. The intellectuals and the people were in the same boat. Intellectuals made some indirect attempts at antifascism. Literature enables one to contest things from the inside of the situation. When Pirandello was writing Six Characters in Search of an Author, he certainly was not a fascist, even if he later joined the Fascist party.? In the newspaper Corriere Padano on October 26, 1938, there appeared an article entitled “A Heroic Story on the Screen.” It was a review of a new film, Luciano Serra, pilota (Pilot Luciano Serra). Directed by Goffredo Alessandrini, coscripted by Roberto Rossellini, and personally supervised by Vittorio Mussolini, the film glorifies

the life of a pilot who dies in the Ethiopian campaign. The review was written by Michelangelo Antonioni, a prominent film critic of the late thirties and early forties.

| “Luciano Serra is undoubtedly the first great Italian film, which will find a place among the most respected works of our time,” writes Antonioni. “And for that,” he concludes, “we have to be grateful to Vittorio Mussolini.”’° Vitaliano Brancati, the Sicilian writer who coscripted many important Italian films, offered one of the best explanations for the youthful fascist enthusiasm: When I was twenty, I was a fascist, down to my hair roots. Fascism for me was a wondrous credo. I experienced the joy of a herded animal: the joy of being in accord with millions of people —to feel what they felt. An optimism of a third

order invested me. I felt like a giant of the group even in my solitude. ... I experienced deeply in 1927 what it is like for a twenty-year-old, inclined to | meditation, fantasy, and sloth to admire a man of action and violence: to believe that a new delightful morality was about to be born. It tasted like a glass of wine. | All ideological abortions . . . are as intoxicating as wine because like wine they

bring us outside laws of reality into a sphere that we call ‘the new world” I experienced also the shame that follows upon such drunkenness, the boredom of 1936 and 1937, when it was necessary to look back and write: “At certain

times, we should never be twenty.”!"! | FILM IN A CORPORATE STATE From 1930 to 1939, some 722 fiction films were produced in Italy.!* With the fascists paying more and more attention to the film medium, production rose , sharply: 12 films in 1931, 34 in 1933, 67 in 1938, 89 in 1941, and 119 in 1942. The , fascists quickly realized the propagandistic power of film and the necessity for

First Encounters 5 state subsidies and control. From the beginning they tried to centralize all cinematic activities under one authority. Between 1925 and 1929, L'Unione Cinematografica Educativa (LUCE) was created to promote educational films, and one of its _ first ventures was a three-part documentary, J] Duce, depicting Mussolint’s ascent. Following Lenin’s example and the shrewd use of the cinema for the benefit of the Soviet state, Mussolini proclaimed film to be “the most powerful weapon,” thus paraphrasing the famous Soviet slogan “film—the most important art.” “Since the very beginning, film struck us as an important element of progress not only because of its artistic achievements but because of its capacity to become a mighty instrument of the dissemination of ideas, of culture, of the instruction and education of people.” This is how the introduction to the book about LUCE, published in 1934, characterized the role of cinema in Mussolini’s corporate state.'° In 1932, Alessandro Sardi, president of LUCE, traveled to Russia where he met with representatives of the film industry. He returned with detailed information , about the Soviet film organization and published an enthusiastic article about it in the daily // Popolo. d’ Italia (August 25, 1932). Meanwhile, Luigi Freddi, Mussolini’s adviser on questions of film, went to Hollywood. It was, however, the Soviet experience that provided the original inspiration for the fascist centralization of all activities connected with film. At that time, the Italian press was flooded by articles concerned with the organization of the film industry. All stressed the educational

importance of film and the close relationship between film and politics.'* They spoke repeatedly about “film consciousness,” a term that later frequently appeared

in articles written by the neorealists. a Corrado Pavolini, an influential journalist of the time, wrote in the official fas-

cist daily Tevere (May 5, 1930): } We affirm that, in the present situation, the Italian production, even if good— which is the first problem—could by far not resolve the most important issue: to

| create a national film consciousness. . . . Film, which is both art and an instrument of propaganda, needs a collective consciousness in order to achieve all its

potentials. ... The American, German, and Russian productions are successful because film in these countries is based on a collective feeling, expressed in an appropriate cinematic form. . . . In Moscow, there is such a close and sponta-

, neous relationship between the nation and film that these two merge into one. ' The Russian filmmaker has the same feeling toward the masses and the soil as the saddest of the workers and the most naive of the peasants. . . . Cinema is not a transposition of the bourgeois theater, which is approximately the same in all

_ countries, but a unique, modern expression of national collectivity, profoundly

differentiated fm one race to another.'*

Commenting on Pavolini’s article, Adriano Apra, the contemporary Italian film historian, wrote forty-five years later: The argument about the Russian (Soviet) film appears frequently in the articles

of the thirties. At that moment, when a model for the rebirth (birth from the , fascist viewpoint) of the cinema was being sought, many reservations arose in

6 First Encounters | , connection with the American and German film industries (the leading powers ' on the market) that vanished before the model of the Russian cinema. Not only did the unity between nation and film, which the fascists were eager to attain, speak in favor of the Russian production, but also its aesthetic basis (Pudovkin was about to be translated and everybody had heard about Eisenstein’s montage). Russian film was both politics and art, which was a combination representing the highest aspiration of the more knowledgeable fascist film critics.'® Mussolini himself said in an interview: “The Russian film is at the foremost post. In Italy, we shall in no time have the means for that too.” Beginning in 1933, a powerful state organization was progressively brought to

life and generously subsidized. Luigi Freddi became the head of the Direzione Generale per la Cinematografia (General Film Management) and surrounded himself with well-chosen experts (such as Alessandro Blasetti, Mario Camerini, Mario Soldati). Under his auspices, a board of censors began reviewing film scripts and projects, distributing prizes and regulating international film exchanges. The board included representatives of the interior and war ministries, the Fascist party, and

others. No Italian-made film was ever suppressed entirely, but many had to be reedited. Certain foreign films were banned for glorifying values such as pacifism (La grande illusion) or gangsterism (Scarface). At the same time, a film section was opened at the state-controlled “Banco del Lavoro,” and was authorized to advance 60 percent of the capital needed for any film with a script approved by the censorship board. In some cases, films with a

' strong profascist message received complete funding (e.g., Scipione l’Africano,

which glorified the war in Africa). , ,

Following the example of the American Legion of Decency, the Centro Cattolico Cinematografico (Catholic Film Center) was established with the task of cataloguing all films according to their moral content. Pope Pius XI stated in his encyclical of June 29, 1936: “It is necessary that the bishops create permanent offices in all regions with the aim of promoting honest films, to classify the others, and to communicate the right opinion to the priests and believers.” The first film school in Italy opened its doors in 1934. Originally it was incorporated into the Accademia Musicale di S. Cecilia (St. Cecilia Music Academy) in Rome and managed by Alessandro Blasetti. A year later, the prestigious Centro_ Sperimentale di Cinematografia (Experimental Film Center) was created. It was

first located in an old building but later transferred into its own well-equipped facilities on the outskirts of Rome. Luigi Chiarini, the well-known critic and historian, became its first president. Among its professors were Umberto Barbaro and Blasettti, and its students included Roberto Rossellini, Michelangelo Antonioni, .

Guiseppe De Santis, Luigi Zampa, Pietro Germi, Luciano Emmer, Dino De Laurentiis, etc. In 1936, the theoretical journal Cinema came into being. (In 1938, its editor-in-chief became Vittorio Mussolini.) At the same time, the Centro started editing its own magazine Bianco e Nero, with Chiarini at its head. Concentrating mainly on theory, Bianco e Nero published articles by Rudolf Arnheim, Béla Balazs, Umberto Barbaro, Luigi Chiarini, and other established theoreticians, and Cinema opened its pages to the younger generation."

ee SESS Se POM 3aariate aON Eases eeRNSe EONS SS Soe Bese cara soSOS: eta ma a:5Roan ee BeREA niesee a eager ON Ss AURIS eee Sees aE CR eeennhan cau nanaOPO aeons amine ee Se cane SENS ORS BSa .ENS ERR eee Seon eae Woes to Se ame SSUES RU RE ERR RCD ERR ORR a SR SRS SION : ,Bobs, TERR Sra RNS Nee SeRS A SNES i ONES EOE ERO RECO ECR NRO SRR UR EO OR

Basanti al Dae et a TL LI TI —— a BROS STIRS Ese rs epee aac ORE ea a i ret se MN ta SRN alata teats aan SA ana te No a ene oat eects scree ceca ane urNRig seiettat

SES aS CaNHR RR OREN RONEN ete tntntatytn’ctarahy ereeae eenENR, oy et ah ah SOS Nae os, steep evan oe reeair Na ann ae a A RSG an RRAss oe RAG ON YANN SOS TNR RE ARNE RAR IR REE R AR ORENSS NT oorementa RAR RAR Ne Seeeaneen RNA SNR Meee OR NSS ema RRR ees sitatareenentanncte SERRE cee RINE ORR OE aye wh, RES RRR RUE RG SURE atoSeen UBARES ORONO I ssEER OONU DRESSED RRR eanent teeta ee eee eeeneater RE SRR eRe RS RS SSRN STwtRE Uh Tn SEO gett, oy wreette, ERIN aoe SEES xNOUR RRR SN NS SESE aaarn cena een eee eee se a acme Rm eee

SESS apc artnet orosate RRR ce Bassin OU SE5SRC nuuen Meg Aaa SCN SEEN RACER AOR SRE SR RRR ESOS Ra RE EER RERUN ORRe, RRS "ES,Sea as enc Looe CStesa ET SRE UE ENA OMAN SERRE ER RC REamRR ER Beseahnunncnarsie aie SAN, ease eeRES SENER ay, nena sumceenens neater aoe trenSIRO BERN Renae eee ee eee eee ae eSES sem emRUE er

Berasceasscnusvegictarnnes satcsetenataneneteenee steaatesetegebotinan seeteeaes ooteaeteecesatenanteeteeteneenieeteameraneereree ee ena RSS cee SoeaMe SA Ned 2 Re ROS eRe ORO ROR RON ORS ORE SOR PER RR ROR SASS ONE TAN eniinhenanzonete SAINI EO CRS ORR RRS MO ARR RS HR Brssietinerentese ier “apureay sen seo seaeatite mone eemeamemremee Tt woeins OONa TREE RA BNR CNR RS OE OR RE IOOR CSS SESEENON RR RR UnNES atNT aaee RNN CaR EN RENE SRR Cocaine RAN RE ANUBIS ERROR Ne Soke sugsr — Sac, SRS ne ROR NN OS Re SORT ORR OSS EC RReeenact SSR RRR DN SENS ENMU OU ONE NR a RE CR ROR NRE SERRE aR SAR RRR ESeterno OREN SE ssBhece oemeth, ke = on RES RERUNS SOR AEN SEIS SN Romnee sauON om eae NEUE Meee USES SERS a caereionmnae ties st Reais curcnsutiien stem IN oatSAAN Seuateetentattamecreonmeeeeee meant . eee.ae SEs le ENTS ateMoar saneRN ESR RRO eae sR SON EEE ER SIRO EONS RRRN ORTR REL DERE BRER ARE OR Besrccitestcaatetanten Seton tine aaa eiae tooo oomNN eaRe FOR SRR eth. an ERR RENN ORR OOENR Beret SRSORE RENMLC ERS ESURANCE RRREOS RES

SERRE EE RON OMRON TERRES. aaaSEER MeaRNS Sa RS Re Aay ae BEES Re OSE RERUN EU EONAR SRC KR te ARN Ra a ec RRR SER SS Pssst aeBSeats wh canara aeOO aren MRR Sag TUR YH SSC Coe Aeen ne cope RS re aoe ate ee a nee $SRR PENRO EE ERROR RSE GRIN ARE ynpsaREE CEP oe..ARSENE cae “NINES Se FORE SeeAY Se atTSE ee HS ERR RERUN SRR SE ROSEN DOROREO! UR SRE Sr SR ee REST BRR RR ROS Che RRO, Sete. Benson ocv oan RNR AR Saat CR REE R RRR NERS OR ReSER se cicraneeateaennan tesaRE enema ennee sanemmeeenene stem tA ET SNE ORT ERED CER RORY cA CURES Sy OO" SERIE gtane Me “RSE Ase RRL ROae ENS CR CN SRO Cie rn a EER CORR So: feo arcuee ramen nee camera Ko: Ih “oe a aA ON Cra OAS, Bene setae eo No MR TE ERE NE Setiunneamnnee murs aetna ammo EN .Be SDR ERR eR RES DRIER St ERT REDEEM Ae Banana meee ee SSRN . _ BRC URC Nhe aa DORR ee Eo RAN Nas SRE ON AR RRS RR cans see«(2eens sehen eeeRR meee MEER Es seem esSSE RRO nihSIRENS : ne REBRRARae RRORION oR OSSRRR RR SU FS ercecedntans er Soe eS 2 Ee SO RENO RRSaan SSSR SS RDN RRRat SER ag, | TERRES RES ORES SND ENE RR EER MORES EOE Be tetieasoccrastonnne tatenan Seepaetesaretee sotepnlnce seatates teataatrsatanneatstatatetatotetetetssatasemntstatereaeesepreateenteneisectene chet aeeae St ORE ARS ena sata Aad ee Sa te ERs ae RRO RAS SN SORES AA Sat RR SON PRON RSE ee NR RRS RS Stan Sonesta tecotrontntertet teenaeienetersren sateenntaetoteteneaty contest ancraeseetetacoem totes

: RE ee eG e — Lome eo, ER i i si‘OstsCisisS Re erracated WAR SRRSBE 0 | ga:Spe SRR a RR RINSE NTTEE OAR REN SERNA aatiSRR Bae RRS SOE SOREN RN NSO RRaR RRR EAM RRR OE Besians eaeeseanttesutermaneeer Susie ene coors eamSES RS Sarnaseennecma neem aeeme em | RBS. Site SHES ieeeiss ean eeeSESS a ESNet aRARE REARS aSEE SR NRE RSE SOON SOR SO AN RRR RSncaa EEwate EERE ROSeeSRN NEE eee ROR ORAS ona SEER Seana SRR E Fe he RSE... Sse Sowers Seas encanta ue RE RCRT OST RAR SER ERS athOR seen aS

>. REO SSE aES NRA RRR SANCUSO "5SLUT. ERNE Ssoumnnsaenee ESSER EN IOSaatnuruaueas ESaoSS cinEEO RRR, a nragemen RRS SOR REBe RR EESERS Euasnmearnamns mutagen taaranea marriage mone ae aee DR SSRR ROSAS RE MR AES NIECES SSRRRS SNS RINT RS RROD REAR SSS ANNA SNR ERAS at RARER SRR Soe ea easerertea tonearm nearer e REN ON RENEE BRR ORE OREO SSIES ESE ORONO ES ROS RS ORS RRR a ae sn7,“A SiGRR Se meSSSR enueaA uae nena oe SEES SSE NNR Se ORO ROASRNR RR RON SRO RRO RR SERRE ORE PSUR SRR RRR ART PRR RONEN NORA RATER RR votetetet RNS ESeamat SSSORE ROE SORE SRR INCRE SRR AALS ARNRE ROO ROR RO RON LR DRE eaENR aeEa em ee eeRRR SUR chee gett ee SR Sane angeoanie a eee eaeERM RINE, OREN NS SRD Eee SRR StS soncararetreennaeueenes meant een neon emRNR TUnetomat EEE Be SROec ROR ES SNR SEEN SEO RESO TRO SRseers UNO ttRE |, RRR SUnee OR URN RRR CNSR NU ERIS ieeeen: SRR RS RR OSERS Seas BesER came Nirrotanteetrcaer BNSean RR Seachnsteenenttemetrcatea BPeriyeisrstasstoteee secatesetatecserecoyes teegsted aeSET. eeenneaneee eee eetNS SNe PORN Sune mn eee EESa EM IRON 3SSNES ENE Nee SSRN NOR OR SBOE DEONE RR RUtories Sats RRR er SERS eae eon Gueatey SRNR RR RTI i: SRS RARE SR BARNES DSS IE OSS BRAREI ER REL. dR. OS NEN POORER NRIOL RET SS SERA OSS iets RRR Rec Sepa ee ono SOOO ST ANE REI SRE ARR RD NERO Wena ron aR Roa SRR eA MARSA SOROS RENTON

Bs po ESRera SUR SRS Ot DE ARERR ROseem NN aa Hn. ak NSO CRRISERS SU SR SRNR Se SR Reh Laie sat meREED Se em aRDO eRe Cena Sua eiauno nanny aanSN eee ERRNO ance seiuinnans wet alee penttiniane saeRANE a eanRS 2 EL SR aaSeen a A RRO, a RS ESOS seuneunemeecnse ¥ OSES RUN PRR OR IO ROenmaneaeaerremtcs NNR SER RUSUR EAR SRE SSTale Se eae Sones at electeta tet esatean coche sctacearsenntetetanatetetnnste aterSSR aishatalh one SRN aa oa pemoacstaveantsteipnanentctensten erent asninerenonyitnreleatonerelacieeneetieteeametesiee eating RT ce LOR RAENAN CARER ORI, notetetntoracscictateeet SAS eaRAEN SSRN RRR AR SEE eeies Ras Serosarcein aS SOS sien RS RR RENIN ROR NIT RRO, eraetunle sineaeeretatesenasnee meteorite aR KRSNA RNE DREN NS BUNS RRR” BE SRNR SRN ERRORS ROSNER SRS mamaria RMON SeRperiocecneetalegnesceanntetetete ace celebs Seyar afaietar eatery netetslah seneeterteeatersist tobearhatnte te, cheteteer tee CaM TEL ERR eee oS ae OORT ENR DR NN UNO ORK PRESEN NDR ARK NS oe csSee IRR SeeSAuuataee NieRRO saneret ERO satameereoet Boros SAE RNSia aN RI E NRRR SAE Sehanueuannneonanneena OR SERSaRRR NY icceruomnteens eanicrnine ee BS SERRE REE RIEU inSRNR woaeHae ESSER PaO ORS SR OSORIO CRORE S elena ermnane anna earRESSeer Nene Rea ee acS estas eR anc mae enceRC aessiatenieaneoasitat ee mRSEES ere eR ee ES. SECO SOAR SCROSS SRSleSee ER ROT RRR SR ROR RR ORR RRO URN ERE ONO ROS RRR SN SRO SE RC SRR RRC SER Byslegnetiey RORliens NR RRS SON RARER VERN OES RR RRSOR ER CRT Ratgaas retinRUSS nee setens RRO SS SAREE RRC EER EARNER AREER ORR SOREN eum SU RRteenRRR SOREN NO Rn RR eee dateSRR tees etaye starabetebenareteteeebettelet tetebetetetctae seeaetetNOR ae . Breaiorssoxateraracetetoramctatutescertotebrretratatitecetsersenrteretctate, tereJarno etete tances stat tccateret ete oven sailorBORER ssesetatatatetdeleteconneseetet ont Oe neat tocaaaratar te SR ° eectsSRR BROAN SMS seeRRR BOONES SS SNM NS SERRE RN NN RARE*een ie eee nmnees nt eee eaeeecinnenehene Feet tttant ener, SORE a ac Rea eaLRP Ran iN ES RRA ENR USNR = oT SERRR RRR EER ence POURRA SOR NS STREET oe RNYie RRR DNS RRR SR RR SRRRRE COON SPREE SERRA NUNONO RST ERY SnesORR RNS Seatac ZMrteannenneneanaentnecree OE ORR By RRR BEOE RS CRE NRE MORES. RI SR eR SESie SR SERENE eSetn See senOEN ie EE NS SraeeARENSON RR NNN SRR eS eeoenae Se ROR SEER REAR ReSa ear adoame manna oanCRB eae =ce ar ea ete oem aura ennai ate aimne mare teatin SORE ORRRR RAO RR BESSA URUK EER ERSTE. ERS RRO Rap NS USN ST ER: RRNA ERE RARosSRA RRAREN IS ea ct) ear TRCN SRR RRuner OREseeee oe Spee eopueratrenesnemaoaneteeee cecemua SRR eS SOROS oneSURI SSSRRS RRND eniiananeenrn uy saeeremene eatenGRR ees SARE NRO ORR cc RO SR erates ete soreoasassteasenebeoate reatotabatatat tateranataaatosmtotaietabetstenesataraenberetatnaene Tete nenncehn ene ROMER Nat ssrie isles tvestscsorrstetevss Seatereteseteteces ene siemsenteceteceraeatciceseeeetetenareancecstemanttcee sesso detececslontereteennrnetteseenerae pee Aes xe Se aaceetons natenncepetrancteatacesomocanceneeets RRA SR NERS AM SRR RAN Ni aN es eitareatetenecrentner SEN ROSES SOS IER SRR RLS RU ORR RO MRS an

ERR Ree Sele tates tees i rneciataty oteretatetetees ale shatetaten tatetate apt iyi ois a ee SRR SR RTO ORT nie saasstastertetecsratanetacoterctetevtetrasateshranetateonttonater ot Tece! eens 238 LER nC UR OR sarees SEO END SEN NOR ORR RR Sroiaemunsusneeoeetammtnrmameeemnetete eee SPR RRS IC is Sesion PRU SS BS REEREERC RENEE: SRee 2 SRST EUR URS RRA RN Rr RRC ARRSSSR ERSNS Sees EE SRR EUS SORES SSE ENR RR SORE ERS RR SRERRORS AE ES SaAREER RR eran sePRA Sees RS RMSE ERR See ERE ees SEER eeRESOURCE EEN... RE BRR ORR ROSS RRREi ESSER UREA Git SLIT... Cee CRRA RRR RRS SR AIRE RRR RO ERAS See PEON SNR OOD SERN SRE SCRSR 5) SRS RNS OI ER vanes RUAN, RN ESN Sh ORR ERRR ERR

NEB eins Set sees tence aesRt epee eae eee eee Bs SER eh ea anna ao SSSR RE SSRRARER oa arn RRR NCR RRA A RESORE SRR RRR RR BsORR ue SESS namiersraee eine OR armenSSR eS coeur Seurmeton SIO RINSE ON. SR rata SSuaneeucueane oreSR RC BRR RESS See eee eeeee Eatenner aaRANGES ee sSomaeenne SEERA ROR RRR RON OOLO SARC BRN RRR»: RS BS SSSR EBeae naan RSei, Open NRCS BOSSES SA SE EER eeane measRRO seauamneeSueaaneneneees eeSR SEARO REA GEAR DUR EY RS REEANNAN NS PORE RGCE EN ERRORS Sateen Sere ee ae SaisEER cumini ORRERSUR arentRU entinas earn aieeeree ene eoreean SSE ESR USAR SRO SRR SRO BURRS RSmere SORENTO RERUN ORR secceerasenteNat Sacremento ncaa ks BeOCR LEISRRR RS ESSN, SRO RRfaACREO RRO SBR Nore ae ee sated Pe ree “ata Seen recess ctenae Sete atta tatet ttc tatgtateee le tats SORE tater restaebetatecate enaseeceaby-eeesenntenen es sesatateatcueremne atest ee eee RE raieatatecetotehetescabetontent eerie ence see tineeees Sete sshetocatatshebosseoetetetneretnootat eeeeiseennt at ince LRRD RRR ooeaeetooaehal aun ue shetateotrrnaeee ere ee SESE at RON RO ©. ERROR I Raa oe eR DRO

BA ee ON heseee Sete atesfe OGates, neat shel fahosete esate tata ee, nnstataonese ete eabetetetatate tat baent se ORR NOR Cavinacuanneameanantcosesemes RSENS ARB Sessaatatotetatatenereesoanes RAR ssenssstenaratecotaratenaracbonesesnr arnt ye oN RRR Deseo teoteetetetat eee NonCecio sata tadetetgAtbatatat to pis Serna atari seen ieee eceeeeunoratee BANGOR TORN. RRO ENO. BSc RRR EAR RR RORY SBM ec ae ecco teetetoerane aeOURS eran ane semen eteanSSE ec egemneeN ar antnes enaartememeent saeee eaten Na RIGS Setoetea teteraOOS etna renee es SOON LER RES oan esatatatatatere SRN NOIRteh ACS tte3RR SERA SSS MSO BOER eo eo RUAN. ROUEN ERNO ROR RS a eralerecertehreeneuereteceenetees eee BS SESS ISS eRIeee RI BRE NENT 0stents ARR Boa SRE NR CR RG SUENS ROR ane ORNS ACORN, “CRS RE RC ERE. ORR SSR RR BP. ORR Ra ie MRL SAN ON NDS OROBS RT IS SSRN ss SOREN BMI eo ROR RSS NERS NSMb DOSERSSRIS STEN NSN RE SOR A SRC recat SRRSS afethabercerenn tenet eee aeenamuennee SOS Rec ottaseternme acai SIRSPore eitacnentacaterm atten eaaeetencen meee ream aee eee ae Rah RNRSENS ARR NC RNS RRR EOLA RRRSI RE, NUS a etme Reasatatatacaratst anaterstonanstenatatneriettstaeet TE ek UNOS Saou aeORE lieSO.”EA au ern ee at cae amram enue eee aoneing taeaneee ome ERR MOOR AG RRR SRR RMD, “SGhtiuie Oh, RRR RR at Shots ERS SshRARER RRA ERG BERR, RRR BS” SE SERRE Ee aREe POSER RE ORNS RR RNS XI SRDS BRUNO LORIN ORR RENO Settee SEES NS PRESSOR SOAR KARE ORS Rae SO SNARE etre Pe SSS SERNA, | ORS SEER N SoD ARINC EREON RSE RCN SR SEE Secret rile reSURGE. Soe oro coun retennean a SS SSCS RESORT cisecstihe. | URS NON. ROR SSRN ER ERR... SORRNOM SSR CRE ORR BY, SIRSS ge RRSEE RERE ioe soe S RNR NII ERROR SNORE oD mectatannoasecanenetenes Fumntannniane ona PRN Sn RRR NON SOC RAS SR Ra eeeOREN Po ose Nocatealenatatcteey Pee euatoneanter rade on esROR siedhorieer manentNN eeNRE soeerataetetece SRR S10 SS enmreenoeaneann eyRE nee Seingrntmnsteen Sy ROS ASR RRR RRR ORERE ERR BSSOS RRS ESR ape NCR CRS COON NRCRESRER. «ERO SRNEOR RRR RSTO EO RRR ESRRRR EUROS ST NR ctesateRR RRS ERATOR RRR SS RR USO LEU BRR Oa RES EECA EIN. RR NRO RSS nn OR RU RRR AR ASRS URE, Set SARC RRS SoS siuaenceueror ee aR ER OR eaer HRB ooracooeetcaceeeceotetararitots 3 SaSsT ome riaatetate ya cag RRO teaeteeetemtuaeeateeet tateteteteeesceteatoee ste snes aebbeaetoestaeatatensate staneterehtes ahrneeyaticnecameneeneenneess ERIN RN SRci” stokes catia eceecenpnaencties oe sigan SSRN ccna th Seasea eitierehatgateane ree peeereeamete teeter sharcenitinesmtnnnneaen CRE cits SORE RRO RNY RIOR ESSA eR Sen R EE RES SURE ORR ONR ROUNDER ORCA RCC EN Seems SEESoteSRR RARER ita. SN RRR RRSSS RD SSNS RNEN SRS SOR SOS Se PONRERRN Sattest R eoatnanenbeemeneeeee Bs OR RS SS a Sea esha eK URN NED DENN IK I R INS RRSON T.-C NS SRN SRSA ES ENA RNS RES eecsconensataiertonee SER CBRE Se See NE SS ee reaieremeaereteenee nomnremeemeeeN RRR SRR eR strteanetarense rageeanap eee ER ROT SSOP RR ORR BsSR SE RRR EN ONE RSS UR RE RIO OCR reeRAS I UR RR SCSRUG ORS US nS So aS Suamnnnnne ae cuenra memem eeseen Mme eeNSE SASSER ESI, ... osa oo _ ee i 7 a ee 7 — oo

| — ee ee es Hah he ps ee Bes oo ee oS cee _ ey eee Mises? : BR mate belay EESESho AEE ogaieg Peeanaes oe EE Ne Shen rp i (SEES _ OORT ee ee SESE haplaid See, Pay Sy Bi oe iheaiaths A EER a Povey See Oe VP TUES SSE ESS Sere

#» | oe eo EES ae we Be eg rr ket Oe hore BYE Sey TEs Peeeetoeaets SOS

a | oe ee Se Spe creas SAE ae oo RS BoE BOR S Te MER be RPS a ee Wen ye CTS a Se ee OR BE rt os (

-| OeDL Co . CS |eeoe Seas ees oePRE ee ee eefeSpa CC Se ee BSR ooee ee Ber a aee_pees Eee eae aes -— aie POO Le Bs _eee Eka eereaes oeee |eSoe a Esoe -iae~Be—— SE oS eee CC ~~ eg ga De peer cm RLU ee eae eee Be PO IS ee release oo ROSIE oe. RRR aes Be PR i eae EN ee

_ a ee | a ee eg So ee a a

. - Fe oe fe

: aoe - - | ee : ae ee s Be hos. SRT ts as es. i 8 7D | os - 2 - f é 2

SEL Ty. eh SS RS ch ae ven nee A a Oe Te re Boge ie SEES: DE aR eo Bett S Sareeanees Re ae Bee ES EE Epes es a

oe _ _Ceoo 9 RR i ep Been PURE POR Sera teaUean eeeaaa hae |ee: oe a ene Ree ee ae se : RS aa ae DE SE SOAteOE oes SP oa ae LS chy ae SESS

oo — a DOs 2 ee Be eas oe ne: i ees

HoeeeBs 2 ee —.Se| Naa oA Sas hesSSO eee eee os _Og LSSe Seea See Sesaeehences SEE ere saeoe. SpitaeSaieBe aa eeLig Po aLe as es Se nL a eees eeSENSES ge eEEh Peas

ae a. eee FC —S

|

Paes go LY Sh ee Oe BO ee 8 SS ee Se EOE SIE Biees Hie digs SR PERE Re iS SS So rr re JESS CESS Ee SESS

nas as ae - rr oe ie _oo. PRES ee ete De es oes @ ae Z— 2S eS Be :Eee

OS Be ta SEES EE — ee eee ee Be ae ae Hs ee ee ee poe gee a Sone aes Pee aes en ae

Pains parenec tee . > ~ . SRea ra ees es pee Saree oar ata ae Bee et BR PR go pee ee - ae — _ i - | | Pee Bae 2 ae BESS, ee BE Le Eo ees eee Ceo Sees

ee 8 Bee eae ReaD Pa aL oa eas Barer. gait pee eat FE Meo Phy Togas Po PSE SE Sea Peres eR ET ee SSMS Sie Da PU Someta

perduti nel buio

|

ro * wn , a ; recogni an ‘ al light tha

istor '° m | hand, the French istori uring th : glois, who seen the film duri enri Langlo trait commonany to many N ; zed thei use of nat ightin INCapo ural light n in Bunuel”).34 y film’before, not eve ~ 1 ve. seen neverin : toglio’s di important critical isputed film com \n imPialeli assessment of Mar 6 enn es from Antonio scri geil, WhO WwW description of the squalid milieu of ‘ rote ini1942 ab -

’opu® xtan » uct ° ans °.ra|es:Cc O : . I isuui inten of S. 1*t 1.:i-= ?

‘heidcracks milieu Neapoli and si of itan the lowest strata, full out

t Oo ’ ? : 1 Cc. of msthe35Russian ausmand : ¢

the cotton-che clo ss people, for greasy hai?OI ’ which anticipate

the French films.” ticipated the reali > «‘w * iS mainl sustained { by another im

V Spin ; Itsimportant, m, aros Assunta ext pina. ack , t Neapo , ged high artisti . 1silent °°testi 1producti sti ' enceignificant of nind isticin qualities Nea e exist olitan e

7 1 Giacom

popular NeapolitanDi drama ranscribe f y Salvatore Gi ibes the ,y ion, and bloody rThe ° aaitypi italian stor of; passion, seduc 10), ’ revenge. fecti y e filmed on the stre . ive scenes of A pind at fil : most effectiv d eticstreets the1 the traffic, wi , ssunta conflict amid interwoven ? ight emphasizi oven into allight setti sizing the

rama ot 4 ith | ton th tting, creati pac e screen , ting a st ‘ °

byconcern for°the i ’ be matched “onl Griffith’ ingontological toimpact Vlada Petri oe I ological of photograph

demonstrated in his Biograph ele graphy, so ingenious! Francesca ini, Bertini, lers.”2° The character Assunta 7 thethmost famous Ital: taof(playe

:om. us italian star al femi ubmissi e sien combi . YetreAssunta accesensua ity and aineed for fr igntened

pts man as the supreme juddeeds. f ed tor iree-

’‘

S

pe CE EE EEG RE Oa helt, SAPs oe DL ee RO rhoSein”, ft let Takk oo SS ot atieene: aneKs namrenoanS RRi SS ie ee etsASS erat SS et Ta Ma eerie Bis Ses Ee abt ati a ie pte ee niewe See atoSete wyParnes eee ty Seg fo eeByPOOR cadetwith: tt, UtA> hetBee yes oa sce . ae PE ae PS ae ei Saran aaa2 Loan

oe ath Se in aRy aesgine g, DER Se ere fe ae ds eeeSee Te.Se * -erSante SegeeeaLPeeaepate? oe Yao ste SAR eesotteinn cece Tok heste Shee ete eB Maths ter o * WAR ie Dan weene eae | PUN Sh SE neTee Paty ee ee eee 8eaieee ee Reetece ae See aSpee Ps Eo we lk eae Nae iy. 3Sen RO ee ey atSL oeeeec iRe RR “ESR See aetapa aeSRN: age Pe Pa eh RO eee OE MS coe eeRES “Eee tEy esi og AtiaAe 2: apereness i" , See7 Sa en en leatpe sieee een OER. Rs Bs Bete eydinge BRR Sena Seay cee Stes Se 1aet acts Bes ES “ye gers £Say Seek, 1WS tyr Ee Ae8OUD a reteset pe Be Co Ram Sone, =EES PaceNSR RS PErast SSN eeSS Pie aie Tae ae Sapte eraTEES Beek Meee ae eee Se Ves bebe Be:anaes PAA aae2G ee Re as hae ees inp eae Se SRNR taOU Sa Sse Jot on eaeeaee aeeTietire Ree see eae aeevans SB oan ee eeORS Ses eSNG Cee eecee Ss Bagh et Sees psi eeyepopes es 3:2aeeaces LATE JOE oa eins

Se ene aesTRS Serre om TesBee: Sin atone NSee eR POS Reo a AM ar yeLES eat beer Pepin yh nO Ole Pa EUR a BS apePUPS pease Paes Seearise ae Lo EeeRe ee RAE te DORAL ae ene SRogee RRBee Joey eee onees Sy SEU i ee ERR ER OR 7 ORE MELO A ARERR ERR oe etc eM aR Ae any RANI AGR TERRES So TE st ie Ge RO ORL ER tie Shin i Sa Het a 7 0 ER a ' ae o 2 IED ES Se Tet A penne ee ens Pee os SS AKON onitn reRRB Y aaptae wee Wee nies PRE ey ‘aa, aan IP RY, Mae Oe ay,oe eee aaSSAb oe DA Tl CUE as oo i Ste a RTT SO SaIS Ss Sg (ORES RRR SESS Ra UE Bah RORaRRS ae ie2BRS oeAU TROP iia SEITE aNaSe, asee oeSy a Ce Pte Tir. IRUAES Sago Baers Cr?We GE seOc eo SS aie: Sa Hine By Sie Moe eaSO CS EO Ra LCOS ad cad 2h ESRI SSSR Bi os Sen RRaERE eae TeOIRO SeASe DEER DEEMED on RI.2aRIS EB RRR TR hen,oe Loge el oo RR an CES EE oe HUE geea EEE OCSST ESSSNERS aOe er sis REaaa SE ieR aes ristedn seOTA NethatSeeeER eeRna BN esrtas[SEES Son oats Be dy2 AS ME OS EES

eee as ee | — = “yy ey a SS a, ee ae Soe ae Be Se

Geane Seee oe eeOEE RES RN NE RR RS BaSEPa ce Ro OC PEERS eaRR Peso cory is" TE 2RRS FePPS a a ee ea OnPESER a aD arUE ea Oe IS Se ntsoat eeos Seemeneneay CC SRE areaPS RR a foRROD aeerane See “in SS ee pa CE CRN ERR Eo 1Le, aa Rees aeSi Saey Te Nn TiN LAE RR En PRaRERRN LER EAS ee hes BERR creeros SERS poietic ae ta SRR oeso aa ‘tt BR NS rerRear SA Ee on So.TREE Sana

ea Pee eee SE REE ER ae es eoBecca eeoeena 2 onRAE EE UES Srfacie 5eeeeHelBa ee eeeSER eae nade LS ee ge ESUS SS re EN SR a REET Aee RRO lA oe N AEBS RRO esRs Pe RN PGR ae aE diet tEY tr Rn Yt OS SS ReBae co aeee Rasen. aa Se LENE ae ES Rae AEE [OERireTR OSlot2 ie RR Sante, soho SEE a SS IE LS aooCS BiLo eaeOg Se RN arama One aS USES Sa Reepnnah: Soe ae Pama i RE Cs ee Laie i SRR i: neti PO a Rares iit So tea ae Seren eect PCa Sen Seca ier, Beth SE gk oan eS

Se eee RRS ASee LEIS Sg eenot rmts gisisUR oeODER ORESee7 ARRON Bis See oe SRE aa SL, Saree SETS eesSaaS ERESeTO re eR ca eae DSO foe" TR OER Pn on RRR Lae a eePree RT RR Pee RaEs ne RRRasa i ST es, COS Seeeeeee RRC ee Re SRer et Se PaASS ERS a Fee” RS SERS Rene READE, aeam en aR Reps BR OE RE ic ReRON Re aii Rae aiabe Be i ae Ege ROEM oo PR Vea pCR ee tinder ee Sea ees RMR andes Sean OS ooRGR srs Bees Sere ers BRC RRR Sece ees RE Bice eee oe aRee Se SoRRR aREARS RS iesSate wget PeRE RRS ee Re eeercns IRR 56a:TS achat seeats Lc Oerete RS ee[oe Ba ROO 7ee RR eae BS aes BNEERR de earned aoe ene Ee aeitaeas Se ee +7ALL eee SBE eRaRey PEG ees SeenShute pgpRE EOS TTit oyEE ES Sena CRE iseRETIN Ri Ae Be CLR ioTE Ze Res ORR BRS eee Gy Ripa Sa ge RRR Oa RS “tian ose ee TER ee a ae So a aes Re pigise SS i aa Mee Boar RR Rees See Sipe aes eS Be es eS OS apres OR nts aS a ene Te hem ees So ta Seit eS SE nS ASR RE RRR YRED gs ee Sie Si a ena: io RR ey PROS Roe ES ae ave RL el Gane Sa Mona aA pane The huge pink productions were nicknamed “white telephone” films and had many operatic features.°© They tried to convey strong emotions without intending to have much in common with life. The origins of the “white telephones” go back to Cecil B. DeMille films, which were considered as models of elegant productions with luxurious settings and impeccably attired characters. DeMille’s Male and Female, made in 1919, contains all the-classical ingredients of high society comedy, including the relationship of masters and servants and servants and masters, typical conventions of the later “white telephones.” A second source of the pink productions was the German film of the thirties, generally referred to as “the UFA film,” which combined the style of the German drawing room comedy and operetta with glamorous

Hollywood comedy. The third ingredient that influenced the Italian “white telephones” was the old Austro-Hungarian “Budapest style” light genres. The advent of sound changed the Italian film industry. Annual production fell from 150 fiction films produced in the twenties to less than ten. The mythological

genre totally disappeared during the economic crisis. In the thirties, mammoth historical films were produced only sporadically and cast in a new form. Their naiveté was gone, and their good guys became fervent partisans of fascism defending the ideals of the Roman Empire both at home and in the colonies (Scipione l’ Africano). The costume film turned into a passionate bearer of nationalistic intol-

erance (Condottieri). |

Together with the good Glaucos and bad Nerones, the athletic-acrobatic genre disappeared with its sporting heroes Ajax, Samson, and the famous giant, Maciste,

22 First Encounters first seen in Cabiria as early as in 1914. Fascism, fond of vigorous and muscular bodies, did everything to save him. In Il gigante delle Dolomiti (The Dolomite

Giant) shot by Guido Brignone (1887-1957) in 1926, Maciste, defending the moral values of the present society, bore a striking resemblance to Mussolini’s

| storm troops, the “Black Shirts.” Neapolitan production came to a halt too, a victim of the financial crisis and of ~Mussolini’s efforts toward linguistic unification. Its few remnants were found in _ some of the pink productions where they degenerated into poorly made musical films: Napoli che canta (Singing Naples, 1930), Napoli verde-blu (Naples in Green and Blue, 1935), Napoli d’ altri tempi (Naples of the Old Days, 1938), and Napoli che non muore (Naples Will Never Die, 1939).57

| The official fascist attitudes were virile, chaste, revolutionary, and celebrative. Gone were the days of the striptease in The Last Days of Pompeii. Nude breasts were covered, and all suicides became accidents, even in the newspapers. Femmes

_ fatales became bad creatures, and purification through love was reserved for women with a strong moral sense, who would always forsake the husband to his

legal wife and children. Isa Miranda, the diva of the thirties, a perfect femme fatale, and a dignified successor to Francesca Bertini, played roles of heroic Italian women (Passaporto rosso [Red Passport], 1935). The only time she could commit suicide and behave like a real D’ Annunziesque female beast in a film set in fascist Italy was in La signora di tutti (Everybody’s Lady) made in 1934 by a foreigner, Max Ophuls. It was her best part, and the film stands clearly above the standard

production that surrounded it.58 , : The actresses of the corporate film were stylized as models of joyful girls with healthy minds and healthy bodies, the prevailing female role in the Italian comedy production of the time. This became the only genre that remained indestructible. Its patterns were enriched by Hollywood and Berlin, and especially with elements from “la rivista” (variety theater or cabaret), which in the 1930s became an important part of the Italian stage and life.

| Comedy did not negate the relationship between film and reality. It expressed it through comic sentimentality, which made all dramatic harshness disappear. All details of the plot paid tribute to common sense, the guarantee of an orderly and quiet life. Timid young men, impertinent but naive girls, and surly yet loving fathers populated this world where love reigned as long as the limits of decency were not transgressed. The mirror Italy faced reflected her burning need for a beautiful

reality. | |

Some of the best comedies were written by Cesare Zavattini (b. 1902), one of the most active scriptwriters of the fascist period, who at that time was deeply influenced by Frank Capra. He was a steady collaborator with some of the experts of comedy, especially Mario Camerini, for whom he wrote the story for Daro un milione (Tll Give a Million) in 1935,°? and Camillo Mastrocinque (1901-1969), who directed Zavattini’s script Bionda sottochiave (The Locked In Blond, 1939). Second to Zavattini was Luigi Zampa (b. 1905), another great admirer of Hollywood comedy. Zampa entered filmmaking as one of the first graduates of the Cen-

tro Sperimentale di Cinematografia. In 1939, he wrote the script for Mille lire al

First Encounters 23

, mese (A Thousand Lire a Month) directed by Max Neufeld (b. 1887) and often mentioned as a typical “white telephone” film and comedy of errors. The same year, Zampa worked with Mario Soldati on Dora Nelson, centering again on the interchangeability of two couples, and in 1940 he wrote La danza dei milioni (The Dance of Millions) for Camillo Mastrocinque, a tale based on double identity. Zampa made his directorial debut in 1940 with a crazy comedy L’ attore scomparso (An Actor Disappears), one of the “first Italian suspense films with a satirical and comical background.” This genre remained Zampa’s favorite during his long career, briefly interrupted by his neorealist experience.

ALESSANDRO BLASETTI No matter what point of view we adopt toward the productions of 1930-1942, the most important personality to emerge is Alessandro Blasetti (b. 1900). He was the

, only significant Italian director who continued to attract the interest of critics after World War II, and he remained one of the leading figures of the film scene until the _ mid-sixties. In a way, Blasetti is a man of genius.®' This truly prolific and eclectic director shot the best film of the thirties, 1860 (1934), which the future generation of neorealists viewed over and over again in the small screening room of the Centro

Sperimentale. The film is an attempt to portray Garibaldi’s “ Expedition of the 1,000” (il mille di Garibaldi) from the point of view of the ordinary Sicilians. Its protagonist, a Sicilian peasant, travels north to Genoa to serve as an intermediary between Garibaldi and the Sicilian insurrection. During his travels he meets different kinds of people: aristocrats, intellectuals, priests, and businessmen. Eventually he joins Garibaldi’s expedition and takes part in the victorious battle at Calatafimi. 1860 is remarkable for its use of Sicilian locations and nonprofessional actors. As in the neorealist films, the script was conceived for nonactors, with short condensed lines, and long silences between the dialogues. The contrasting structure between the sequences showing Sicilian peasants—especially the scenes between the two lovers—and those in which politicians decide on the peasants’ future cre-

ates an atmosphere of interlaced physical and social realities. | - The film culminates with scenes of the battle at Calatafimi, shot with extremely mobile subjective cameras overlooking the tragically beautiful Sicilian landscape. (One camera was placed on a hill, giving the perspective of the heroine as she looks at the battlefield; another was placed in the middle of the action, eventually following the heroine searching for her husband among the dead bodies, etc.) Most of the final sequence is composed of depth-of-field shots with parallel action scenes and

extensive cross-cutting. , Blasetti was very successful in his choice of faces (typage), which seem to overflow in his images. A figure is seldom alone but always a part of the landscape

(there are hardly any close-ups). Faces of Sicilian women clad in black often appear against the white backdrop of the countryside, foreshadowing the images of the neorealist films set in Sicily (e.g., The Path of Hope, La terra trema). The editing of the battlefield sequences reveals the influence of the Soviet cinema of the thirties. It consists mostly of short shots linked with rapid movement. _

24 «FirstE t

*e**°.«°

y° 3 o«e°e

These brie images (jumping Norses, faliing SOIGIELS, raised af ms with guns, snout-

f hav Ilbindi on theeffect viewer, fil er ing officers, etc.) haveffect a spellbinding on 1 ,allowing allowing thethe filmmak

6ee***

to lead him in any ideological direction he chose.

hot full d ° to illustrat th f° th * de*,@ e " e +e*e°.e®° rhe genera outline o IS in Keeping wl ascisSt m ology. iIndividua

1 hd mora HOSO of the time e ultimate mythologi*

62 * e t) ° * 8 ‘ .

cal apotheosis has Mussolini cing a dif ect heir to Garibaldi asetti stresses Garl°

baldi’ tributions to th ificati f Italy, leaving aside his fight against th Papac The film ends with a vision of the Foro Mussolini in Rome, where sollers in fascist uniforms parade among the ranks of the Garibaldian veterans.®

Such i i f the victories to come were often used in costume films ‘

as a protection against possidie OMCial Criticism. the case o >» Indl gnation

f the authoriti ight have b ed by the film’s appeal for freed d it

icti f th volt of the Sicill A di fil °|ee.eee*fB]e

epiction or the spontaneous revolt of the sicilian peasants. Ccording to film director Carlo Lizzani, such thematic submotivation was the intention o asetti. L rote: “The more seriously he took fascism, the further his generous tem =

1zzani wrote: sly ,

perament € im from the pat S OF CONTOrMUSM. Owever, Emiu1o Cecchi, wno

t the finishing touch the final ion of the script robably responsibl or the nonconformist overtones of the film.

woe BTeaOR laterAtySERRE bu) ne, ~OY e Moo tighteR ate Se th TE et |Sn eetLE otisRG oe the yao SRAM tee oot ote eee SM ee ee oe a eh OE RNeeAL ee ged GRteee FeetSa Te eet de Ae PERE he er tah, PRUE SoeGtheBebtie DORate, TdSeen on Pan lg cee a OP EeDu SeoT Mseteoe

ERED nse FEE A RRS SE a ra Se PRS ee ee SE SR SOR BR ah RRS Sieh, oy od Tags Seite BEE Sheet eels ere Be tg OS ER te Tats Cn Bye Pek

PLS Ry Atay BH 2" peeSRR RES SearneRnRNR > 2H a RLS core ented yea eee oe Se ae ae Ee RS TRUE SyREET cea pat LNGME EE Pos Seka cet ayTA eda es Sree RAST NS eae 7taeeeMa WARS Ihreae EE Bet) SUES, RRR a aC Atte onge th et en SMR” ayeee oe taste ae oe SMa NIA aEGTR Oe PaetAE SeaTe RT a See et Sa egSPS Thee STE UaRE, SUS2S Pe TR REavTOY re eT TideSouth ORE RRO a rea Cones ee SSneCysok Seer eine Hn eee TMate ete ees Shy, RNeo SeMie titeeLeMeme Sak eee A eeeTe SR AteTT Fe SER Re a Fare wae SE 2 ee eg OOF etree MeTae woes

i nes Sei SEL oSSoLee ee aBed AUaoe,AU SESaan Lewnpoe ee ON: CetiHate ERG See ee LETS cal Seat aeOeSeite & Pig Ree ee AL “DES: ole Std ASE city PSSA aa a ERE SP a Gata SNSEIGER, Ce Pa a nsvghintag RIT Citas odode MRM PN na TEEBee AAS Bayh ot taht apter Cites PARIS TL a ROE oe Fe EPO EES, hE ee nRI RR he UEAL

EY eg SRE UN Ba SOE SUN a.LONE rca ER eee a SPN te EEE RLIETS eee OS AN Sy EE ih LS neaga TBsSGA. PCa RRS eae OR PIM Eo eee PE ITD A TAREE TATE ce EN OITA TETAS PENNA MENDED OE to,RENE Nie gO eTEE Tt a Se oe SEI Bee, SE NOIPS SE OEE OT ++ (ranges PEA oo SR eee arr A Naa an Seay a ae aneeS at eres WtEDIE EP aewee hae SgRSH AP AIS EE Eee Bee e SR a ORE I SE LS ES a ae eke reg a er Bab h gee as race Se ees Ga ie Say pend e ee f Be pee TO a |e UL: SR eR ae MRE cect eco wis Ase Lara cme arapun on Gutmanmummminnndas Saitek, Raya Meme ool eta UES ey nee SEE Oe RE GE oa ES a I ee, ee ETT wa te AR 0 bet rot rng “Sih, SRR ae RC Eee RRR So eC adnate hn Bae pee SERS Ree Rae cnn Sear roche ee cy yO Peete oe SAPO RLS Sie. See ET, BE on ate SHOP e es Be TE, . wets st x 2 11s” RRR eR CRI RDS iP or ed Me Me NAM te Ga ted oe al a LON BO ET CPOE SE CE hag OE ag UPN ats SH ROE! Be EE le Bee! SEE OA BL Sl OR TS oy

LT eet Be GD OO to a ee a EMME TA Te Lr stn? Fast” le Mirani rune Cana e tae ava REe emit City te MOOR EN Oe SOEN TSS Se ete EEE RSE PO Se TASES PES OR Lh de “to ae Des CL STER ee ts os

OR Ss °Fto2.25 BRR ech erone maa ee RReee RE0 en 3 eet dae tie Scar Mita nies Mita anteEM Ade See ede Tegan oeReg Fete UB MeN AF RET OE ESN RR ES RE ERE TELS qe Pe Seedate se Athen 03 Re1 OO MaESS ee Cotas aeata ins saa Latintnsaath SOHNE oat PNT EEE AUTRE OOS, Oohs WEEE atcAS Lele SREP EE edge PEE aFE oaTs Ss PED SERED Re pF aFoR SEN Os aRAMEE ee nea, et Sec ae Nat Be et eee feNOt RATE anTN SRSEE SA age OE Re EOI Ta Gt,TORUS RRR ea esOTE a eT RC SSE OI ORME SOOM in GP, aS Virvinn ne ieUacrtentey DAN aln, Oe auntie te PTC HISD |ec Ce eae OPT re OMELIER Tt OOBernd OED IEAEEE CA SOIREE GS Bi BeRE Fb IE ETI STEEN ig BS EEE SA OEEA ToteIINCSOSER ee RE 43 RRR Ren a eS eT RMONPRE A So ne 5Oct oe ake rane ine at SMT Ne SATEEN eT, ene Te EN ROS SleNe eh DA EEAE De oii sesPes BT Ss epBOSE TSR aPees SAPRE RD Pe NIU RERCTRMRNIREE a ea ~SESEROE TES a a ee caea Pee area ets te a Pete tate ot 12k SSRIS SO eee e menace CRE aE AR RESSS SRL RRSe EERE RRphe MREae OREN 25050) corner CER iran only covertoh tatrtnerernlly of OFSau Since eae ee SeexUNE TL SA PERSE ee OOS OR Es PS PCRS SaAoehe thee ds SRS TT re ea

eb Es SE 2 oS eee ee eee ee ee ee BURA Ms Bee hc og Ses SE gl RR EGS

iPS eT A RSSbeeEnSa ceEe otha eee 2 GaSe RR a aSereda ee Cnt shebeal fee AV EE EEESTE eR EE BPE RR, et ERE ata ATE Be ee PU nie a enn care etna «Mee Wa CO etSP 7et,SPEER Terese g EE ee Skat TES etEP ON LS2TRSee MRinc ON at ans denne Meaa te May Ne, Seg oyFE TRESS,Pua Ce SE Un PESoe Sg RE roy ite Tet FT 7 ST ic SRR an RR RRR eee runic cr tareghie ream die nace enero ra eheon GRD 9 ne ne EAE ee ie MD FL Lake See MEPL ES Reeds Otel Ree ee Sree Se Pence Pe Mag gs Maui ae SUTRA ee Se gn

xt Fe Monty Te te 1 RRR a RC OURTAEE ERR IS Ten SOLER SNe ae HOOD er ae ee igle MOOT SB EEE ENG IB AEE OR PSE ES NO EEE IESE EE SEN EB BED setter te UT Ra

BO a TPL SE2 1RES IaOe nian eee NEE 3 oe aon BoA APO: eas yaSewe eS os ia ele, SRS a OR eee Pe ROOST RRC SO aDeee SOsige aC LE DREesha! ARNE eS etter i mee San ten Men eg oct en Ae Erte, wea RAR yates ES XeeR, UE Jee RO te SOS. EUSSete es DE beSag Se eetEE STE ot oeoes is bs Moa BUS ttetre3Se | SOR RR eae ee RRO deHite aeast NS naras MR Gh 4, kd ae eats ee Et Bs

Bee OTan Fes LAR eS SE DORE > 4seeeRRR 7,ae Pe eaeari ee PO SD eee AER eeSEeaeatine See PERS sO MAUR pclae FS RR RRO c= Crecente Tens Made AOD SoSe TnaS BTee OES,Shane NN, SR ag GETS EE BEE PR ES igPe SIE SEL IEEE sicRe Ow . Bese eh.Ne NPR) SSR," EOE 7,ra Up Uh Tae Repeat De Toon RN ae Se LENS eeaw Mees Rate WET” LRT SE RPS ea SE Se RS Pe se OeTm Eegare RR a ACRE ACO CEES RES ee SG Sere as EEC SCR RRS MY doamete WR TEEa Oe ST, EES Pe ot vo osee FON Ts PLaiae RRL a aeR RSeaSE RREE aR RSE, MR Ca cenSoe ee reed daPe atte, Cameo eet Teg STES LESTE SMALES eae SRT Ste CR ae ahs Bi EE EI Sa tareRe Ban

Ae teSOS SESE SR SAE” RRR RC ¥PeaioRPC Bs, Pee EE gob SES SOS FES SEES Ese eas oo aOE I hoe aM RR OAR eSFERS IAMRS nooo Tiel iCOENEN ea aia gh De AN SS INE yy ie BeAN talsiFe On OECTA Meme Eke cient aeee wets TTS oa eeEE OT, PE ER aOEE Se tee, Te eee teTEESE eeetg» See SANT EUR SaeR aRRR eee NESRR Si pS ed MONTE PETG gapATI Soe CEE cic, BO SEEESEE TEER ESE BEE Egg POE ey Se Sales Ba. RRR a aR LES oC N CU nh RU MM nMROOTS TOL ATOR NaS Ses CNPage, ES TR Eis OBE SESE LEE PE IE EES NE EEE, Beebo Tt ad ee SRE 2 otTRS DS +RR SRS LES PEO OR ey ee, LR ORE PalasSn NEY EE SeETI, SE TT Se AUR, RETEb SE RON TE OE AE COTE GLEE, PEPE st Bee ee RNSRS Pas Sree gS2TLS EETea TEREN a aRRE SLREE ED RATT SO NEE CRA rie POET RE BM aI Tee OTROS EE,GON OE Tag Ce EE CEOS SREO A OPES, AIEEEEE EIEIO sg EON GESeBEE St TL SELES SF RRR RLS RE RRR CE OaONE re Urea rennin RN tetenctaenta COROT Sat yn Se, ee ONE A OT ne Ee REITER Be Go PU 8BOSE SO

pe SeTSPg eR oe AEBRR aesSSO ete LP SNES COC OTE ER EOE OR OS ERIE EE IRE OEE BEE EE En Nee OR PR PAOLO I ReRI te Ses aE i Senne eed reTA GROEN LetsDM oa ET nT Pode egCR RE oe Fe hg Eo EOEE ESE, BEES NRE USE STURS Le >TEC RRR Rc aa2, ee RRR aoC OPM RRR ENSseats cn rnCNR ie de OS ce cca nde MMA LENSe iseGTO Tee Ge SRen ORES 8 OSE Bi OEE reg DOES Bh we leME tee Te A: weg Es,” EIRRiE RE REND ora ee LeERR Le iAe‘ IA Ee Sian Bekoe" PSURs Rh ES SSSR OR ae Nun EET 8E+ SRR aRe EE eR igRR CoE PO GREE OOO REPS 0 PRM Rea REET Fo TE gO OESSS ig IO ee TE ay, ee EA BOTS Den a »EHO ALE ORE es ipOEE oeOETA be see ey date ae RO ener, Goes Whine stearate aeSR Bear estET eeGS SS erETE et Pe oe aebe EE PRE Se ye SEDER i ed TER a OR a RR ae LES TE Lr Lida dea ho a SES Son aE ta NTE ONE PET es yeh RS TSO LUETAS Soro lo" ORR SS SRS SESE ORR EDN 0 ae PR In Rs SSRN Re RMON 10S fee nan ester Se pine d ek RRR ee BS RI OE oe AEN OE EBS TS, ¥ rete 73 Fak TS OR RE UeenRan SE ae TEENS EGO EoeIEP TIRE! Aa RRS Ae ed CO Sa SL eS TkBt eet (Puaats AeSe Ree ENS ro IOS ne eens ADRES nlonslsnanc oo Sr al CO ORES ORR ERROR Ee fatnns LIGNITE ie ARES Tee Tea eSeg ek, I OS STE NA NEA >HE SSSai ae RRR eaRS a PSN esate ORIEN 7TShr ai ate, RNR eos .CLE 5TERT: RRR(OO RNRRT RRR CS ECSta ih is OU, ORS GR RE BE heINS Se ehSE

Bast SL UT ay Bt ls FRc 2 SS CRRA a a TOC 7 Ee as ". SS nem CaS Crh. ee nan Sun me aye NE ae Ro igs ABU TeOME SE Det So 2 DOI 2 RRR RRSeRNPOR ee STUERRearS ie Aa on, S Tehos Oe RIES NS Iee Scene8 Ree NE a te PP ERE POEa ETT aA Ra OL ST RRRa ereyAS | ae Oo RN a GES eeSR ee eeERR ee Wu Ae LF he Tepec Bly enerie See 2s TePRM NE CR2g REOS cee re aE ORE ee FEhy ee fifised Citeue MaRS TS,re wetgh eRepT eto kee STE SE OSES SS 7.55 on" RRR RE ee SRC DO RD RT hee D ia ate es eee RITES, a RR RS ar SE SS ee SOHO Casa Seite Ci Cag NO RR SO En ce Si ES

etn A ok SE Sy TUTE PD pat a RS RN EE eae RAE ERR RRY tereRR Un MREN chin ti, 7 tid ee atern MRR Ty oii,SS Veer’? wats weee ry ee cee MeN SMe SeSid Te eS Sa wet ae ie On 1UR 3 oR CR0”RRR ARREARS? cn el aotree Lar Saree ATRL T EG ty

RS ene NO tere treRRS omen sete 8 iES A aSAS es ia SE eae een i es PeRR SeEER BM AD BLE VEU Sy UE anet Se SLL.SRR MSU REE idee De RSS SES SRS ARES CORRE SEER toseLE ons aeNasi =, se Cte dR RR PRE AUTEN Re a DN ak ee ode OES 3B ge SESS Bg aeoSRR EOE SR ER Re ns ee eeADEE ee TE Te TEE vals DY eae 2EET REN Sha SOR SSRN GR TE ISN 7NTE ~isSa EeJE nee eae Steen eee che os ee AOE REE AS TIP Ree SaaR aE Poe ee : TOSS SEOE eR Raa Sa eoeS DD TLR RAR eaaa PT aS I

neBF BEN OTe eed. CAT AUt AeRo BS ear ae BBE Se LST) TPES De eee SO SSNOaaeaSUE CICS Enna OM oe a SE QReeFE ee aly U2a. EMER See SEER RET MOREOCT SoCSee LIS MERRIE eae SaiaDN Lette cingee toe een oe hi anwe Me, get Srghsg Ud, Behe Mee tebe 58aeFes RR i dieSeETERS TS a Mog nt Adee aight TaReYo... Te ae eeea aBp ie na ie OE SE PE OSS Ea a BS re ie"LtCea TT acts ade ee50" SEES US TES og Sa eeSONS ee eSM086, SOC SaSoeaR CR aRT Ses eeSII DaEL SBeeye arr eeetce Mah SR tS Ss 2, PORES E LS Sah hake SSE NS ht Sa A ARR Son A a A tis, Ss aN 5 Bit 7 ois SSR AE RR °°... A eae a ae cca are! SSE naan tn a ER I RESALE Son ote al, OF a1, (0 Se SSNs EET OR aaa rl at wate Many eS OMR 1 SeehseC REI ei RRR EASSl ek, esBn eT ns 7: Bo OE OOMEN ER Bintiin tenon inet Se AEE ei oot Set sinie. ones 1Me SERECAT +711, 2. RSIS RRC RMR SCAR sect ioe osSee Oo eeEE aAL RRR nCies wrSeOK Gh Fi ttt Lk ky ee Te te IP OE a Poa es ER a IOL Bet. Me PT aeSe 2 TR RRR cer ee ernA nS In Cinema, De Santis hoped that “tomorrow he [Soldati] may give us works built on a solid basis. But he should forget the different decorative means that often form the basis of his language:

written letters that fill the screen, windows that close on one season and openon another, trees and the sky that change their appearance in order to mark the passing of time.”84 Soldati continued to make one to three films a year until 1959. However, it is doubtful that De Santis’s wishful thinking ever came true.

AMERICA: FIRST LOVE In 1935, Mario Soldati published his book America primo amore, a kind of diary commenting on his two-year stay in the United States (the first year living on a fellow-

Fe _

First Encounters 35

2=—slr @2Urté~ ovements of the camer aja

WwW wi Vv S ili ‘U. never be left alone; 3 muieu e25 actor musf ne ;he it follows . Vv : must move in a compiex V f * ° . story ° . *| e Neapolitan 1 ,ver. images rinVv Days y The b eo gin always with a close-up; roundings

i lex and comprehensi © way

The N lit tory and the last episode which 1s set in the Po regio

1 The reminiscent of the unpolished north, are the best parts of the film.P.€isode, ro episode, re

i in D of Glo 'Y, first reveals the eerie countryside ong te fi . e

SRR SSeS Se aa So eee RESO RRR SEER ‘Sa megeannanrmaks swears era aanaeare ROR RR REND Ree vexncaceeceie csceneceasssaecer Se SE ee a ees ReaEEN Rent CR eae a:

eejitnSERS whecer rn OSCR PernSS eeeeneen ORR RON Se PEN sociosnenceetseecsapuisey SERS BURLinSSErSUE EE Nee Sens nena RUSee EONS SeROS Seneca SO ee eesoe —r—i—O—OOOOCS— ECEcaguT ce Panera onan sae RR SSE SSR SEeeSE ER OR SR ReeEeRO SSS ee REG cue ei ee seumartsas Se Rees uae ae ae Sheet uu manannmer meen EES REED SSUES San senor aoe SEERA RE Suchen cuneate ee SSE RS Se Bee SRC eaten su eiiouuausatae wees MENS BEG ESO OP ER DRS SRR RS RIOR ON ahtaan Gana eater eee Se ee eaten SSO RN a RRR E SD Sere useaunuenete renee Seuanacat ne Meee NE Spo meneme aeeee Cece ee Sanreann enn eee PEN NE ene oa uee au eee cence SORT ES aa ee Seca SERRE Pao Sai oe SEU OR RRS oe See Seen Gun i a Coenen Sauuuans wane ema Seumiecane meena Suh etun nines eran a a SE NR ROSS SN See SORES EEN ORO iPSSoo So es REN eae Sea untannennercue £2 Sue aE eeearrrsetntercnerneintes Seen eSREN surgeries soma cae ERSEES = SR oo See een SE Soe eee SEER RN soegemneeeeeees RONEN RI Seeeeeteu tonne nets an cane eerie SERRE RR OREOuae NS Reseonacreeen ea oe BREE ER i oiannenuencenerenr teenseES rece etter aS Satine PSUS SERREShe RARE Sse Seen nee SRO Seee ae a SADR sieSee Se Se ree Rea SaaS pene eeereset SSE ERAN SNS eeeemma eesRES RN ES SOSuet POOR RRS Sceeeeenes Ee CEC ee couenu seas aa aetna ee Se irene reer cae Soe een ee oe SR Ee Saas ca eee eee Rea RR co eee Rea arene es SE Ss Se eee en SSE Re ne SRR Se Re Se aa ea a JR See ee Re Shen nsRNS sitet SAOCRER SERenna ONE ea Sa Stieeceaneeee RRR ORR SEER RSD Sh Sa eeROR ae RRR RS waite eseeeieunnereeeet SaaS RS aerate SaMunaSuen ade caaeeaee SOR NR RS Tene ae PSR Se eetea Soho eee ne SOR atone SN tenements cose SRE eR eS SA EeSues ee ear SEE ROHS Ea aaenae eee ciaaamermucemen samen SEE ROR Se Sens ess SERED RRO SERRE REC suena RRR E SecuSEES wenaeSROR ne wutae a aaa ae srcaesxcaeacaceciecmtine SUIS Su sine mene enema eciNearane cence tees SO SEO RRRienunmnnn A BRE RN OREN SR RE SERRA Seeee pe eng sscapsessceeeces esaecaecemrececcns eee Se See BS eR ERS PSR mae ere aty et SN eSariofiemiretemaenete AS Or See ECs Se | ee ae ee ae ee Se SeeUREA Eee eee See Semana cence nee See ageseRSe ete aeeeee Hacennannanc cuca eee eeeROR cee NSS RSS USe NS RSD RRS prSEE ahinareretene ees Share erinen eeeinestetene SRE saunter Scinetenouncnneee renee Sehaear an Canetti eae ee See Mice Pater nauchs semen ne Sas See SoeRS ooae —CEE -NR — eet Reena ERunaennens eee anaaneees Seana aumnnaommeeocas SEU EER ESOC saath unin SNanannotaane soatuunitcnrs cauecuaecenenae aemeeaet it ES SOR EON DEE RS peo Ras SUS eee SORTER RNSee RR Sy RECN SSSR eee ERE ERSHOR SS SSE Sauna cele Arena SRS EEa aER ptuoeunanaeenae nes SOU ROR BSR ra SEER RR SREORORO RSA SEC

ee ee. se. Rea ae cee Seas eee es ae oo oo — Seaceiaiaeatiiretete eeccatt seater rnstetebaretete esate sstiiceteenres item RRR RS TNA RON S seaeannerinee's anaes eee eee SE rected Se ciasacenes seer serene tet sees aU RRS ane eaten cen rete: BENS RN ONES etaeeemtaerna stearic eee erate nee saseleteletatentetsonrteee ssarseceergecrsnanrateens

Ree Sate ache eu rena nena ea — rrrrrr—“‘“‘“‘“‘(‘(‘3S Se acs ReeeS RR SERS Ss eta yb °OR 7 . mg ae aaSe & wg se & Se See Sees ase 1 aa SBR ae _~a:Se . Be SER ;Seas ao Bt Red =Be bo SBe pe By Se &oe a Bees ee Se- 33 Bae aae SUS : o| in, a.Sone TPS : : Bes aeeBoe RE we & ares Se ae Bee enceSS

S .Benes % rs CES eee NS =amie SeeS Ronan at Bo sagt Bospteareetean a DobSs : DoeBSS Ss fo.a. + Se Be soeses ameRe. wat ie ae xe ,aS ist. : : Soke:eet :SES SER ES BERENS ponent Ron Cae | || ||Based .|:“os | |, e e « . o,¢ Ld e . e,®esae rya*Ad e * * ° e * e¢Py :® *;e * e * ° r ; e ° ff * « . e e bed

Lacrimae rerum 79 °

Silvana is a true Italian prototype of the diabolical seductress who destroys the men around her and dooms herself to destruction. Silvana Mangano, a stately counterpart of Rita Hayworth, was glamorous, sexy, and provocative, exhibiting her blackstockinged legs and her bare breasts with an inborn defiance. Her legs entered film

.e * °e *°5 *

history whereas the frames showing her breasts disappeared from practically all prints of the film, falling prey to the interest of projectionists. In Bitter Rice De Santis tried to fuse a populist melodrama of love and death with a socially committed subject. He was accused by the press of imitating American westerns, of stylistic extravagances and other offenses. But such criticism did not prevent the film from becoming extremely popular, ranking fifth among the topgrossing movies of the 1949—1950 season. (Bitter Rice was a commercial success worldwide, surpassing even Paisan.) Bitter Rice captured one aspect of the postwar atmosphere better than any other film: the “Americanization” of Italian life, the superficial merger of two civilizations, and their clash. Silvana was a product of this subculture. She was addicted to | American music, film, fashion, and cartoons. She loved chewing gum and adventures. De Santis punished her with death, but the film could not hide his own infatuation with jazz, radio, and American movies. He spent months editing the famous

* * e .e

* e * ° . ®:¢°. °***e°;*-*°°o**«s *rs

. 6s 2 ; e * 33 > * * . oy?

* ° s « * ° e | farm workers. .

scene that shows Mangano and Vittorio Gassman dancing boogie-woogie in a

squalid railway station, filled with the noise of loudspeakers and crowded with rice

rrr —— ee Cn“ aa?

[eee ll

rrr feLree ee,— @£ crc we MO.cr ott rrr

a ee

| = =—=— |) —Crt—> and three months later Visconti left for Sicily with a small crew. His team , included Francesco Rosi and Franco Zeffirelli, both of whom were to become dis-

, tinguished artists in their own right (one in film, the other in theater). Visconti had a contract with Alfredo Guarini and some financial backing from the Italian Commu-

nist party, which wanted him to make a propaganda film for use in the electoral

campaign. Instead he produced La terratrema.© La terra trema differs from Visconti’s other pictures in its closed visual structure with tightly framed shots, which are closely allied to the story line. Abandoning the long tracking shot that opens Ossessione and most of the neorealist films, Visconti begins La terra trema with a pan that reveals the village square and suggests its main role in the story. The camera never leaves the village, never escapes the strict boundaries delimited on one side by the bus stop and on the other by the oddly shaped rocks (faraglioni) looming out of the sea just offshore. The men of . the village leave only to serve in the army and to go fishing. The women stay behind, waiting. The stagnation, the efforts to break free of it, and the endless waiting with no expectations are the main themes of Visconti’s film. In Verga’s book, the central character is the grandfather, and the plot focuses on his struggle to help his grandchildren after his son dies at sea. He is defeated by the

elements and by the same fates that dominate Greek and Roman mythology. Visconti’s main character is the grandson, ’Ntoni, who fights the exploitation of the __.

fishermen by the wholesale dealers and decides to operate as an independent. A storm wrecks his boat, his house is seized, and he has to return to the dealers. He too is defeated but not as a defenseless victim of immutable social conditions and an implacable destiny. ’Ntoni is a rebel who lives a moment of liberty and has to pay for it. The price is high, more than he can afford to pay. It is not the vain adventure

ie oo ee Seos —SBS oo — oe SORE — rr rs— ,

A compromise between facts and “found facts” touched by the artist’s will could not satisfy Zavattini. He adhered to the assertion that facts exist independently of

the artistic interpretation and rejected the concept that facts cannot come into existence without the good offices of a hypothesis. Thus, in certain respects Zavattini was closer to Dziga Vertov than to Kracauer. According to Vertov’s conception of “life caught unawares,” the image on the screen must conform to an objective representation of an event filmed in reality so that its o:1tological authenticity is preserved. Zavattini followed Vertov on three of

his main points: his concern with the ontological authenticity of the shots; his belief in the artist’s obligation to face reality, without hiding from the facts; and his

linking of an aesthetic perception with an ethical and social concern (this third issue being probably the most important).°

, Zavattini’s radicalism went so far as to deny the importance of montage (together with all special effects) that Vertov had seen as a way to organize facts into new cinematic structures reflecting the artist's ideology. While Vertov used the Constructivist’ concept of building films in segments, Zavattini opposed any rearrangement of the material by means of editing, which he claimed could falsify

| life. Zavattini saw montage as an obstacle to the simple presentation of the facts— a technique that forced artists to make choices. Montage, with its attempted synthesis, creates historicity. And historicity, according to Zavattini, is always perme-

ated by some kind of propaganda. For Zavattini, true historicity—and this is where he differed with Carlo Lizzani, as well as with Visconti’s aforementioned concept of “anthropomorphic man”—is comprised in a human being, even just one human being captured in his temporal and spatial unity. On this point, Zavattini shared Kracauer’s concept that film is more a product of photography than of editing or other formative processes. He stated:

| What Is Reality? 105 Today a man who suffers before my eyes is absolutely different from a man who suffered a hundred years ago. I must concentrate all my attention on the man of

today. The historical baggage that I carry within myself must not prevent me from being what I wish to be, neither from using the means J have at hand to deliver this man from his pain. This man—and this is one of my basic and fixed ideas—has a first and last name. He is part of society in a way that concerns us, make no mistake about that. I feel his fascination. I must feel it in such a way that

I'am urgently obliged to speak to him or of him, but not as a character of my imagination’s invention. It is exactly at that moment one must beware, for it is then that the imagination attempts to come between reality and the self.® Zavattini based his naturalistic theory on the insufficiencies of neorealism. According to him, neorealism was heir to the old culture in general and to its melo-

drama, populism, and sentimentalism in particular. Zavattini was aware of the weaknesses of the neorealist narrative originating in traditional cinema, his own films included, and wanted to remedy them by insisting on an immediacy of knowledge that he found lacking in neorealist films. He never stopped believing that this was the only way out of the dead end in which neorealism found itself in the early

fifties. For him, the role of the scriptwriter, his own profession, was tied to old structures and hence of no use at all. Going beyond Antonio Gramsci’s vision of a new culture, Zavattini postulated a struggle for a new art. He rejected the Grams-

cian concept of continuity between the old and the new created by the flow of history, and he denied the past as such.” He repeatedly demanded that all plots be burned because plots always arrive late on the scene of the crime; when “the house is on fire,” there is no time to lose and “any narrative would just delay the tragedy.”!° Zavattini’s projects were a challenge to Italian intellectuals, who, according to him, were always inclined to place speculation ahead of action. In 1949, Zavattini said:

| Film has always cultivated the tendency to escape any radical scrutiny of one’s conscience. With the rapidity of a flashing light, it succeeded in alienating the

spectator from himself, and with the help of money and talent it made this escape smooth and final. One day, as we walked out of the dark screening room, we heard the newsboy shout that war had started, which meant a woman’s arm torn off of her body and thrown against the telephone wires, and the head of a certain Paolo Gaj hurled into the vase of flowers in a house with the number three. And all we could do was hope that the remaining bombs would fall on the house across the street and not on ours. And when the house across the street

with joy... .¥ .

was hit, we—superstitious, as we were—kissed each other and sang, filled

The importance of Zavattini’s naturalistic utopianism lay in its challenge of the

so-called “contenutismo” of Italian neorealism—the exaggerated importance attributed to the film’s content. Zavattini postulated a radical shift in the filmmakers’ attention, thus trying to avert the danger that led to “the self-corruption of neorealism.”!2 In 1972, film historian Bruno Torri pointed out: “After 1948, neorealism frequently resorted to mannerism and stereotypes, indulging to a greater or lesser

degree in ‘chronicling,’ in an anecdotal approach, in populism, provincialism, sen-

106 What Is Reality? | timentalism, and the stereotype of the dialect comedy. Some of these features, characteristic of the minor films of neorealism, can be detected in some accomplished films of the previous period.”!° By suggesting different ways of exploring reality, Zavattini attempted to find a way out of the impasse of “mannerism” and “dialect comedy.” He hoped to create a new basis for the neorealist movement, which, while it had the resources of a strong human and social matrix, lacked a firm philosophical and theoretical background. Yet neorealism, like every unified historical phenomenon, carried the seeds of its own destruction within its basic features, and Zavattini’s approach became one of

, them. Through its prevailing interest in the underprivileged (to a large extent originating in the neglect of this stratum by the traditional cinema with its concern for the world of the affluent), Zavattini’s theory generated confusion between plot and ideology, narrowing the range of the subject matter and creating the illusion that theory is self-sufficient. Moreover, the quest for truth, as proposed by Zavattini, had to touch upon the complex problem of verisimilitude. Even a truth discovered

by means of Zavattini’s method would necessarily appear in some prearranged form as a result of a preconceived process. In Zavattini’s teachings, however, verisimilitude was institutionalized as similitude and identified with reality.

The general atmosphere of the early fifties contributed to the confusion and uncertainty. In a climate of growing political tensions, both the Marxists and the Catholics interpreted aesthetic problems in terms of political expediency, using them as weapons in political battles. Most of the critics renounced any critical reassessment of the problem, adopting a paternalistic and prevailingly defensive attitude. Insisting upon the basic validity of neorealist patterns, they merely tried to protect the movement against governmental attacks and increasing censorship. The Marxist critics and their fellow travelers saw an additional reason for the crisis in the “betrayal” of neorealism by some filmmakers (Rossellini, Fellini), and

the Catholic film theoreticians considered neorealist films lacking in spirituality , and insisted on the necessity of transcending existing reality and reaching beyond social problems. Confusion prevailed at the 1953 congress on neorealism held in Parma. There, as film historians Sandro Petraglia and Stefano Rulli pointed out in 1974: “Everything was hidden under a layer of clouds as it appeared suicidal to

, show the public that the crisis of neorealist production was accompanied by an | equally severe crisis of criteria.”!4 In the atmosphere of confusion, Zavattini’s ideas, despite their aesthetic flaws, radicalism, and naturalistic utopianism, were the only theoretical framework that could sustain Italian cinema. Although these theories never generated any coherent cinematic trend, they made a significant impression on much of the production of the following years, merging with the original neorealist impulses that had engendered them. In the quest for a more complex reality, a metaphoric vision began to prevail in the approach of several directors such as Rossellini, Fellini, and Antonioni, who, _ along with Visconti, emerged as leading personalities out of the disrupted neorealist generation. This was in part a reaction against a narrow interpretation of “realism Zavattini style.” In fact, however, these directors could not avoid the influence

What Is Reality? 107 of neorealism and probably did not wish to. From the outset, their metaphors were linked to sociohistorical moments through a series of clearly outlined historical, sociological, existential, and ontological codes. (Galvano Della Volpe referred to

these metaphors as “rational.”) :

None of the first post-neorealist films bothered much with the plot. The mood and the evolution of the characters’ feelings were the main elements of their struc-

tures whereas their overall approach was influenced by phenomenological attitudes. In Italy, phenomenology became increasingly popular as a kind of a third way between Kierkegaard’s idealism and Marx’s materialism. Antonioni, Fellini, and Visconti, each in his own way, now answered the questions about reality that had been haunting them since the early forties, not by pointing to the world around them but by examining its relationship to the state of mind of human beings and to their inner selves, which until then had been overshadowed

theirdilemma: _ ,

, by the insanity of the war and its consequences. Years later, Antonioni summed up

The primary concern of the neorealist films was to establish the relationship with society. However, when I started making films, things were different, and my approach therefore was also different. I had arrived a little late on the scene, ata _ time when the first flowering of films, though still valid, was already beginning to show signs of exhaustion. Consequently, I was forced to stop and consider what subject matter was worth examining at that particular moment, what was really _ happening, what was the true state of things, what ideas were really being thought. And it seemed to me that perhaps it was no longer so important to examine the relationship between the individual and his environment, as it was to examine the

individual himself, to look inside the individual and see, after all he had been

| through (the war, the immediate postwar situation, all the events that were cur- | rently taking place) what remained inside of the individual, to see, I won't say transformation of our psychological and emotional attitudes, but at least, the symptoms of that restlessness which began to outline the changes that later came about in our psychology, and feelings, and perhaps even our morality." ,

VERISIMILITUDE AND ROSSELLINI In 1948, Rossellini—who at that time avoided all theoretical proclamations— made a film that can be considered his contribution to the discussion in progress. In the fable La macchina ammazzacattivi (The Machine to Kill Bad People), he presented a metaphorical meditation on the relationship between photographed real-

ity and the reality of moral problems. A demon bequeaths to a photographer the _ power to kill villains by means of his camera. The photographer, a good man preoccupied with justice, destroys the rich people and fat cats who exploit poor people, but finally he turns against the underprivileged too, for he finds that they are greedy and selfish as well. In Rossellini’s portrayal, the photographer is persuaded

that photography endows him with knowledge and moral judgment. While his camera captures only the visible facts, he believes that he can penetrate beneath

SS LLrrrrrrr—C—C—it—CirsC—CsCSC Ce Se — ee

#28.” # }§5S©°®©€©€©= eee | lr Lrr—“*=“*‘=#‘*#=CCRRNOO CO D™DU™—™—

Og ck... a iT Rl .r—B oe“ eee L”rt—“(‘COCOCOCiCidwzSCSwsdsCsS i i ee EE Po mee ee Le IS eei me: SY ETT2RRO Oe Bee 2 a nee REL a aSeMR SEIS RR ,’ the main depicts, aswith 1 Oo | ; :anaut , as inplot all Lattuada’s films, unhappy ove, and y eneration imbued i he . Fellini filled in some e pp| gfo ime in the frame deli d 5 neated by Lattua iulietta Masina in the role that was to remal ith h — stole of w into Ned e

°

erloaded with dialogue, t

e

; € nim s imagery 1s imb

e

star—Carla Del Poggio. Fellini pisodes and support ne vara ; y da. He also cast Giulietta Masi he fi *

In Varie | ) ¢€

, r fifteen years the role of an I mVn,ights, a wom O forgive ecco Melina (Masina) 1 erbfiance, Ch cto ’ sina) is betrayed : audeville troupe 4 ter of a third-rate v uous ’ ecco isvi the most ambi chara¢e€ story. Heoves never Vver Vmask. vate Ne etenhoO V Unti b ry . Until thehis y last minut pd 3be woman, an SU ferer, always ready to forgive.*°

; lana ar

omebody successful artist Vi Vi i ; : wnen b y ist,else—a a great lover. E ili

O£ 210 andon Mm fOr aan,ric ick to the 1 ne sticks nae we nt e image he mse and carries on he role of a great seducer.has created fe

hile Lattuada d |

W needed the patterns of a traditi itional melodrama to develop thi

What Is Reality? 117 story, Fellini summed up the subject in one sequence: a dinner at the house of a rich lawyer who is infatuated with Liliana’s legs. The takes are filled with a true Felli-

nian imagery, with a persistent note of melancholy: the comedians are gulping | down food, dancing and having fun, while an old actor sits by himself and stares into an empty dish; his sadness gradually permeates the whole sequence, which ends with the comedians returning to their sleazy hotel. They seem shabbier than ever before, lonely, goalless, rejected by the “high society” their host represents. The sequence closes with a shot of Melina—the innocent saint without a mask— crying as she realizes for the first time that Checco is cheating on her. Like Rossellini’s Machine to Kill Bad People, Fellini’s next film, Lo sceicco bianco (The White Sheik, 1952), could be considered an attempt to resolve the basic dilemma of the time: how to move beyond realism to a new reality. In later films, Fellini was to situate his characters in the world of illusion, but in The White Sheik his attitude was still ambivalent. The world of Wanda, his protagonist, con-

sists entirely of illusions. The life of Ivan, her husband, is firmly implanted in a petty social reality, and both their lives are equally dull. This time, Fellini solved the problem of illusion versus reality with a compromise. At the end of the story, __ Wanda agrees to accept her husband as her “white sheik,” and Ivan forgives his wife’s escapade into the dream world. (In Fellini’s next film J vitelloni, the clash of dream with reality left no possibility for adjustment, and the “man made of the same stuff as dreams are” became the center of Fellini’s artistic vision. ) The White Sheik was Fellini's first quantum leap on the road to fame. Edited to perfection and told with balanced ironic overtones, The White Sheik is a film of rare stylistic integrity. The script was written by Michelangelo Antonioni, who in 1949 directed Amorosa menzogna (Amorous Lie), a rather mediocre short about the stars of the “photo-romances.” Antonioni’s story of provincial newlyweds spending their honeymoon in Rome provided Fellini with the opportunity to bring together _ on the screen the two milieus that had shaped him: the kingdom of the “fotoromanzi,” where Wanda, a passionate reader of the “amorous lies,” meets her white sheik; and the city of Rome, which Ivan traverses in search of his wife. This is a truly Rossellinian Rome, seen through the eyes of a careful observer but dissected | and reshaped by an elaborate montage. The city itself—where Fellini, like Ivan, had served his apprenticeship—is the protagonist of The White Sheik. It is the . Rome of real things and people, lost corners and cafés unknown to the tourist, with piles of food and torrents of wine—the same city that in 1971 became the sole

subject of Fellini Roma. |

In the spirit of “la rivista,” Fellini created a solo number for Masina in The White

Sheik. She emerges at dawn at a deserted fountain and, introducing herself as Cabiria, tries to comfort the desperate Ivan with all the philosophy of her profession. The fountain sequence closes with a lonely performance by a fire-eater, which enhances the eerie melancholy of the story. (A similar effect is obtained in Variety Lights when the sudden apparition of a saxophone player [John Kitzmiller] as Liliana and Checco return home from a wild night out emphasizes the unreality

_ of their existence. )*! , ,

ie a Ros

Bee eK os oO Rs 2 See Bes — os wag | 4

SesSrioares :—_ ae & = an Saou Me ae “ naAS i | Fe UN oe aewe Yo aaa Be “S

SRR seeaon ‘ “ae SI Shit a seg aN Be ey SieTas . :ae >a “Eo Bx“cei SRE .. -, “2 aa ne “

ere Bae See , SeSe ES,oe ByRE a See retain aekeaeSee oe Beg io _oan . BSS 7fo4Be - oS RES. SST SN Ba rs oes Re PS .3:3 ee Es oe aexO ee ae:Bh hee ae, Seo See SR. geese ass = SN°cies . Us “ne ee Ms ore a y a SERERESS :-=.:

et ONE Boa Ses a oPec ak oa ES Pes ha—:eee - siBae~ Be, aa RE Pecan Sones eee: Br

ESAS AeeSR fC :Ee . See oe SORES Sas See on Be “ORES Sas ge oT PR Bos RS a an oh :ae [oF Sees ae SR Sk Siaeas ee Nay aS See - .Sees 4Sas -.RRS See — Ree Seacnes aN eeSores REE SSete ae ENG . “he at ae RNS Soo reece asSane See are Rees SENS SRR ees SS SERS Se :eeac >. .SE >aSe :sSRR “3SS :esScams ® Pj ES j ebsites ..- ee eee Soe .Sse ERtanrsce oo See SETI Rete oe etic Sea Se — on »ee enheey SRS egneeas ras teens SEN See Sout Sea as aetna Bs SU RS Sterner essee See SR So RRR Ney aoSe. as ae r.‘2 . : . S Es sect ie Sates oo * "SRR Soin SOURS oe Be. Rese : . : : . _oo See eee Seeenae SEN ee BESO Sa Se Sc eG Se ee = : : . SSS ONS: re a | 3 Ramee RR RES RRNG Sete 3 oe oe cor SO “RNS BREE ere oS Se Seen Se ee eee Neots tet ere eS Seen setae Soe, Se ae Bees eeietensen OS Ste caste state Seca ee Senos Sees etn ottetatetes en EERE Ses ee yy . & see SEES see ees ree Ries Secans Spann eens:Se eae sence eS con RS Se canoe SRSSR RN Se enn Sakina SSRSai eet PONS See Reni ROG SO :.&, pins .¢feo cSeeoe st pune serene SN eae SOE Seen REI SeSocs SSeS Sau Sona eensees SRN Sa ae— — q8\ 'ty . /::|.7/y|'/ eRe SE: ern sessile UE seseeaeet SEI Ss meee SR ayer SR tes SES Se RRS . . | fairies Si Saas SoS RS Sees Ser nee Saeets sis as Pes Rees |. oo . ; 5 é , Site Sees ESE Sune nee oaks eee SOON SRS es See Seventies SRN Snes RRS este Saas Be, sR So SRN SeeS Sees ee oe . . ‘ _ a ) | otal ST Ree Scarce BEsaeee Serene eta Set Sens RNS et oe os REE CSS RE SERS . OME: RR Sens BUSH SESS Se ee eae Ss a : : “ : : ’ . : ; oe See segs Ras SES eens Sere eanenene eee Be eae ee BSR cies Spas aS Lo BRS Sie sees Se eens SSN Ss — es eee Sete SSG Ba Sie eR eee ane PORNO: AR SaSeetnees ee SENS Se Sa seen BRR eeStee ee aR SORT one =ESET Sas Sehne raeeaie Renee Se ae — --wits .a,:_ou;/otras *: .soe ,:. ; :| See .Se_neeetraeee — SOS soem ess Sens nen eee eat SESS ex SNS NS Sree setae SN EeSEN SRB Soest RaRSS ee Sees SS Roe Res eae See sete Se were SRT Sea ere .SSO85 sessets aoe Sr SASS: eee SS oe Es -Soa .BS -tee _Se .“Sao /Ba -_SR ‘pcre :‘ROR Sete esa msSees Seeee RS SOS Renee Rocce Peers mets esses titers SONS oeeteee Suet RSS otsee So roan aa setae SOE eset eeantontee SN serene roeSea eters ERS sent & EOIN Se. SS Se Se Semhes ae Ree seein Reta esc Ree anon Sess RaaSeca Sea reteno SEEN pees. SSR arSeen tts SaaS RRS Ra Sees creas Pesce Sarees Soh aos OBER ire SR SOS SS SCN Se Sree Sie5: SONS Seas SRSoo SOROS BORED sestete RRR ores Rot Seon geBese ae BESS eee Rea ete fetes eseteste Eee sSee | Meg : / -a ‘ Speers : :Sees 4| :eatin :sitatetat _SES .—SSS oe .Sse ee ss Sines ees oe es RS. Seen: SOS RN Saree 5SaaS Sa 3sssternite Sheet Se. RE. SRS ot SORES ee Sone: sk eS eS Sen a. Eee SS ee — sk RES SERS wees ees “ SER ce a.rete, ee cathe _-eat SOR RES ssheoetes eeRe 3Statens oeoa — settee Se Soe aeNee — anton SSeS Se SR BOR RR Rs pate ona “OSS SS ee Ry

a . 4 ) SSeS Se oe SRB Se Sone Soe ogee See Bo / = _— . Sa — ae oo. SRR ae_Ee SRR: ,x es Sa ‘ CS SER Ret _ . ‘ : : / . . ee — ee ee SoS ore . a a Soe & Se ae SERRE Eanes aCLAIR wy Cs ns . oe ees SORES Se Roane Be se _ -~ . | a : es Cs sehen SEES rs > een . >. : oR: oe se — : a. ok. caenens eo a ee eae EOS ok — ; _ ae ae: eres — — _ oe Ses seo ps ee ES = ) s . ee ~!-eet__—Cs— . RNS Seeaeee 2 aSEES —1 RRS — =—rm ee_ FEES 3 ee S Q Pe eh pee ss_eesecennaninne oN See Bons BREN Seo ee engSee : | oe 2 ee |Pea ete SRE NS SONS -. ae een: SE oe ae SS sora Ses Se SoS ES . _ ; : ;-SR ee ST CC _ : . : 2 : : : es ee ses RRS oO Cs ene os . ; ‘ — Poon pe oo ees SS — omens SO So ee RS mets eae . SONS . Ree oo : _ | | Be he ee — See See Seema — oe Beg a oe See aa Se Seu rose Ce oe cS | ees _— CONG oe a Se — . oe so ESS Sane oS ee Sere

Baa a SEE a 2S : é : een vss oe ssetane oe — ecetet eee ee isk See eau ee, * Ss eee SN setatates RSS SE eS SAR ee SERS Rae es — — _

Te. rebates neatatabener ate eraaieretatere oe “0 Seite RR Sesh NR seseee Neeser SES sere, Seem eee Seereteset es aaa eccttate mines Etseater Shas See SRS i BWR ae ox SNRRS RE BIAS Sees RNS SoS RS sete eee Seaaee caeRRBs oe 553 ren eaceanas Sap SRN RS seaERR PENS eaten NS cee SIRS atone ereenne SSeS Ss eaeteeta pees SBS BRN siete PERN, SR testes Ss yocatetes ENE Ree cme SBS a SRS rests SOROS Seen eesenere Rae RRRtoe SS secant peter AN To ihre con.Sy RSenee aceananese? PRK stats Beenie tetetate SS8os RaNeiete Senter RAS enaneeren sionee Rpts RO se teSoneees on“seRees ese SS anes eatEC anne ssatetaienntacs aa sees SE S35. SS - -eee - - ee : / Son : soars : 2 ee ' 3: SEER ;!;||

5RES Si Se oe Ee Sees Ee Ses sian a8 een BS oe 0a net oo SIAR Seance thee RRR. | SSSERS ae eg se eee ee See ee RSE, Ses See See: ee SS Ses “RRR eee fe.SS ram eateerenen SBN SSRN ce See ‘ ENS cece rete Se SR ae RSss Soe Se este reece Senn es ester SSE SAVORS |'Q :Re _So/ :Bees _ees .— .es eae Serene Se ener aeatin pegSpee Se Scenes ene eae RS See Rs:eee oe ce RES Rose: eae SER eaeSRR SAID See.SS SRR RS. Soe :: sestet Serena ieetee SR seen RaaRES Ss Seas spetieaeee SsSeu, eeeREN Xe ten eterE Sess Nereis Sones Sor SRS es SEES is So SI BR Cae See|ee shies RSas seeetth sistas oeSe Seeee -fe -aerate -Spe : .: : :See , ‘ :—re. ag ee uaa Rees See tetite SSS Rees SR Scenes Sees reine Bee ES earn hte RAN ete OS $35 SRR esenEeR pa 7 RRS Soe Beans TREES eins SONS SES Scere srietateieran states SERIES ssceeeaeees sconatn Se SNS Roe Seen Be eat See, SRN

hos siegeetees Sia Stent se aateoy Css SRS se Seas SRR statesstannt Soe eceaeecats RR SNS SSR oR EONS S Be oS - _ : : . ee : c : | :

:.. -SURE _ ./ ._. eeeee SORES tee Sa SESS SO SERS RON acs Soe ae Sees : Seeae or3eee heeSENOS ASSO SRS Roses eee Reha eS SS eRstereos SS Sore Re RENE . Sa seateets ESoe Sena ees onan SRB ae SOREN SESS eaeeneenisae Ron Se Seas ebicoeane eats ey me RR Ee aReo _ RRS 7Same 7 : : Se :: oats Seren. SOR KeSAS es setae SS SS Rea SNORNS Se Ress nreacaetcaeian sacontats ees a Seeeesti Seoeaaape a eS SERN ERR SRS es SENSeee oe Roots ieras ExRe eaeeen %SS SERS POs Sees SR SSSsoe Sa :Sees :. :: res Soman SRS esate Ae esARS ESE — RRO eee See ie RRS SE SRats SaRRRSS =RRS Eee es RS Sacre Beene Se sesctanses So ane SOR Sapa SR RRR eee Ss Wee Bee Sees Raw Pere sitar neRRS eS Sete Se renee ease SRS ae Sees SRS einen Seones Saeeee i eticeteene SAS SS SR. ooSESS BGRa -casss SSSend aes

Race SR aN SSNS etaratatetatat SOREN sea es otsrrcesoen sescesenteet SREY seers aeteeeatae ofoger astoteret cies: SENS eS stata Seat SERRE vee aren vsteanueehel Sos Sarees Spence : Rete SOON eames Bese SES oe SRI =r StS aseteien nara RES srteroceneta Sees SS Scan Soak ee . - /

’ _ es ec So SERN Bae s Beas spn 3 eee ese Sore os eS ei LES OR oo a8 ee ars NOES SNe Sy -2 Sey SRE Sad Sea asec SN racaetarte pret RNS os SUS Rs = — CAR a oS Sete noes SS ee SR easetecesete RS Soares See Seas REBT RE create Exe See Se eeeeeeiees SeesSoS SAR Sisienes erseee reas ::' Seamer: :—.;.oo :. :Sa: / _PERS :Ronen 2OSCR -eeSR :croastee _. oe SEY coe Re . Sees sen Seana Se res SR RSS Beau eens Sree Sian See fog eS -: peasy Eco ees Se SR Se SRS Sattar SaaS SN — eee — sates RRC es Reece Sere aeSee Pts ea Shon RO Se eueanie ceca site SERS Soe SeSse Seasons SER setae 2} PE eae SRS oe Sake seers es eran sree eeeES seeatie Sere zea ROE SRN Res BERRI SOS Sees RBS Si eee S33Se Seraun enna So ER See RES RRS Se Sear Sesperenne eeSoeeeees octane seatses eeeSee SSNS SKS Roe eae ener SoS PEBeene seers se 3 BRS -ane -— eeER SIRO Se Soeee SeSee Seeee Sees eae set SRS SER ste See een Sosa Sees See SNet Soe ORS SRNR ees C8 icra snares eyes Ret Bk eeane eepase RO SOS cates aeSSR SeSenoce ESS Sires Se eee pea sete eee sepeis Bea aa erect SRS SNS esheSpeeches ees Ss aeRees . sea - . Ra . f. _| ..

Rear ns ett eee PRS Sens SARI SRR Rs Nees eeaeeae sie SRE a Seren ee Saar eee SER eons SSNS Sees its ececeetnees eters gS Reree Shs SRO SO ees ates apes Sees Sees ent oe - — - / - — Sarma: SRSSere Ea see es Peano Pear ERE SiR ont Soe sesSERN cae Raa SRS ee steteraies oe senores = SEEN NeeaeneSERS Saat RSS se sSR See SORoesee S -— fou aes eRe SR nett eters es ee Scavcnees epee etetet Soe SR Seen eR ST SRS — BG |oe: ___ -.: :/: ]-::::7.:-:, :: ;: : Seean cette eee sagt Ren SsScuieeny SRS ueansoe etnaSoon Rees ESSRS REO RRS See SEENS oh: paces RRSSES SSO=eae SNS SO 3ee Seu SNSee ese SRS : | RES : : : -tens . oeeee Seca SsSpore eepSSN rcoemeaeets eran Se SeeSees ne PERE ee eaten SERRE eeSONS irs Se RY SERA Sanus 3 Ses CUR SON Se-PERS SORES

oo Re se Soe . |eses eet meSee-ies =: _:ses -;/ Sos :: : ::i a oe ( es s SER se eee ee ORR 8i.:ss.Sas — . : — a RR RS sean Sena REN See Lk | : | S : - : : 2 ‘ iy a -eaten _ 4aoSchar see Sit ets Se SAK Bes Sees SeenaSee SS aaa

f Spo : es ; ; eRe . 1SE - : .aa ee Sear Se SRN RRS chants RR siete SESE Soars mSeer Ree es Seen Rees erestate one ae . 3SEX ee — ieee = Beaten eat Eee ioe.Ses .Soiay sehen Sass ERR area SS Sex sear 2— aS SENS Seer ae=Bec -: --Seen By Se peas Se Se ooSeen Sona Sa,:eras ek— meee erate SOON aes SSE oh Os SORES SRBee, ee _s. ee -JSe :-. Sees srSite Sean Soneeas :‘ae Ro: ERR os E: Sass eee _mee SEEN REE oy ene ase Sees en Ses SoRORS aes wes — :eSoo REAR ox Seas “ae— — ee See coe yy. aa Bee ets aUSERS Ree CoRR Rago RES cae ee 33>SoS ERE Sess Se Re ie)SERS : PR Se SR Reena See ete ee— mSSE ee Sees Horan oe-. as Beg SE =i oo Soran SESSs = Se RS SN Sea : fei Sees Ss Seen aane ESHER SENON eeBee Be Se SOR aan oe toes SES es eesSe 3Liges eeERR eee eee See aaa Sera Sees eet, .y ree : ee sees Bo SLO _ eset Secets pane is Rese Senos Sen SIS : 7 Sees pares sn oe ee co oe ont : wes es es : eRe ee Se ee es hae oo /eae .RE ae ene Be& . Sees aSOS ran osSeer Se SES eae Set Beas eS SEES Sea SenoCRERN See i— Bane

SEES: ss BE oe eee: ee, to pe ores . De Sy Se Bate eS Ses Seen epee aa ory Sierras mel, BSE EE LST cess aratcatet Renae , . _.— Se SESE wey -— SS : oo * EO Sets oe . RRRSERSS REESE whist apnea: Pees aarti salience eats 5 . : hing, : cen, es ee See . eer SOR aaa SSoNRE sats, pont ay ERESRES es ae . Spa Spann oo ERS onan eanae pica oO Sy : . . Le Sa ° e = ere ans coon me . ::EES oO pao See SEA SEES. Res THR SERS sect See: ss.SES een 3 BS SERRE Sees OR Saeeeee SSeeee SSE SSS SEE Senet eRe? a:.ee Sao ee sua ge Ls Pane EONS See “2, Sete Ro ee eae See go eae ES mer SEEe NUNS c oeSY 7x7oe | 2iy : etees 08 heen! ene osSoe SES Sees arn oe Reap eae =Pe ZU Sao Sees Reena a:.se : Se | — ea a Sateen — ceSa See RN see SRR SS Soa SESS See LO ed, LEE. eee . crate de Samed ae ee oo See aes a cae 2 Sake Fe Se — SEE | ors Se SOR Sa Sere : ee a ao Basen Reannaie : . Be cons tee I —-— Sa Rosas5 See Se — Eo neSEY ae eee eae s. See

oe . BS sae nn a a . S oe ? — ae Bees . : ) .. ae | a

2. =. - : -. .ss- s—

pets Seon ROOK EN sheet nae eee RRO stone, s peopeaancnat Dene eeastecotetan SOF Sons - eae eras oeten ieee es eeteeans et fgc8t AT Saray . : . Soe a Serre Res SPR we Meets ite SOARES Eas HS POEM oe Saks Seas en iin eases SE Sa

ee Sateen Sa Nie SRS SAE ers ene Cae os SSeS tae Sela s aay ResaeanS RS “ie gat setts Sn an) ees . . lub See RSanrast nis scree, S cas Tagttt. Beye! Sac oa te Passe Bats _ SSRN an oe Ee ce CA SE Sey eS eS ahs teen SR Ses Sones oe oN Cmte SEE cane at es TORTS ca! : 3 ae a acne Pipa apace os Seas Jake SS Srsste ans soa Sesaaeaes Pot oss Se we See: : - : _ : :

ee = Ser ae Soares y ae SRE PGE SSSR Sea srces inion Bhat RSeab Ran 5 SUR Se Oasears toes,sete! ee sesstat SES Bossa eet wees ine Boss es ate SSeS —- || Ree BOSSE ESS eeTSS

— Bestia oe ORS: SESS SER Se Beet el Pa / Ses

,

:

.

What Is Reality? 119 Following the commercial failure of The White Sheik (audiences rejected it because it destroyed their own illusions), Fellini turned to his past for inspiration. At this time, and later as well, this familiar ground seemed his safest refuge. / vitelloni (1953) was entirely inspired by the kind of life he had lived before he departed for Rome: life in a small seaside resort, nurtured on illusions and destroyed by boredom.*” The narrative is split into episodes built around the five protagonists. The episodic structure is typical of all Fellini’s films. Fellini views life as disjointed — composed of encounters, small events and incidents that seem to obstruct the coherent evolution of the story. He wants to portray “life with its inexhaustible, unforeseeable treasures of meetings, persons, events, and adventures.”*? Thus, the

traditional Italian narrative form of the short story seems most appropriate for

his intention.*4 ,

Of the three films by Fellini that are to some extent linked to the Rossellinian concept of reality (The White Sheik, I vitelloni, and Il bidone), I vitelloni is the most accomplished and the most “unfaithful” to real life. It represents the Rosselli-

nian-Godardian “theater truth,” creating an appealing imagery with the attributes of a perfect fake: its imaginary milieu, governed by Fellini’s mythology, looks one hundred percent real. The studio scenes look as though they were shot on location. Ostia, where some of the outdoor scenes were filmed, looks like Fellini’s native Rimini, and the montage re-creates the flow of events as if they had never been

| interrupted by any outside interference. / vitelloni is often mentioned as the most

by illusion. :

“neorealist” of Fellini’s films whereas, in fact, the feeling of authenticity is created The stories of / vitelloni are centered around the moments of truth in the lives of five overgrown adolescents. All of them are concerned with the void inside them and around them, but only one, Moraldo, is able to realize their common dream and leave for Rome. ‘As the setting for the stories, Fellini creates a sleepy town with a stereotypical provincial atmosphere. Beauty contests, carnival balls, and the arrival of a variety theater are the major events that trigger crises in people's lives without ever actually changing anything. The environment—which in the neorealist films was used to complement and generate the motivations of the characters— is here conceived as the expression of a state of mind. This becomes an independent, self-explanatory element, an extension of the characters’ actions. I vitellonicontains a masterful sequence showing a masked ball and a sober selfrecognition at the break of dawn. Alberto, the most pathetic of the vitelloni, gets drunk and dances with a huge papier-maché mask until the other guests have gone and the waiter throws him out. He staggers home, followed by a restless, subjective camera, which gives the viewer a feeling of dizziness and uneasiness. The melancholy portrait of a useless human being culminates with Alberto watching his sister, who has always provided for him, as she leaves the town together with her lover.

In 1954, Fellini wrote a second part to / vitelloni called “Moraldo in citta” (Moraldo in the City), but it was never filmed. The treatment contains several elements of Fellini’s later films, especially Nights of Cabiria, La dolce vita, and 84/2. In “Moraldo in the City,” Fellini’s Pirandellian obsession with the search for identity

WhatKeality: I's Reality? 120 atts

.Seeere Aa eeeS3,

aSOI aesa SS dees D BS.eeee oe YE REE SIRI OES aett4TORR TEESE: ee a ES Re RRby CORR 1os RN OCU CE roe otaIAN Aaa STMRR LEg Seo E'S reg ” «n= 5 SC ee a ag ee Sd gig cio ve gE Se AS oad Re PENA SESS BU SS aE RE a TO Na EM ESO ER 0 aR WH SAS RRC SE PR EC OER OR oR RP EEO ye 3s.” “+ “2 RRR RA a segs SESE LER SUR) oT). a RB os

RRA RO aS A ES TR NE RR RRR ~~” Ss, 7's SOAR Re eS ee oe a Re a Ae

I vitelloni

in b Th ds with istakably Fellini

again Decomes apparent. e treatment ends with an unmistaka y reiinian scene

hat sh Morald ing h ft 1 He does not know anything, he does not understand anything about life an ith distressi ?doWho amamI? people. He isi obsessed with distressingions: questions:W What I want? Who I? I

that snows Moraldo retur ning nome aiter a riotous par ty:

°

7 * @s®e*]€]®

am a little vicious but not too vicious .. . a little bourgeois but not too bouris.atWh fefor, hatwhat do do I ?I want? Outside thethe city, geols. am Iiting waiting Outside city,Morald Moraido runs intoaafriend friend with whom h d to rk.work. He says hello, keeping into with whom he used hie says nello, Keepinghis nisdist distance,

ins al T ized b h f d,h

« ° e *a ¢. «, °+Sd

and remains alone. hen, S€1Zed DY a mysterious Cnange OF moog, he returns to the city. First, he walks slow y, then he QUuICKENS nis Steps. He relaxes. An inexplicable joy begins to take hold of him. The lights around him again seem cheerful. And the faces in the crowd seem less hostile. A young woman with a fu mane of black shoulder-length hair passes by him and smiles at him radiantly. irtless ... Further.on, a shirtless boy bonbike a bikeis1swhistli whistling a song. . . . He meets two lovers who are walking slowly with their arms around each other. A baby cries, a cacopnony 1S heard. its inexhausti €,unf unroreseehonyOF of womens ’s voicesvoices Life Lire withwith its inexhaustible, 4° © is heard. able treasures of meetings, persons, events, and adventures. . . . Moraldo walks

l d the faces in th d less hostile. A ith a full

e.»»-2

e

ickly | ili attevery quic amiastamidst tne peopie,th SMuIng everyone.35

THIRD ENCOUNTER:* ANTONIONI AND PAVESE

7 d f ight, killed himself in a hotel as

On August 27, 1950, Cesare Pavese, aged forty-eight, killed himself in a hote room in Turin not far from his home. In t Ing an Overdose Of siceping pls, ne

in Turi far In taki d f sleepi ills, h

| What Is Reality? 121 gave up his fight with the “absurd vice,” suicide. It is this “vice” that is the true protagonist of his novellette Among Women Only, which Antonioni, his admirer, transposed to the screen in 1955. Pavese and Antonioni had a lot in common. Born into austere, northern bourgeois families (Pavese was born in a village near Turin in 1908, Antonioni in Ferrara in 1912) where men stayed away from family life, they were both raised by women. And women became the prisms in the imaginary worlds of their later oeuvres. Shy, self-centered, extremely reserved, Pavese and Antonioni longed for people and yet at the same time avoided them. They were strangers to the mentality

of their Roman friends and were both tortured by a sorrow that Pavese once expressed in a remark about Fitzgerald: “I understand that Fitzgerald drank a lot and eventually became almost insane. It is clear to me that anyone who has an inner urge to say something ends up like this.”°° Their restlessness and dissatisfaction reflected to a certain degree the dilemma of the Italian cultural world in the 1940s, torn between the stringent reality of social

, events and the growing need for its transfiguration through imagination. Pavese found a way out of this dilemma by combining “realism’s wealth of experience with

symbolism’s depth of feelings.”>’ Antonioni was less certain about the path he wanted to follow, though the Pavesian solution was closer to his temperament than any other. For a long time success eluded him. In the early postwar years, he lived on menial jobs and often felt discouraged. He was already thirty-eight years old _ when he directed his first feature film in 1950, the year of Pavese’s death. A few months before his suicide, Pavese pointed out: “One does not kill oneself for the love of a woman. One kills oneself because love, any love, reveals to us our nudity, misery, defenselessness, and nullity.” This could be any of Antonioni’s film characters speaking.*®

From the outset, Antonioni was fascinated by Pavese’s writings, which helped him to overcome the limitations imposed on him by his previous cinematic experience. Antonioni discovered in Pavese’s approach some important stylistic elements that later became the foundations of his own oeuvre: the transformation of the landscape into a crucial element of his vision, the inner world of the characters seen as an extension of their environment, the primacy of language (form) over _ content, the return to “writing well” (in film terms, beautiful photography), etc. Antonioni, like Pavese, was aware that “the artist who is not constantly analyzing and breaking down his technique is a poor one.” As early as 1942, when Anto-

nioni was a film critic, he wrote:

Film, fundamentally a visual art, should link its method of representation to the external appearance of nature and individuals because it is through this appearance that their interiority reveals itself. I said appearance, not substance. Therefore, it is essential to capture the relationship between the spiritual aspect and the emotional one. This can be achieved through the transfiguration of the real aspect of the world into a purely artistic illusion, or through color, whose nu-

ances, shades, and transitions create an analogous transformation. The true artistic encounter between Pavese and Antonioni occurred five years

, 122 What Is Reality? after Pavese’s death when Antonioni chose to film Among Women Only, whose

| subject is suicide. In Tentato suicidio (Attempted Suicide), an episode of the 1953 composite film Love in the City, Antonioni had already concerned himself with the subject of suicide, depicting its echoes and signs more than the act itself and con-

centrating mainly on the aftermath. It was the same approach he had used in his first feature film, Cronaca di un amore (Chronicle of a Love, 1950), which focused on the consequences of actions more than on the actions themselves. Chronicle of a Love is close to the social commentary pictures of the neorealist era. It depicts the barriers between a young woman who has married money and her | lover who has remained poor. Both of them are indirectly responsible for the death of their partners. Guido (Massimo Girotti), a typical product of the war years, penniless and frustrated, leaves Paola just when, after long years of waiting, they are finally both free to begin a life together. The Pavesian “revelation through love” permeates the whole film, especially in the last scenes where the camera captures Paola standing in front of her mansion (“her face riddled with tears, shivering with cold and despair’)*“ and then focuses on Guido, who then leaves for good. The characters are conceived to express emotions of which they may not yet be aware and which will lead to a modification of their own moral condition. The development of feelings moves in

the foreground while the social aspects gradually lose significance. , In his first fiction film, Antonioni already abandons a narrative structure with beginnings and ends, turning instead to the inner flow of emotions.** The camera often follows the characters even after everything has been said, favoring extremely long takes (sequence shots). Antonioni’s attempt to break with the formula of the

traditional script is apparent in his rendition of the past. Avoiding conventional flashbacks, he makes the past a part of the present, linking it to the actual state of mind of the characters and unveiling former acts through their present symptoms. (Paola’s working-class past is revealed through her emotional reactions as the wife

of arich Milan businessman. ) ,

In Signora senza camelie (The Lady Without Camelias, 1953), Antonioni deep-

' ened his search for a form capable of expressing “a crisis of feelings.” Clara, an. insignificant actress who becomes a star, is the first of his protagonists who foresees her loss of affection and the beginning of her loneliness —that Pavesian “main obstacle and crust to be broken.” The Antonionian couple, fading out of an emotional relationship, also makes its first appearance here in the characters of Clara and her husband Gianni, the direct predecessors of Lidia and Giovanni in Antonioni’s major film La notte. Gianni, a successful film producer, refuses to recognize the disappearance of the emotional bond between him and Clara whereas Clara accepts the breakdown with all its consequences. At the end, her fabulous career _terminated, Clara is left alone, without even the symbolic camelias, which Paola, in Chronicle of a Love, always kept in a vase.* Antonioni's belief that “for a human being, everything originates in a human being” is reflected in the structure of the script for The Lady Without Camelias. The narrative facts are not shown as parts of a separately recognizable reality; they are captured at the moment when they are conceived by human minds. For example, Clara’s intention to secure her film future at any cost becomes apparent in the film’s

i Clr NF

What Is Reality? 123

== sl OO ET ltlt(‘(‘O(C:COCSCSCSOCSOC*‘*SSSS

## ~~ fee e..DL.LlLUL, CC in SlhmUmUCOwDDCLD Tr lCSt—“‘“R | . .. ...##. 2 »@28@&«=€§§©=©§=«._—sC. rs a w.CdsCsiCi‘! Visconti’s words bring to mind De Sanctis’s remark aimed against the literal application of the veristic method. In his essay on Petrarch he wrote: “Those who out of fear of offending reality represent things bare and empty, such as they appear

to an idiot, do not have any feeling or understanding of nature.”> Zavattini’s and Visconti’s concepts clashed in Bellissima, the first and only film Visconti made after a subject by Zavattini. As early as 1948, Visconti was already involved in a polemic concerning the issues of neorealism. His stage production of Rosalinda, or As You Like It—conceived as a fantastic fairy tale in a surrealistically designed eighteenth-century setting—was attacked for its betrayal of neorealism.>? Visconti’s reply summed up his image of the future evolution of theater and cinema. He pointed out:

In the field of cinema, neorealism helped us to define different concepts that inspired the recent “Italian school.” It comprised those who believed that poetry can be born out of reality. Today, in my opinion, it is an absurd label that has stuck to us like a tattoo and that, instead of designating a method and a reference, has become a limitation and a set of rules. . . . On the stage, we carried neorealism as far as we could. We used real objects and authentic reminiscences that had been rejected by the conventional theater. All our present efforts stem .

7 from this method, which is also at the origins of our fantasy. I said fantasy and I insist on that word. Neither realism, nor neorealism, but fantasy, a complete

freedom of spectacle.*4 ,

In Bellissima, Visconti deepened the narrative level of Zavattini’s subject by identifying it with his own experience. Thus, a collision ensued between demands |

aSeaea

Pee -@ 3° 5 jf a Joa LF arya iy 3 1 Ak . oe R..4 7 £ ow i jey oesom = _. q a" aw we eA ld ~ ©.) ch vai ~~sef — . ss— ee eat es os Bees 3 ee Ss cy a Py oe, Daren SSRs :

oe aeesoe ~ eel 2: asieLie ee ] 27 oe 8_oe ~~ eae. _——" — Bee coea at 7 as eees—: :- i ae @ os: tC BSS si aS sie _Seoo8 =ose Leh EESan- ae ia aeeSSeeEe Beet Rares waeespeas si Sreso eae SES an2s - re ee P: a8sat mtnfiat sien Ciepsernais tsten |_7— eae Le.ee ss_& “ey OES Be7“ee a a8 ee ae ee oe Cee oe ssBs —Be is os, wes 8 .oo vee Be BEEBae oe :aeeee Egaes ae ey ee eae Hees : eecE BR: so Be an Baad CoE ene

|-

Pads. _ . og e — eee - oe oo eo ae oe Be — a. : a

ng acem ane or @ ee > is | ao oe ee ; we, :: a— 7m eo. Zs o | f a =? ‘= ae ‘ ty Bee Pse oe oyaSBe _ ase: aF_ + a oe«ey ee eeoe ae on oe oy, aS aes _ i.7Leoo oe ke

ee we wee est oa ze i 3s sae a ae fy a8 ee a Brae Lh eee ce . 4a | ' aaoea8;Be eee aeot ee_Sy| oooo aeae 7| osaSs8Eeoe a ears Ve vee "2 oe 4 me Be Reesae shee .oo.BS Ee Be ae 8 aa 2 ‘taeiel i

: vg : \ S Sn oo a a ee a a i ee

ft\ aa, > sei He me aoes : ——a :poe Le .ee y aA’ ie oa 2/’— ae 7ceake a. 7 a

oe . by a

Ee Soe we ee ee oe on oe se Eee ee ae oe > BSE Pepe ae eee aaa oy eee ms eee bh ee 8 oa i ae . Bae 8 8 _ Ree

.Se»PieSe : am oe — ae .ee Magnani was equally eager to work with him, more so than ever in 1950 after Rossellini had left her for Ingrid Bergman.>*° Visconti’s interest in the many-sided character of a self-destructive mother, portrayed by an actress such as Magnani, helped him to transcend Zavattini’s anecdotal approach and to go beyond the French objective realism.>’

At the outset of the fifties, films by Antonioni, Fellini, Rossellini, and Visconti were instrumental in the attempt at a “transition from neorealism to realism” (as

this period is referred to). For several years, however, these four directors remained men alone on an untraveled road; they did not find much critical understanding for the innovative force contained in their films. Especially Rossellini and Antonioni were the underdogs of the Italian film industry, having increasing difficulties in finding financial backing for their projects. Their full appreciation came

only after years of delay.

_ Inretrospect, the unity of the neorealist movement was an exception in the overall history of the Italian cinema. Since its end, there has not been a trend that shares a common poetics, even less an ethics. Lino Micciché goes so far as to suggest that “after the period 1945—1950, the Italian cinema was the only one among the major film countries to lack a common denominator shared by a group of filmmakers and not to produce a group of films born out of a collective film. In our cinema personalities have always prevailed over general movements and trends.”5®

NEOREALISM IS LIKE... What is neorealism? Definitions abound. “There are many kinds of neorealism; everyone has his own. Mine was a moral position, an effort to understand myself inside a phenomenon.”! This was Rossellini talking. _ The majority of film dictionaries and encyclopedias refer to neorealism as, for example, “a movement in Italy from about 1943 to 1952 which reacted against the artificiality of the prewar and fascist cinema; although its adherents were diverse and never really formed a school, most of them shared a generally left-wing attitude and relied on natural decor, unprofessional actors, and a simple direct style of direction.”?

In the early seventies, a group of Italian film critics reacted against the very concept of neorealism as a movement. A movement, according to them, has to have

a unity, which neorealism lacked. Thus, for Lino Micciché, neorealism was not even a phenomenon because “on the level of its expressive results, namely, films, it | could be decomposed and recomposed almost as desired.”> This critical group was probably right to view neorealism as the result of previous traditions, but it under-

estimated the coherence of its style as it was progressively coined.* In his introduc- :

tory paper at the 1974 conference on neorealism Micciché said: Neorealism was not an aesthetics, and one of the reasons for its demise was the belief that it was and, what is worse, had the intention to be one. Neorealism was “an ethics of an aesthetics.” It was the answer of a generation of filmmakers to , the question asked by Vittorini: “Shall we ever have a culture capable of protect- ing people against suffering instead of just comforting them?” In this respect— and only in this respect—the Viscontis, De Sicas, Rossellinis, and the De Santis, aesthetically so different from one another, were ethically similar.°

Yet all these artists, one so unlike the other, brought to life a phenomenon with clearly defined technical and moral components that influenced almost all subsequent film trends in the West and in the East. In this respect, little doubt remains.

After Paisa, Shoeshine, Germany, Year Zero and Bicycle Thief, cinema could never be the same again. The neorealist approach became a permanent part of 129

130 NeorealismIs Like. . . : the filmmakers’ equipment. Its influence could be seen in French cinema from

Clément, Cayatte, and Clouzot to Godard and Truffaut, its influence on Japanese directors like Kinoshita, Ichikawa, and Oshima must have been considera-

ble, and it may well be that the neorealist example encouraged Satyajit Ray when he embarked on Pather Panchali®

Basil Wright’s contention 1s supported by James Monaco, who wrote: “While neo: realism as a movement lasted only until the early fifties, the effects of its aesthetics are still being felt. In fact, Zavattini, Rossellini, De Sica, and Visconti defined the ground rules that would operate for nearly thirty years. Aesthetically, Hollywood never quite recovered.”” The International Encyclopedia of Film as well states in connection with Open City: “It was a way of making films which was to influence

not only the postwar generation of filmmakers in Italy, but also generations to come.”8 As the French critic Louis Marcorelles contended:

Historically, neorealism in 1944-1945, the British “free cinema” of 1956—1959, and the French New Wave of 1958—1959 show the first efforts that were made to create a cinema that was not costly, that came closer to reality, and that was free from slavery to technique. The most significant films of the period bear

on them, like a watermark, something that foreshadows the direct cinema of the sixties.? Stephen Member emphasized mainly the influence of Zavattini:.

Zavattini has to be cited as part of the aesthetic foundation of cinéma vérité, regardless of the failure of neorealism to fulfill this stated commitment to undirected reality. There has to be room here for a man who can say: “However great

a faith I might have in imagination, in solitude, I have a greater faith in reality, in people. I am interested in the drama of things we happen to encounter, not those we plan.” Here, he beautifully articulates the cinéma vérité, outlook.'®

Others, such as Louis D. Giannetti, concerned themselves with the influence of neorealism on American fiction film directors, such as Elia Kazan and Samuel Fuller (The Steel Helmet). According to Giannetti, Kazan was influenced particularly in the use of authentic urban location, the use of nonprofessional actors (though primarily for minor roles), and in the development of explicit sociopolitical themes. Significantly, Kazan’s movies (Boomerang! Panic in the Streets, On the Waterfront, A Face in the Crowd) did not eschew plots. The “new look” of his films was largely confined to matters of details, not to structure."

Rossellini was right. Everyone had his own neorealism according to his disposi-

tion, temperament, belief, and external circumstances. In Japan, the neorealist films provoked a real explosion in the development of cinema, linking up with prewar Japanese realism, mainly with the films of Yasujiro Ozu. Ozu’s crude style (e.g.,

in An Inn in Tokyo, 1935, or The Only Son, 1936) and striving for authenticity _ anticipated especially the neorealist method found in De Sica’s early work with its poetic vision of streets populated with social outcasts and an indifferent crowd.

- Neorealism Is Like... 131 Some postwar Japanese directors fused these traditions with the new Italian influence (Tadashi Imai, Keisuke Kinoshita, Satsuo Yamamoto).!”

| Neorealism holds a special place in the development of the East European cinema. In the mid-fifties, its influence in Hungary, Poland, and Czechoslovakia was crucial, merging with the endeavor of these productions to free themselves from Stalinist aesthetics. The neorealist experience in these countries symbolized the yearning for truth and freedom that obsessed the East European filmmakers as much as the early neorealists. The generation of Felix Mariassy and Zoltan Fabri in Hungary, of Elmar Klos, Jan Kadar, and Vojtéch Jasny in Czechoslovakia, of Andrzej Wajda, Andrzej Munk, and Jerzy Kawalerowicz in Poland saw in the neorealist

struggle not only an inspiration to renovate an antiquated style, but also, in a broader sense, an impulse to deal with certain aspects of their own society. The Soviet director Mikhail Romm said about the influence of neorealism inthe USSR: | “I know the impression created by the Italian films. I can underline that this influence was real.”!3 While in Hungary and Czechoslovakia, the attempts to follow the example of neorealism were stopped in their early stage, in Poland neorealism found a more congenial atmosphere. In 1954, Krzysztof Toeplitz, the Polish film

critic, saw neorealism as “an artistic ideal for our authors and our cinema.”!* Twenty years later, Boteslaw Michatfek claimed that “Toeplitz expressed to alarge degree the opinion of the Polish film scene and of mature audiences. For them, neorealism was not just an Italian phenomenon bound to a geographical, historical, and political context: it was an alternative genre—or one of the alternatives—for the Polish cinema at a moment when it was trying to find its way out of a crisis.” Andrzej Wajda said about his first feature film, A Generation (1955), whose perspective and style bear some marks of the neorealist influence: “In the neorealist films we have seen that scenes shot in studios were used only to complement scenes shot on real-life locations. In Polish productions, my film was the first where scenes took place outdoors in the rain or under covered skies. Before, similar techniques

were simply inadmissible.”!© :

Afraid of the impact that Italian neorealism might have on filmmakers and audiences, the authorities of the majority of the East European countries withheld several important neorealist films from public release or restricted them to film clubs and art theaters (e.g. Open City, Paisan, Germany, Year Zero, Bitter Rice, Miracle in |

Milan, La terra trema, Difficult Years)." ,

TEN POINTS |

In 1952, the Parisian journal Films et Documents published the famous “ten points of neorealism,” which, to a large degree, still remain valid.

(1) A message: for the Italian filmmakers, cinema is a way of expression and communication in the true sense of this word. (2) Topical scripts inspired by concrete events; great historical and social issues are tackled from the point of view of the common people. (3) A sense of detail as a means of authentification. (4) A sense of the masses and the ability to surprise (De Sica) or manipulate them

132 Neorealism Is Like. . . | in front of camera (De Santis, Visconti): the protagonists are captured in their relationship to the masses. (5) Realism; but reality is filtered by a very delicate

sensitivity. (6) The truth of actors, often nonprofessionals. (7) The truth of decor : and a refusal-of the studio. (8) The truth of the lighting. (9) Photography reminiscent of the reportage style stresses the impression of truth. (10) An extremely free camera; its unrestricted movements result from the use of postsynchronization.'®

The last point played an important role in the shaping of neorealistic aesthetics (and of the aesthetics of the Italian cinema in general). Most of the films were shot silent and postsynchronized. Consequently, the filmmaker had an unprecedented freedom of movement, which reappeared in movie production only after the invention of light hand cameras equipped with sound recording. Because of their long

distinguished tradition in dubbing, Italian sound technicians were experienced , enough to re-create sounds in a studio to such perfection that hardly anybody noticed any discrepancy. (The most famous case is that of Bicycle Thief where Lamberto Maggiorani, a blue-collar worker who played the part of the unemployed worker, was dubbed by an actor.) In an article aptly called “Film Witness,” Jacques Doniol-Valcroze, the French critic and director-to-be, observed in 1947:

The photography of the neorealist films, austere and gray, creates the impression of having gone through changes of temperature and situations. Also, the sound (though almost always recorded in a studio) evokes the feeling of outdoors, of hasty direction, and a complete absence of a search for effects. The actors follow these movements; they “exist” modestly in front of the camera.!9

Almost twenty years later, Giuseppe Ferrara, author of several books on Italian cinema, analyzed the points that Doniol-Valcroze noted. In his essay “I neoreal-

ismo italiano,” Ferrara wrote: } The neorealist cinematographer simply followed the stream of light, as Caravaggio used to do. If the light entered through one window, then the lighting had only one source that illuminated objects in their most humble truth. Objects were not to be beautified—the cruder they were, the purer they appeared, the more authentic, the more “beautiful.” Neorealist photography contains a luminous truth that

had never before appeared in any film. Similarly, the neorealist actor did not transfer a literary reality that was beyond his reach. He was no longer just the image of a human being; he was its historical interpretation.”°

Several critics tried to explain neorealism as an aesthetics of rejection. (Barbaro said in 1943: “If we want to reject forever historical set pieces, the heated-up nineteenth century, and the double-identity comedy, we must try out realism.”)! The theory of rejection was fully adopted by the Soviet semiotician Jurij Lotman in his popular book Semiotics of Cinema. He writes: In its struggle against theatrical pomposity, Italian neorealism arrived at the total equation of art and extraartistic reality. Its active elements were always refusals: a refusal to use stereotyped heroes or typical scenes; a refusal to use professional actors; a refusal of the star system; a refusal to employ montage and an iron-clad

scenario; a refusal to use prepared dialogues or musical accompaniment.”

: Neorealism Is Like... 133 Lotman’s contention does not stand the proof of any major neorealist film. The leading neorealist filmmakers never achieved “a total equation of art and extraartistic reality” and probably never really tried. They did use elaborate montage (Bicycle Thief, La terra trema, Bitter Rice), as well as prepared dialogues (Tragic Hunt, Shoeshine, Umberto D.), dramatic musical accompaniment (Mill on the River Po, No Peace Under the Olives, Germany, Year Zero), and professional actors (Open City, Bitter Rice, Without Pity). Lotman just reduced neorealism to a simple denial of the past, which is an attitude shared by so many (e.g., the verists and Futurists

went much further in this direction.) ,

Lotman’s simplification must be compared to the concept of neorealism as a movement that went beyond previous aesthetics based on the emphasis of reality— | ___ be it naturalism, verismo; or, in cinema, the French populism of the thirties or the British documentary school of John Grierson and Basil Wright. This approach, formulated mainly by Amedée Ayfre, the French philosopher and film critic, saw neorealism as a movement that used the full capacity of the film medium in order to capture not only real events but also their deeper significance. In a 1963 essay, Ayfre wrote: As much as Merleau-Ponty —following Husserl, but in a more existential than transcendental way —elaborated the phenomenological method to reach beyond — the opposition of materialism and idealism, the neorealists in cinema transcended all previous aesthetics that took for their points of departure the notion of the ultimate foundations of the real. Neorealist films presented themselves to anybody who wanted to look at them with naive eyes as simple descriptions of appearance lacking a dominating contextual idea. In this respect, many critics of the time did not consider them art but only documents that were not interpreting a historical point of view but only chronicling. Such minimalization occurs whenever radically new works of art cannot be judged according to existing canons.”4

Ayfre touched the heart of the matter. Neorealist films caught critics unprepared, and much of the confusion stemmed from the incongruency of the theory that accompanied them and eventually helped to bury them. And yet, its manifold qualities provoked a discussion that continued long after those who had once started it were no longer its protagonists. Like some critics, audiences often were not prepared to accept stories basically

_ so different from almost everything that had been presented to them until then. Films that did not attract attention with immediately understandable and topical messages (as did, e.g., Open City, Paisan, To Live in Peace) or with their extracine-

matic values (the eroticism in Bitter Rice) were usually financial failures. 7

HUMANISTS AND SOCIOHISTORIANS _ Two approaches prevail in the overall evaluation of neorealism: the humanistic and the sociohistorical. In retrospect, the humanists, who explained the neorealist phenomenon in terms of its ethical content, proved more foresighted than those who tied it solely to its sociohistorical background.

134 NeorealismIs Like... _ André Bazin was prominent among the former. For him, what counted was cinema’s way of explaining reality and not what was explained. “I am prepared to see the fundamental humanism of the current Italian films as their chief merit,” he wrote in 1948. “They offer an opportunity to savor, before the time finally runs out on us, a revolutionary flavor in which terror has yet no part.”25 Bazin considered neorealism as an exemplary model of his thought about cinema, “attaining its fullness in being the art of the real.” On the other hand, for Henri Agel, another of the French humanists, neorealism—as a “state of mind” —was “tied to the deep song of the Italian soul.”*¢ Bazin considered it a “revolution in art,” another of the assessments attacked during the 1974 congress on neorealism. The word revolution is often mentioned and not only in Bazin’s writings, though it is without doubt an exaggerated term for a movement bound in many ways to established aesthetics and inspired by the 1930s cinema (descriptive calligraphist realism, documentarism of De Robertis’s and Rossellini’s war films, French populism, etc.). Yet for Bazin, neorealism was

a revolution in a form which comes to bear on the content. For example, the priority which they accord to incidents over plot had led De Sica and Zavattini to replace plot as such with a microaction based on an infinitely divisible attention to the complexities in even the most extraordinary of events. This in itself _ rules out the slightest hierarchy, whether psychological, dramatic, or ideological, among the incidents portrayed.2”7)

In Italy, too, Luigi Chiarini claimed that “neorealism tends, perhaps unconsciously, toward new cinematic forms that mean a real and true revolution with respect to the concept of cinema as spectacle.” Chiarini belonged to the best known humanists among Italian critics. In the early fifties, he wrote one of the most pertinent analyses of the neorealist phenomenon, attacking simplified sociohistor‘cal attitudes. He pointed out:

The greatest misunderstanding consists in confusing neorealism with cinematic verismo and in the belief that a neorealist film can be created just by shooting on location without actors and with people picked up in real life. That was a mis-

| take that led to the confusion between the demands postulated by a spiritual attitude and a technical fact. It is utterly arbitrary to classify as neorealist all films, and only such films, that tackle the contents of social concern and are based on certain external features such as the use of nonprofessional actors and shooting on location.?° One of the best definitions of neorealism was provided by Mario Gromo, one of the first Italian film critics inspired by the teachings of Benedetto Croce. In his essays on neorealism, Gromo always linked historical circumstances with the evo-

lution of human freedom. He wrote in the early fifties: : After the fall of fascism, when half of the country was still under German occupation, life was hard and cruel; this pain and anguish became vital for our directors. They felt free but obsessed with this suffering. Thus Open City and Shoe-

shine were born and were hailed almost all over the world. They appeared,

Neorealism Is Like: .. 135 , suddenly, in an atmosphere of three tired conformities: the American, predominantly industrial; the Russian, entirely political; and the French, rather literary. What came to life was less a new realism and more a new truth rooted in the

search for a new freedom.2° , : Among the humanists, some read the neorealist films in terms of “stories of despair,” as Basil Wright put it. In 1956, Brunello Rondi, the film critic and screenwriter for Rossellini and Fellini, anticipated the later evolution of the Italian cinema when he contended: The new Italian cinema is imbued with a tragic sense of human coexistence and an ethical passion that searches for the meaning of a “valid society.” Films about human solitude, about gaps between individual lives separated one from the other by hatred and indifference, draw their decisive impact from the war only because war revealed the truth of the ethical passion, the sense of a lost coherence and the horrible deformations caused by man to man. Italian cinema is the only cultural expression that has sensed this urgent situation of modern humanity. It inserts it into a complex historical vision. The major Italian directors are “historians” of human solitude, not its “elegists.”*°

Umberto Bart::-o in Italy and Georges Sadoul in France were the most promi‘nent among the socichistorians. Their theory of neorealism as an exclusive expression of the war and antifascist resistance, with an emphasis laid on social concern, , proved extremely tenacious. It was more easily explainable and applicable than other concepts. This theory, departing from a just assessment about the birth of neorealism out of an exceptional moment in European history, never really went beyond its premise. Its proponents attempted to tie down all subsequent development in Italian cinema to this original impulse. Simplistic contentions, such as “neorealist films were repeatedly showing that unjust and perverted social structures threaten to warp and pervert the essential and internal human values,”*! eventually prevailed in other countries also, especially in Germany, Switzerland, and the United States. A more careful analysis is needed to reveal that the consistent focus of major neorealist films was “not only upon social reality but also upon the dialectics of reality and appearance, usually the appearance or illusion of reality produced by artistic means.”32 However, in such a widely read book as Georges Sadoul’s Histoire générale du cinéma (1946) only a simplistic explanation of neorealism appears that pays a heavy tribute to the political situation of the time: “Thanks to the people, thanks to their fight for national independence, thanks also to the theoretical basis elaborated in deep clandestinity by antifascist militants, neorealism could emerge fully armed the very moment the war was over.”33 Sadoul followed the general outlines of neorealism defined by Umberto Barbaro, for whom “art was on one hand conditioned and determined (i.e., tied to an epoch), expressing a determined reality, and, on the other hand, turned toward the future, anticipating and contributing to the creation of a new epoch.”34

The sociohistorical opinion was carried to its utmost rigidity by Raymond

136 NeorealismIs Like... Borde and André Buissy, for whom “neorealism was the first mass experience of | social cinema,” which “had the ambition—and only on this ambition can any

definition be based——to be a cinema of content.”35 | A more differentiated attitude was adopted by Ulrich Gregor and Enno Patalas in their Geschichte des modernen Films. In the opening pages, they point out: After 1945, Italian cinema became the avant-garde of those European countries that had gone through the war. Postwar Europe found its representative style in

neorealism, in its concept of crude reality, and in its documentaristic camera. | Humanism and universal impact, deeply rooted in the historical and social reality, were the reasons for the exceptional success of early neorealist films, both in

Italy and abroad.*° |

Siegfried Kracauer, who based large segments of his theory of cinematic realism . on his experience with neorealism, defined its roots better than most of the social critics. He wrote: |

When history is made in the streets, the streets tend to move onto the screen. For all their differences in ideology and techniques, Potemkin and Paisan have this “street” quality in common; they feature environmental situations rather : than private affairs, episodes involving society at large rather than stories centering upon an individual conflict. In other words, they show a tendency toward

. documentary. . . . These narratives serve to dramatize social conditions in general. The preference for real people on the screen and the documentary ap-

proach seem to be closely interrelated.*’ ,

The conflict between the humanists and the sociohistorians culminated in its time in the discussion about Rossellini ending with André Bazin’s open letter to Guido Aristarco. Bazin could not admit that Rossellini be excluded from the ranks of the major Italian filmmakers only because he did not limit the use of the film medium to the confines determined by the sociohistorical demands that Aristarco upheld. Bazin rightly anticipated that by narrowing neorealism to just one side of its experience, both the future development of Italian cinema and the general image of neorealism could be jeopardized. Thus, for example, the refusal by the 1974 Pesaro group to see neorealism as a movement was based, among others, on the rejection of the formula into which neorealism had been locked after the dismissal of directors like Rossellini,

, Fellini, and Antonioni. The sociohistorical definition penetrated into many film histories and later created a certain mistrust of neorealism among some critics and film_ makers outside Italy who considered it a typical product of the traditional narrative cinema with no space left for formal experiments. In his letter to Aristarco, the editor-in-chief of Cinema Nuovo, Bazin wrote:

When I find you hunting for fleas in Gelsomina’s tousled hair (La strada) or

| dismissing Rossellini’s last film (Voyage in Italy) as less than nothing, I am forced to conclude that under the guise of theoretical integrity you are in the process of nipping in the bud some of the liveliest and most promising offshoots of what I persist in calling neorealism. [These two films], far from being felt

NeorealismIs Like... 137 here [in France] as a break with neorealism and still less a regression, have given us the feeling of creative inventiveness deriving directly from the spirit that informs the Italian school. I have to confess to a strong dislike for a notion of neorealism that is based on the exclusion of all else, on what is only one of its present aspects, for this is to submit its future potential to a priori restriction.** As early as 1952 Rossellini said:

Neorealism involves a greater interest in individuals. Modern man feels a need to tell of things as they are, to take account of reality in an uncompromisingly concrete way, which goes with today’s interest in statistics and scientific results. Neorealism is also a response to the genuine need to see men for what they are, with humility and without recourse to fabricating the exceptional; it means the awareness that the exceptional is arrived at through the investigation of reality. Lastly, it is an urge for self-clarification, an urge not to ignore reality whatever it may be. This is why I have tried in my films to reach an understanding of things, and to give them their true value. It’s not something easy or lightly undertaken

but a highly ambitious project because to give anything its true value means | grasping its real universal meaning.*?

DIFFICULT YEARS (1953-1959)

Today, a conformist atmosphere prevails which is not much different from that of the fascist period. In my opinion, this is happening because of the growing power of the governing party. Its actions against freedom of expression are not democratic and liberal but, on the contrary, conformist and backward. Unfortu-

nately, censorship generates self-censorship. Today, nobody knows for sure

film started losing courage.

what he is allowed to say; one is sure only of what he must not say. The Italian

This excerpt from the autobiographical novel Success by Luigi Zampa, published in Rome in 1957, sums up the atmosphere of the fifties, often referred to as “the difficult years” —the title of Zampa’s 1948 film. Sandro Zambetti, the Italian film

critic, pointed out: , |

The fifties represent the worst period in the history of the Italian cinema— with the exception of fascism. It was a period of so-called pink neorealism, of “Love, ‘Bread, and,. . .” of “Poor but Beautiful,” of flat composite films put together for

a fast profit. The Italian cinema was pervaded by mystifying optimism, escap- , ism, and happy misery. (“We're not doing too well, that’s true, but we have the sun, the sea, pretty women, and thus we are, in a way, a happy country.”) Not too many films deserve to be remembered. Many prominent authors let themselves be dragged along with the overall decline. The cinema of the fifties was typical

of De Gasperi’s “centrism.”! NEOREALISTS AND THE DIFFICULT YEARS After years of unity and confidence, the story of the Italian cinema became a story of mistrust and uncertainty with some of the leading neorealist personalities leaving the film scene for some time or forever. In 1949, Umberto Barbaro left the country and spent several years in exile (he died in 1959). De Santis, ostracized by the government as well as by the producers, tried to reassemble the pieces of his concept of “cinema as a national medium” in films such as Un marite per Anna

138 :

Difficult Years 139 Zaccheo (A Husband for Anna Zaccheo, 1953) and Giorni d’ amore (Days of Love, 1955). These tales, however, were deeply marked by the compromises of the time and were light years away from De Santis’s former endeavors. Like Barbaro or Gillo

Pontecorvo, De Santis too looked for work abroad, in France and in Yugoslavia where in 1958 he finally shot La strada lunga d’un anno (The One- Year-Long Road). As Georges Sadoul put it: “Because of the pressures and coercions, none of these films equaled Tragic Hunt.” Artistically, De Santis never recovered from the effects of “the difficult years.”> Antonio Pietrangeli too attempted for some time to preserve the nationalist-populist line of early neorealism, but eventually he bowed to the demands of the industry and directed several finely chiseled comedies. Even the old fox Chiarini paid his due to the witch hunt. In 1949, he was fired from the editorial board of Bianco e Nero. De Sica, along with his faithful Zavattini, went to Hollywood but did not make any deal. At home, he returned to his acting career, starring with tremendous success in all three “Bread and Love” films, thus reassuming his place as “Vittorio nazionale,” the most popular Italian actor. Zavattini went back to scriptwriting (a profession he had tried to bury a few years before), scripting as many as three films a year, films of all kind, value, and impact. But he never stopped preaching his idea about fidelity to reality, influencing deeply some members of the upcoming generation (Francesco Maselli, Gillo Pontecorvo, Paolo and Vittorio Taviani) and keeping alive, in a way, the spirit of neorealism.

In 1956, Zavattini and De Sica made another attempt to revive the neorealist idea. Their pathetic // tetto (The Roof) brought the maids and bricklayers, the underemployed and exploited, back to the screen. The simple, sentimental plot revolved around the efforts of a newlywed couple to roof their illegal home in a single night before the arrival of the police. The Roof bears touching testimony to the impossibility of resuscitating the past. Its characters and events are presented almost exclusively in terms of one facet of life, leaving no space for a reality out of

which to forge new possibilities.4 , |

Pietro Germi made a similar attempt with II ferroviere (The Railwayman, 1956) where he himself portrayed a railwayman struggling against poverty and injustice. The story, a predictable melodrama, transformed its social background into a convenient metaphor and idealized both the main characters and their milieu. Those neorealists who had begun their careers in commercial production during the 1930s were soon reintegrated into the mainstream of the film industry. In 1952,

Luigi Zampa directed an ambitious film, Processo alla citta (Trial Against the City), which was subsequently mutilated by the censors. It focused on the investigation of a double murder, leading to the revelation of criminal connections in Neapolitan high society. (The story, written by Francesco Rosi, anticipated Rosi’s later films in centering on the power-brokering between political groups.) With his following films, Zampa returned to the traditional comedies of his beginnings. - In 1952 Alberto Lattuada successfully blended the calligraphist notions of his early films with the neorealist method in // cappotto (The Overcoat). Gogol’s story of a humble provincial clerk was transposed from nineteenth-century Russia to twentieth-century Italy and thus could be comfortably adapted to the neorealist concept of reality. Renato Rascel, one of Italy’s most appealing actors, played the

140 = —Difficult Years

casteeepe ie Say RSaeee lhl Be ye oo a S Be Se SO Pea" Dee a eg Dees ne Be es rae RIE et ORE NS od pi tanta ted i Bonner ee Te ee ft LE Renters S 7 :- Fe -ee_oe >.eres a eee aeESE ne bei antes bite sa Naar ae LO saaBie SS BesPaes SueLee SEES SEES ORES SEES UE Uae Pe 8S y pata oe ayCO cere SEESE eae See BRIE oeos aeee BP ee TnHens SL a PES iCUE ae ce es PETE, Ce Gg andro Hea iBS SO PES COLE ees zDe PSs He ahaeeOe ey Wehner SEE Se Ies aiecae ame Beige 2 pn EO Ee Se eae é ee ESOS SERS BOES PEE SE eS eo So oe aEaegreets Bees ite ee OO Beoe ie BoE BRU TERR OR EGE igen aSUE Bi Reick PE aeeSRESO Seas BpaeieSU eeSe? ESS Ct ats ehPRN Ee Ps BS aSee Sa Res mr eee Bee Es SEUS SS eae oo es EE “eeea eee ia Ree eit iae De A Bs RE RO rE af aR ey ie ies i Sass” ee Ree See TERNS ELE mares eeee es RE aie i so Bee csRES Leo Se PERSE Son aS SE we SO traeraiass IIB ioRea voy] aeEoeran EE RRS SNES Chee SEES are eSeee SE Seta ERT. SRE eg CT EE esSRR aaaae acs PS ESRSIa BEE ee PEBE giSEAR eae esRe aeSas ees se ee eden Sea, tres POM io ale te ee AeeaPee, et Berar Lenape Boe feERS eS Oo ee Bee ee PARIS ae vais ASA RRA pti ptm ERTS BeCN ES SERN RRR a eeoS aaa DoLE7 SCS ee Ssheete Ait Ts eae Ss eae Be oS PRS LEE seas LRoe: Besa PESee 8 SLE Nites eeewtRCo ceceSOS Be eased nth we ee a ne SSBe SERN: BRP RRR EaResa See INSeai, Roem eae eis Neaan aALES aeRe ae Bas EEE ee PES. earSeca Eaenrerrtn ee we ATE LESTR Ce SR eae ieeee Le Beoe ‘ hee ee os Sone easSeen asiei:LEE PadeeS heBE ea anes en Be ei ERAS Sed . i Pee |. EERE SU eee Ea Be Ca Eee ae Oe Sere econ ee aae Pn eee OE ROR eae o Re Se ae feMets fps Ree a Eek Eeonaee esi ae ea eesoatiene

—oe —r—i—“_i—C—SCOCrCC—C—~—S Eee res RP ee ee ee ee ee Oe.ae_ CS a 7.es 2 oF _ Big | eepSesBi_—rt—™—C ee i Seana ac BRS RENE Ll EI Ret ea vee Ba i oh OE cet ate e Be ena Be se Rp ER See Wee Giri eee Wong chiens See haere WES Ee REL Se ERE

meee aRe eePOONER ES POE ER ee NAS aEe Lote R aera oe i BO ao aRee eee eee riePRR arenes aan EERE os a ILLS _He _Ce _EE ee 8PO eeeyy IG RSSia RET OEE) Re PEGS nsRea eee PpBie eRe LEBER SRNR Sn es en rene BO ah aEss Bs ey eeRee BA taht ROE foe ae Soke eR eeBEES cra EG ey eeSe _. _.eth . aaie — Pa Sana eee eles ens RES ESR OER SRS a OES ERs spe derninniinn cs ERAS: Es CAS LEen” BS Ae TS. Pees aee_Bee BNC MGSO SET es PRR ea SER Spiga sei ee ere eeSecon aes PT - _:iS_ _ae _ee Hg ae ORO ag SS cates eRe rns Sonya AB Beae i RE aes Poe eMC Een Re OS

ee BEE: BBE Ce es Cr erieRR eee Be SIRS BIE .aEeeSESS .TSE oo 2ee |_L -:eae RS ci eae EMTS Sede SnLo piss ae aSe aea Si See Ree, ae Pe Se TERee NDChee iiAE ERG oe aPec aaod PRE rnsSe ES Ey Ener aE Ree tect | Lo# —2AN ocean ae LEC apees RN sre OUR aSPIAS LN RSIS OND PRE wa eea eoVein Seoe ES ee BRE EEE Eee RS esCasa ae en ES EI IN soBRE iad DRS PE pe eaSececa ES arPRESS RRR Baie aks RNR beens eee ORen eReeas) saneLR Cas feBADR Bic ESSSect ee BST ESSE Seenen ee Canna ee aaaee CANS. ER cae

Co PAD es gags a pe oo _ | _ J 7 a

- Do ee SEES Ree [2 Be PERSON eee ee LL oct ES A ORS URS eS BG a ere

Le SC escSSR Bratt EEE SOE SR OE ESN ee ae POE wee Se aeBaie RaaOE aaae enae eee _2a|ae -ee _Se| a oe aes ae Mee RT sce ae Re oe LSBSE rE eines LeeRee Se ee eeneeee See Sa Se|. 7re: Se rentan erne BR raneAPRONS ee Roseanne? OL MeaeEee as ERR ee Seay REaeBSSar Oipe oRroe sas PentCetin? eeShoe: seSOE aes cs

TR Oeesee BE hehe oe RS Cone EeoA D Bie ye LL Lo |aae 8 oIE — a PE es Se ESan oe ee CEogress aa ee ORY SAN aUe ecuSESE NR cRSSD oo eaee aenar ee PEN ERR PEASE Ssi2S

eeeEE USekg SSlees 8 De LEanSey Remo eeceOD a pees 2 oe . _a a: Bsa a Cee eae Sta_ or ee Pere a i _. :. sf

Sie SE Nn I SireSonar Ren ReeRES tres SUSE MERE TET he EES Se LEE LIENS San DS oeBORE tanta ee Cae ed ie_.PEON ES oe SORa ReMOA NE aSe hy ON SaFeai Parent ER. Rae OEeee ON RNSS ERAS weGS eetnLS ae oe

: pe eee Bs ee Es SRS ee eee SE rti‘.h . -— oe pobisnarihis eran dea CATE A Sere SEE Sern Bain Rtn aS Ss HS 8 ae i: Pane EEN Spans Se oo 2 a . fees ames OSA Dees Ee ee oan ee ae ae ert —=—srstia‘_iOCt OO . : 7 ee . a panes ei TES, LE een ee Sense Ege A Eee eee Re EES ee ee EE ORI Bee ie fo oo | Be COE Ea Ene safes oe ey we ny Seon race Ste TO ES Peas eno os |RSS SRR eS RGA eee Rs Can ae Seis Mas Lg BO i ce oe o oe -

LP ER GO wena AS SORES esetSiS Os EE Sa EPG es SRE |.BEES ~=—ersr_—sesesem eeoy aLo De. oe ee ERaa Seng Sees. ees ee TAO Rah inane US A, So pels “SEER ee Es oe oe Senna igre oat82Sota PR pene eeSARE wens oot osone os CEES EEL anne eae ~=—esé—“__O_ L _— >»iae —

eeOES eee-Pe Baan aecetea ESeee reer SERRE ee LA Sond hsSere - ##=~eee CC — pester cea nee eee Songer fT Vee ik oe ea SER RE aR2eerie ee Co2|| be ee pean es LEE ee ELE! emer aoe BS “EAE CC aATE fo 8AS — a Rana ey ASS i ES fa Oe ie aRear eras Se Pee LO See aWn a2g hed .. _a CC . ee ee MESSE S 2ee LEE ea Le Bee bn nee ERP Se eet SUES CC See RS ene ce ee CsCl gs Bo, ee A SS Sea IRE eeacee SE Bere co BN NR POSER SIEM Ly Se BU Co oe ee UR ee sees Le es RR es Be HS Es aean Sa ee “Ea ens & ee: iSEL rrOO panera! SEE tans — noid ee Re ee Me ee giant rid peste aeaSaf Cy tay AR eee eeEa ASS ae See Bes eh gases Oe aN eeaaa Bi Sait iLEE oa CEASE EEE lohagbune Sey ee EE Rens Panne tiied ae SeRs eee Premera UE

- oF Oe eae .TE EsEs aeERA eeee ee | : i =v. ae ee ae Loae SEHe CEES

142 ~=Difficult Years

Catholicism. They pretended to be realistic so as to make the viewers believe that their deformed images reflected Italian reality. To achieve this impact, these films used the technical experience of neorealism, replacing its original revolutionary significance with an escapist, edifying silent-majority content.’ The most famous of these “wastes of realism,” as Chiarini referred to pink neorealism, was Pane, amore e fantasia (Bread, Love, and Fantasy, 1953), drawing on a

stylized peasant mythology and a contrived anecdotal approach. Its heroine (a glamorous Gina Lollobrigida clad in a high-fashion minidress), a poor village girl,

ends up living happily ever after because she is modest, goes to church, never complains about her misery, and believes in good and evil, just as the priest has always taught her. The success of Bread, Love, and Fantasy gave rise to a whole series of pink comedies and farces, evolving against the picturesque Italian countryside (Bread, Love, and Jealousy, Bread, Love and .. . , etc.). Their central characters were affable priests, charming policemen, poor and pure girls, and village villains. The neorealist heritage enlarged their scale by adding farm laborers, _ shepherds, prostitutes, and World War II veterans. Pink neorealism was unthinkable without the glamour of its main protagonists and the so-called “pink vamp” as the leading lady. Dressed in sexy rags, with carefully unkempt hair and made up to look like a true poor peasant girl, the pink vamp was the Italian version of the American pin-up. .The images of Gina Lollobrigida and Sophia Loren were created as a national reaction to the stardom of Rita Hayworth and Ava Gardner. (Lollobrigida was often referred to as “the most beautiful Italian housewife.” )

LUIGI COMENCINI AND DINO RIS! The most successful directors of pink neorealism were Luigi Comencini (b. 1916) and Dino Risi, both originally documentarists.? Having been silent witnesses to the © neorealist experience, they were boosted to sudden success by its economic fail-

| ure. Faced with the demise of neorealism and the rising American competition, the producers turned to Comencini and Risi, who made a series of neorealist imitations, searching for forms of expression for a modern popular spectacle. Obsessed with a fidelity to reality, they concocted a successful formula through a compromise between verisimilitude and the conventions of the comedy. Their statements do not differ substantially from those of the early neorealists, and it is possible that they both believed in the truthfulness of their prearranged cinematic reality. Risi, whose models were Lubitsch and Billy Wilder, contended: “I portray things as they are. In my opinion, it is important not only to tell the truth but also to show it as profoundly as possible.”?

Both Comencini and Risi shot several films a year. Comencini created the “Bread and Love” series, whose third installment was directed by Risi. In 1956, Risi started his own, slightly cynical, version of the pink stories with Poveri ma belli (Poor but Beautiful Boys) followed by Belle ma Povere (Beautiful but Poor Girls, 1957), Poveri millionari (Poor Millionaires, 1959), etc. In Risi’s films, the poor but beautiful characters lost their innocence, which they harbored in the

ok ee ee ee ee. ae a EROS a a ee SETS RRR NTO eee cong eae Bae RRR AR Ns SONS ena ea cua SINENOSSO RSS RR Pee BaeERR = a h ZS Seer

eRe ee ee RRS ch RS anace SRS TIGR etna SER, SRS Ee eS Se EEE ESR 2oeCOE CURR SESS aeSRA: RRR Sc nenenie RNS as SS Se SRE ee ERE RS BOS Pc ee Bee os ESE CARER ee Neen SERS urement eee came ReeROE CRE RANG SS mainte SSSERS BSNS REC OR ey SR OSES B SSS SOR CRRREO ND Slt RR Ser eg aRS tee ES RRC nee an es Reed SESERe Re OCR aR SOCORRO SEN BREED SRR ERR a,Bee Ree. aeee eaeach SERS ET ERS ES RARE RS SSR RE read ee < Batre OOS BR OOO UNS SEs So RR SRR os RS SERRE Ge OE ce BS SSO eeRRS Epo RR aeBAER oc ENG Sig BERBERS SCS eS RNS ANN ReSEEN US TERE EES REE Bs Borceeton nna eae aSG TNS Siena No Beara SRN: SOREELS See CARS Rononein cence RSoo:SSR Rs RR Re RS BREESE Sa oS eS E NS CO SON rt SS ae RRR. SS RETA Se SRA aS oo Saas See ee 2 Se Se SS Boe oR Sree SOLE SRR ERR GOR RR Rec sione sence “ SESS eR CRS SS ER TRESS % ee BR Rc OS SSeeceeuae ae OO RRM SsRReR oeSa Saeee etNCO, ee ERIS SEES TL SEER ee Soames RE ES ae eee CA So cRee Oey Bass suveu nineteen onSR RRR RENN Noe ane SRDeeTSR BERS RAO RRR REE OO RRR Be SES EERE SeoD ais SRS” - RR 3: RRR RN RN ERR eee BESS CANO ICA SOREN RRR cr OSE Eon ARSE Bren eoeecnne CeO RES SEEN OREN a Reece, | ES Se SRC 2 RE Sass Bes RC CS ES SORES eS a SER Raa on ae eS

BRS 2AUS oo ESS RENE A Scena RR RE RS HERR SU EERE SeeSanan oe RRR eS Se eres ecope ERR SEUSS US: er ean BS ae SSCSESEERS RRC SRASSS RRON SERRE wg TORR ESRRRR fy,SERRE SRR ORR a RR eee BS: Ss eR ESN ROE RR SER SRS Saas See Fe RR RS ES SS SENSE ees eCEER SESEaN SERRE egNENA SREee SERRE CASRG RAS See a Re SEES" RRRaROR See cearss .eee 2 REF Se eae aR eeRR NR RRR FRR SOS Aa Bo CS Sears ZESEE' CONOR PCRS |ON SRR Cee: Ros. RNS SERS eeeESR Se SEES OES SO RRR Caner IS aRRS aan SeeERS OST Eh.SORA See S: ls ~OAT RE SS RRR Nae SMRCMEEER cone ocd ORRSR Se

ES RERES ENSSEONAN ooSees CNSER, aa SS nea ee i a BRE SeeRamee a eosfconcen Se eeee SES.NS SRS ee ee eeSLs ERs NC ge Sa OSES SteeCCR SIS RS ie SERA

Sa SRR IEE SEER CNS ESN RS Sn SRO. SRS ee “SE SE SAREE i cagA RE ea =RRRRR So SeSERRE GR Beers rncenensts SERS RNRRRR RS SUR acyRRR. Fa ERSwatt SOREN RNS aN ROR nearsSRE 2 SRR ReRSS Tei LTRS, ‘ SUE GERBER RRO REE SE a SRR TRESS aR . a So aesae PROS Sc SRS Ree RRS RSS OS RBSSRN SSSrc Sho AcE, SSeS cWe CeReece Secs REE. BRR Se SRREENSS SNS sc sO SER ROR GSR SRC SEER RS ES SRN Seether, SHS SeeRRP SEES RSS Bice SRE Sane ee Ba SEER Sait me SRS SN SRR SSSR NR EER SSSR RRR i BRA. a Berna GaN ON SRN RCN Se TEER eee RRR RoE eg

a SEGA Ree RS ee REE RE SeeSNR aR aNENCORE Nr ameneneunane re a EESEP ERENT SRSBS SEE RE : SEES” COSBoe RSE SOE Sei, eS BSS SCORER NRA. 5 Sea Strate ASR REE SOS ae OC eee Bec SRR Be Sas 8 SEER . SSS eS s eeRSeae ee SeRE aoeRNrns eaeNR saan Bese Caceres SaCERN Be Ss. neeeERS P Rage eee SS ES RIN ere) SERRE ae SERRE eae etateeSee MON ne re AtRee TOE meee ae, Io Aakers. UE aaa SNR RECSet, aN oe eeSSSERECRE SOR SUES | ROSES e UE Bsa NaSES % ES RSSS eRPoSEER crERR eRSR NR TERE eeSeta SEORS eS «SRR UR SRR RESRR UR aR TciTS Re cokes0 Wei BE eee ee SRR Os aeROS ReSRRRR ee BORN YR RoReco "RSE OS Re SCR RE CEES RR mee

ee SS SRO hos BOR GARR aRRSS oR ISSR RE SS ARSERRE Ret RT aStSOUR Ro eC oece SOEs Gam RECRC ROSIN SERRE SERRA SRSerbaan SRR a te Rte uknsee og ote BOR SES EROS ROU ATU SRRRCROR NANT SEN eS IR NORE nn SO ENCED secnicnauans aneCRN meee em eSee CMRuBR NCR Sa CAI Beet SU ENESSME a Se See SoRR Sake RNeeSe csRRS PGR S|eR AUTRES eSSEL. eat Sas Serenata ae pam Rae SSSR NS A RRR SRN | NRO URES. Si. HEE 2ee as ERR oem as aoe ER Re RE SSN ican ae SEER Rs SSC SERCO oe a ee RRR oS RRR SS RRR RS Le BAN SER RO fo See CE “SSIS SSS I RS BC ARE ERE POSS SAIS SRR RN ERAN CMR SEO as Sus OOM MOT NT SR RESO SERRE ER e RRN SS SERS ERR SRE SERS ERNE SER SAMOS Ra SE SN SR RRR ee SR rine eo BE So See Pe ee ee Beaapgersesn res soso ate REE CONT Na UR ce ARRON SS ET i RRS Fee Re | SERS RAR Re aS SR SES ANSON NO NO ss RR SRR NC a cae Soeeinnnnr tenements: SESBR ONC wah Ne RDU IRON SORE ATESS A ERUe goneaenaSseaaenttcn aeee Ree I er SEER RRS RRS ROSEN Rane tae Be cea Sate eae aS SEER Sage SSS SD SETS

RS re Sa nari eR sae te SS Sgro MRA aN oN NS RRR rn SRN NS SRR REMERON oN SNC Ost ORAS S BRN SESE LOSE RRR SN ORC PES SRE RRS TRESS ON ROR ranean Sh Riieheeseee os gets oc ; SIDI CURTAIN Ce RMR DD Eat saa RC Saini ONC NON NSE CNN Bee RR rae See ce a SSSR RRR carey, RMR ae RR ER sumer ROR RN RSET RN a NRO RBpercrissiruestons Peaaaer ctestray cantar ARR RE stor Ro COREE ED cen”

Ra. caer SS ae Sap ORIEN RNGaN nSSR CRRA OR CR RRR RRS RRS TEERS RRR ERR eg NCR ERS SeOR eeRRR BS SeSC See ea Usk 7 eeSiR oesERG | Ba CURR NER ce Rissa cee SS NNN ooSRR SRR ESR, BREN SSRRS RRO ORG rt Ne SRR ocak resound natRES tteLOSE Sate Fe OSS SSS RS SRE CS SR SRSRE SRR ESR rete So RERR ct SSOoo RN ESRC SN SS eesSS RE RR ns RRR A Ca cs See aae OS a RRC ESNSRN eee Shoceaneempenneene RRR NS RR ooops Re RR R Sea Sey ORS

ese sR Se ee ee Ee RRR OS

a5ee NE— lrrrrts=«Ci‘C es eeccna SES SASS SER Been: eas Re Scene ONE‘a‘iSCNCtCsCC sharers Sh eo es ERASE SS NR SRS Oe aC + SUSE eee ENS SR SENSES iyae r—~—S~—r—s—=

Chan : ; he si ti 10n h ed.the The advent of television, theT growing istic po rt But soon situa ged. C pov f pink orealism and popular melodrama, combined with the poor quality 0 *

overall

i i | f ‘ei risis.!° pr ,p ry ,

the

in i:i i9‘i after V ll production, plunged the movie industry into a cepc :

i changes ei

i the comedy Ital1 tyl hose extraordinary longevit was due to ifS €voiutio !| ian style, who i ri i li (b. 1915) wasy one)of |its ost prominent . : most prominent directors. Monicellidirec began working indepe 49, havi been for fifteen years acy, y ian assistant iretdirector | at(to Gustav ugusto

Various elements of pink neorealism were gradually Oo *

in the social structure of Italian society. ario Monicelll (0.

144 Difficult Years Genina, Pietro Germi, and others). Monicelli had worked successfully with scriptwriter Steno (b. 1915) and had Steno codirect his first film, starring Toto (Toto cerca casa [Toto Looks for an Apartment)}). Monicelli’s comedies have slight overtones of social criticism directed against the bureaucracy of the judicial system and

sympathetic to individuals who are defeated by absurd obstacles. In Guardie e

ladri (Guards and Thieves, 1951), a good-hearted policeman must renounce his friendship in the interest of abstract justice; in Toto e Carolina (Toto and Caroline, 1955), another policeman intervenes on behalf of a girl who has been seduced and _ abandoned. In 1979, Monicelli pointed out: “In Italy, there has always been a tendency to view reality as a comedy with a touch of bitterness, a touch of vulgarity, even boorishness. Such is Italy, with our temperament originating in remote tradition. It is a bitter tradition, born of misery, which takes advantage of the bad luck of others. Comedy Italian style has always been the foundation of our production.”"! Monicelli’s comedies are direct heirs to the “rivista” style, which was as common in the movie production of the fifties as it had been twenty years earlier on the stage. The visual was suppressed in favor of verbal humor, and the comedy was based more on situations than on narrative. Monicelli’s best comedy, / soliti ignoti (The Big Deal on Madonna Street, 1959)—constructed around an exceptional trio of actors: Toto, Marcello Mastroianni, and Vittorio Gassman—portrayed three petty thieves, victims of their own incapacity to be truly dishonest. Monicelli (with

his scriptwriters Steno and Scarpelli) created an excellent parody of the criminal | genre with its idealization of modern gangsters and master minds.'* Audiences apparently identified with the awkward antiheroes who failed at everything they tried: The Big Deal on Madonna Street grosséd over 1 billion lire. Vittorio Spinaz-

| zola pointed out: : | Monicelli put his finger on an ancient and very topical area of Italian reality. The plot transcends its space, and the whole country becomes its main protagonist:

our Italy, that easy-going Italy that manages to survive against all odds, that kingdom of the approximate and the nonscientific, that country of false profes_ $ional dignity where it is almost honorable to have a profession for which one

has not been trained." : ,

This description also holds true for Don Camillo, the most successful film series of the fifties, based on the bestseller by journalist and novelist Giovanni Guareschi.

Its central characters, the village priest Don Camillo and the communist mayor Peppone, symbolize the conflict between the major powers of contemporary Italy —the church and the Communist party. All five films featuring Don Camillo are characterized by explicitly conformist attitudes that deprive class conflicts of all seriousness: all blame is put on “dirty politics,” and the natural Italian kindness of heart is given credit for eventually reunifying everyone. The Don Camillo films

borrowed liberally from the patterns of pink neorealism, mixing them with elements of tame political satire. The first Don Camillo, directed by the Frenchman Julien Duvivier, grossed 1.5 billion lire and was the most popular film of the 19511952 season. It was followed in 1953 by II ritorno di Don Camillo (Don Camillo’s Return—third place among that year’s top-grossing films); in 1955 by Carmine

| Difficult Years 145 Gallone’s Don Camillo e l’ onorevole Peppone (Don Camillo and the Deputy Peppone); and in 1961, by Don Camillo, monsignore ma non troppo (Don Camillo,

Almost a Monsignor); these last two films took fourth place in their respective years. And as late as 1966, Comencini’s /1 compagno Don Camillo (Comrade Don

Camillo) grossed 779 million lire. (Don Camillo was portrayed by the popular

French comic actor Fernandel, Peppone by Gino Cervi.) Numerous critics and historians have tried to explain Don Camillo’s unprecedented success. The main reason probably lies in the fact that in one of the most politicized countries of the world, it offered audiences a truly popular spectacle that focused on daily political issues, directly addressing the two protagonists of the political scene (the communists and the Catholics). The films touched the heart of certain Italian attitudes, especially the belief in “following the path of least resistance.”!*

FILM SOAP OPERAS Between 1950 and 1955, the most successful genre was the populist melodrama, which later was assimilated by television and transformed into serialized soap op-

- eras. The trend was started by Catene (Chains), one of the greatest hits of the 1949—1950 season, which grossed 750 million lire in that one year. With this film,

Raffaello Matarazzo (1909-1966) opened a new chapter in the history of Italian movie production, mixing stale conventions with some neorealist impulses. Chains tells the story of a happily married woman who is pressed to yield to the passion of

e (9f | fe lrrs— Catene

146 Difficult Years her former lover. Her husband, believing that she has betrayed him, kills the lover and emigrates to America; arrested, he faces a severe sentence; yet the woman,

though innocent, confesses to adultery, thereby transforming his crime into a crime of honor. The husband is set free, learns of his wife’s innocence, and reaches

her just in time to prevent her from committing suicide. | | Similar in many ways to traditional melodramas, Chains also contained some new elements. The story was set in the present, the atmosphere was authentic, the protagonists were common people, and issues such as emigration, poverty, and crimes of honor were mentioned. Yet the melodramatic core, the codified great _ sentiments, remained unchanged; and so did the protagonists, “victims of social injustice, torn by eternal passions and destroyed by blind, cruel destiny.” Thanks to Chains, Matarazzo experienced a meteoric rise in popularity. As early as the thirties, he had been noted as one of the foremost directors of tearjerkers. But now, in the fifties, his fame reached its peak with films such as 7ormento (Torment, 1950), Zorna! (Come Back! 1954), Schiava del peccato (Slave of Sin, 1955), etc. Working with Aldo De Benedetti, Matarazzo packed his films with the characters and situations that had formed the backbone of silent melodramas. Audiences were offered images of maternal anguish, of threatened honor, of innocent beauty menaced by worldly evil, etc.'° Italian melodramas competed successfully in Italy with Hollywood productions. No American film ever grossed as much as Matarazzo’s movies. The Italians have always preferred portrayals of their own life—or an imitation of it—to remote fantasy. Melodramas, like the other genres of the early fifties—and all yellow journalism—were aimed primarily at female audiences. The new aspect of the - melodramas was that they no longer lured women with fables of fantastic passion but instead offered an ersatz realism, which eventually became the basis of the soap operas. Codified melodramatic situations were seasoned with extramarital relationships, masculine irresponsibility, the woman’s desire for sexual freedom, her _ longing for adventure, the problems of adolescents, etc. The influence of neorealist

, female characters 1s apparent in many of Matarazzo’s heroines. But the melodramas’ characters are still a far cry from women such as Pina (Open City), the first independent modern woman to be portrayed by an Italian film; or Silvana (Bitter Rice) with her sensual lust for life. Matarazzo’s timid references to equality of the

sexes takes place in an atmosphere that carefully preserves the notion of male superiority. In spite of all the changes, the heroines of the cinematic soap operas continue to be “good girls.”

ONE DEBUT The Italian film industry of the fifties was not hospitable to young filmmakers. In order to get backing, one had to be a known director; in order to be a director, if ever, one had to go through a long apprenticeship. Like the thirties, the fifties was a decade of veterans. After the passing of the neorealist wave, the film scene soon came to be dominated by middle-aged and older directors, with little space left for newcomers. Among the rare debuts, Francesco Maselli’s was the most promising.

Difficult Years 147 Deeply affected by his experience with the neorealists as Visconti’s assistant and Zavattini'’s collaborator (he directed one of the episodes of Love in the City), Maselli at twenty-five, returned to the neorealist matrix in his own first feature—a story of war and resistance. Having also been an assistant to Antonioni and a fervent admirer of Kenji Mizoguchi, he linked the neorealist impulse with the attempt to probe into human emotions. Gli sbandati (The Runaways, 1955) is set in the summer of 1943 when Italian soldiers were deserting the army following Mussolini’s capitulation. Maselli focused on a character, a twenty-year-old man from an aristocratic family, and on his emotional reactions to the events. His story has the concentrated power of a parable (the indifferent attitude of some of Italian youth to fascism) ending with inner | defeat. When faced with a choice between his comfortable life and the fight against the fascists, Andrea lacks the strength to overcome his indifference. The narrative is constructed in a slow rhythm with long insistent takes of incidental details so as

to highlight the protagonist's qualities. Like Antonioni’s films, The Runaways is | _ composed of individual moments that are given meaning in relation to the protagonist’s memory. In the final sequences, Maselli ceases to concentrate on the protagonist’s isolation and also abandons his characteristic preoccupation with the visual, producing a straightforward finale with political overtones. The dramatic tension,

rather than increasing, as Maselli obviously intended, is lost. : In Maselli’s second film, La donna del giorno (The Woman in the News, 1957), inspired and overseen by Zavattini, the outdated neorealist approach prevailed, resulting in a static description of a young woman in search of fame who is destroyed by the world of advertising and movies.

-.- i,“ i=

a rlrmhrhrcrmcdhcrcLchc rr cL rrtrlrlrcwer—“=‘;CSsaCsaéséNONsC rrrrrrlrLlc rc kr r—“i;s”sésCsé=C‘i‘FF :aoe =ae — |SRS oe oe Se RRR SSE LIRR eee ESTERS 8SUR oo See Bo Es: RRR Re SNR SUA SR RIOR SRC RR eae :ee SR oir as Be_ ok— — | _.2 7|| ae ||a,y SEE ae .SES DIRE ANS Pee OaaR aa eeOCE SSRN ES Sec Be bsCrane SR RU ARGS SEER : Se SS ee oS SEE : SUAUIEE ohana Se Bose en eS CC > i | a ee te : CE EEE ES SERRE ERS RS RE Le Rtas rmee sn CORRE . BE SSS RIS EN ee Sa ei ome she Bch Ce aSERRE ee eeee-So — & SSR Be CUE amarante nee eons: etON a SeaSINR ae RSE ee SaieRe nees NSN CR ERNE SOT ERS eto sete BRS Se See,.:EES, . ft |4 _., / | ooSERRE oS EERE ESS Se DS GRE he oe aSe Wo 6S ESS SRG aAenaheauumee eesees "TERRE me Sea ee etna SEES A RR aE Re Pine SC RS oe ae PRS eecene ne peasteaNuawen enone SN aaepee ee SERRE re Be, re ::AT — |NS . — ek ores on ESS SE SE ed "Re RR Poe RR SE REE eas ree BERS ee erate a NO SEN Rocirmeninann em te me EUR SERS RRS So RN wm CSR yess rant . SSE 3 — : Se SER SEERA SSeS ee ea ReaMRSSTeIRRe CC OE SOUSA RR Remarnoseet tate Se : SET Soar RNR . SRR Pe ee & Se SS ay CESS Se SEE "EEE ae en Bag en RES ERS Se SERS Rtn eT : 1 Seep ses Se SEC SES Se seat SERS Se AS ee URS fis RSoRRUOT She RSE |SSoe SER Ee = a: |_ , : 77 . ee ae: sete aePORee eeeS eee : og| Eas 2 em— See ae Sok Sng SRO O REIN Ro Royce A Ee spereceamumt cet TE anpehsndieanoensamamcnmeenesen EER a SEER Shamueamaneeameeee etree ae TURE ees aS eee "SRR ed

SEL panna eunoe runes eros SARK ERIERA RR eesNT eS esate ectetereir otic SESS ORS ae oeEE SE Renee ee SS “ERR See PEAR NOR REINS BOG Ss es ee“SESE SES RS og : — . 2oea2 _ yo 4 _ rrr Sig aeSS ae Ce BREE OER as seASS ay 4 ved COBes ee ches SES ee Seca Seeeseae Se e . ..: SF 4 ": ¢7 Be Se OSES Sn ecient 0 Ss SOT C SN SIRS ees eS TINE a dat SSS Roe Sees ieoneenenes SR ae fg Lace RA eke IRR Re A On me

_ _ ee SORE EONS MES VASES REESE ay POISE Reena USERS son . Some ae SRNCR SENSO ea ROO TREE “Semis earn aS SIRES idoleSRS Ree MRR Sees eeSiar|oe 3 aR , ee . es— oy Se“eeReSe AS See ee SEES Sachi et +CONE TEES Ser ee Sok ce SSO Ee BEERS 3S aS oes — «oy - Baa —ae_ Soe SRR fCORRR CERESS Bees ee OR ete Se

sy ae te PGR TTR: OUR Oe TN. ORAS PS ~GEL SRE A: Roc ae RR Te CERES ‘ wet . .eM oe‘ *Saat . f¢aTe LSNhe PRS Dt ie eetBTR. core teUR RS-re,>BPR on LA HRS SRSA epee, REFS EON et Lotes ToT - vieRRR SHER Bae rhNSFTN ieS44 a RRR a Coe “w eeTERRES eee Bese a REPRE: ey ea °eSPek b aleeye SSE 8 VED Tr8 oS

Before the Revolution

e o * e eg * ‘the°uxt".hardo*and? could, pelled by man, . ;as |

.

V is the most autobiographical of Bertolucctis films. z eit is pro-

h, be bereferred refi dtto“th fessi fachildof of t ” All such, as “the confession a child of ourBertolucci’s century. olu fears d hesitations hesitatt flected in Fabrizio’s “what“what is totsbeto done. ” Bertol 1 and are renected in Fabrizio Ssdil dilemma, e€rtolccis ttraction to the C ist party (which h tually joined) and his attachment t

(p y y > e e* ° * ew>°?Hj>***.923 6 * ° ¢ : hi e * ° ° ° J g g p bd y f B i i ] i fe ll iy

IS OWN SOClal DacKground are graqu oversnadowe an infatuation WIitn Cinbodied in the film by Fabrizio’ friend, a film buff in lo e with Rossellini

aye e€ nim airector Glanni Amico e coautnor 0 @ Script).

Attilio Bertolucci called his son’s films from the 1960s “autobiographical in a

symbolic sense.” “W l lics,” d, “Bernardo “B d baptized and all y .” “We are all Catholics,” he said, was baptize a

that. There is a contradiction in Bernardo. I thi that at the same time he nates an loves his background, his life, his class. Therefore the heroes of his autobiographi-

5 ays try to ore oose Out fail In the en ertoluccl nimseilf cone

tended: “More than just being autobiographical, it was a way to exorcise my own ears. Because to be like that character is almost a destiny for all bourgeois young uropeans.” When asked about the origins of his Marxist sympathies, Bertolucc1 e Said: aiways e€like that. Marxism In italy Italy 18S very id:WaS “I Iways that. Marxi isCommon. very ) ae While the more immediate Grim Reaper has retained most of its original freshness, the impact of Before the Revolution has gradually weakened with the passage

E ” h ked ab t th igi f his M cist thi Bertolucci

4*e¢®«e«e,

f time b any f its stylisti lement h racteristic of the 1960s ‘

194 The Glorious Sixties search for a new language. This reflective first-person film testimony is, in a way,

an anthology of the efforts by 1960s filmmakers to renovate film narrative by, among other things, basing it on present-tense stream of consciousness. Bertoluc-

ci’s restless camera uses many components cherished by various New Waves, which, in retrospect, appear outdated: high-angle shots culminating in frozen compositions, repetitions of the same shot from a slightly different perspective, freeze _ frames, unexpected and unmotivated changing of distance between camera and object, subjective tracking shots and pans, etc. Bertolucci’s style is based on insis-

| tent, extremely seductive takes reminiscent of the language of Romantic poetry

with its highly personal sets of signs. ,

In its time, Before the Revolution was hailed as a major achievement of the New Italian Cinema, equaled only by Fists in the Pocket. The film amassed many awards and strengthened Bertolucci’s image as a prodigy.”° But its box-office results were rather poor, and the producers labeled Bertolucci “noncommercial.” He had to wait another four years before he could embark on his next feature film, Partner (1968), which reconfirmed both his exceptional talent and his avowed eclecticism.”° Partner centers on the incapacity of European intellectuals to join the revolt of their time. Bertolucci described his film as “the story of a professor of drama who

suffers from a neurosis and his own intellectual failure.”*” The protagonist, Giacomo, evolves a fantastic idea: he creates a second self. His partner is successful

whenever he fails; he has a good relationship with his students, and he incites a student revolt. Loosely based on Dostoyevsky’s The Double, Partner once again reveals the intellectuals’ impotence with regard to political-revolutionary ideology. Its message, however, remains rather confused, as does its protagonist’s death: following his partner, Giacomo jumps out of a window after informing us that the film is a parable about American imperialism and syphilitic marines. Partner is a difficult and provocative film that draws on the stylistic and ideological approach of Jean-Luc Godard. But Bertolucci lacks Godard’s ability to blend

surreal plot with an authentic political background. The world surrounding Giacomo—-anti- Vietnam demonstrations, the 1968 student revolts—loses much . of its effectiveness because of Bertolucci’s prevailing interest in portraying his protagonist’s self-awareness. Even more than Before the Revolution, Partner is repre-

sentative of the effort of modern cinematic narrative to use the film screen as a

mirror of characters’ thought processes.

In 1962 another first-person film attempted to express the social implications of Italian life: Un uomo da bruciare (This Man Must Die), made by the audacious and | brilliant Taviani brothers (Vittorio b. 1929, Paolo b. 1931) along with the more

radical Valentino Orsini (b. 1926). , :

VITTORIOANDPAOLO: |

DESPAIR AND HOPE OF REVOLUTION

In the Taviani’s fourth film, Sotto il segno:dello scorpione (Under the Sign of Scor-

pio, 1968), a group of young men invades a peaceful island, and one of them, 7 Rutolo, tries to persuade his comrades to use violence against the island’s inhabit-

The Glorious Sixties 195 ants: “Let’s make them cry, let’s frighten them, you must exaggerate.” One comrade: “Whom? Them? But why?” Rutolo: “They must leave the island with us. Immediately. We can’t do without them on the continent.” Another comrade: “It’s in their interest, isn’t it?” Another comrade: “But this will take time.” Rutolo: “That’s why. Exaggerate, make them cry, frighten them. . . .” In the end, Rutolo’s group massacres the men and rapes the women because they have refused to join the invaders’ search for a “better world” (referred to in the film as “the continent”).

This short example from one of the most accomplished of the Tavianis’ films sums up the uneasy choice Vittorio and Paolo try to express in their oeuvre: there | should be a revolution, but is there a revolution without injustice, blood, and despair? In a revolution, there are neither victors nor vanquished but only victims; revolution may be a goal, but is any goal worth so much bitterness and suffering? Can there be a revolution without one group forcing another to do what it does not want to do? But if there can be no good revolution, what is left? Is it all just utopian

dreaming??8 These are the questions asked by Salvatore Carnevale, the protagonist of This Man Must Die in the days preceding his death. He knows that the Mafia wants to kill him. He experiences his death in a dream in which his past comes back to him: |

, the past of a revolutionary, a union leader who had come to Sicily to help the peasants fight their oppressors. But the peasants turned him down, and his party rejected him too. He was too radical and also too eccentric. He was a subversive— to everyone.”? Salvatore is torn between his desire to work for the revolutionary cause and his yearning for a normal life. Now there is the revolution, his messianic mission. “If they kill me, it will be like killing Jesus Christ,” he says. But he is not sure he is doing the right thing. They shoot him in the back on a dusty road. And then his casket is carried in a grandiose funeral procession with banners, flowers, and crowds of people. The death of a revolutionary. Nobody asks who killed him. And probably nobody cares.*° This Man Must Die is based on a real event: in 1955, in a small village near

Palermo, the Mafia murdered Salvatore Carnevale, a thirty-two-year-old union leader. At first glance, the adaptation by the Tavianis and Orsini resembles a neorealist film: shot on authentic locations with unknown or nonprofessional actors, the film was referred to as “an act of love for neorealism.”*! But the directors never attempted to comply with historical truth. They created an ambiguous character whose hesitations would have been unthinkable at the time of neorealism. Everything was shaped in accordance with the directors’ personal experience. The subjective interpretation of history, based on objective facts, has always been one of the main assets of the Tavianis’s oeuvre. The other feature of their work is a cinematic form that blends perfectly with the first-person narrative. An extremely mobile camera uses different kinds of follow shots and subjective shots to scrutinize the characters’ inner selves. The structure is elaborate, with frequent aerial shots and pull-back shots, but never gratuitous ones. There is a strict correspondence between the camera movements and the narrative development, resulting in a complicated time/space continuity (real events are juxtaposed with dreams and halluci-

| nations, the past alternates with the present).

Bee SS

i trtsti“‘i‘“‘“‘“‘ : lo : ee Pas nee w+ = reat t hae eae “Xho . Pa oy Ret Sea FR, Bey 8 . hoor: ORE Si $. BE eee ae. poe heer Se ae a : : 7 . ) " . | fe . Ss cing SSeS Sf =. Maret sos 28532 Sent . 2 er ve I . Laer eS D 46 mis whe Zep: oS Ne Shas ne Te SER ent wy = BAe < TERY Se eee ost SRS wee Oe . adLana ae nee“eet Le = whe Es 4 Bp hE “etsy ee Fs: 4) Peers - “et ane “Roast3.SSS ose omy *. SrYur aa oe” ett setae saaaeestED 3 S,S353 4 poroneRe se dega in EE ce See as xs ota “he, he ZSat nSwig ESEn5 On epee. ae Be FSGS NEstRAE SSYost BS.woSerra Lette ts feo. Dee pars8AEE 03seors eett2Seg . see .| ee ely . Sin ., ::. Mee ppc Seg TES So cae et, peeS57 SIN Ob fen. Beer SARS “oe Set aesa Se silos pets las 35237 ReyES oe saanLES Tas,ees sakSee ae paca Se CeSates a x ee SS ‘x: _ : I o~ aa. wy ee Shase ie aBe Sys “eo SPS : TES S2R Te TTR SSeS EF Be 3 PN ry So eS SilerOU Peaey ores mK is 3,cspa en- oa _: u6ZARS . ee SEwe hsYS SS ees < aS eeSCE ee Be Sypti 2S ES wrt. wet. PET 45ST aeoyind Le3 ieee ShSoames aeaPoa Seen oh pe eee Le, oats ae co hans Fel Pores RE eeee Bee os aSane NI fhAye SE ae Loe! tras 3 SE Toten ~ eee ates xasSerteees ay rors i Shee FON Sh Sea LES ete NRT Rater Sane ee & ne -ane ee eee Rae Sena rtteeSeas SEES = Lanna aeyeFE3 Fiae“E ySseeF: Si: See Le “eae: ons Fhe ree: aRe ay Fe Sor%: Pan Sa heat MoE stones Ne: ELE Be Sees Nee nooe fs- oy Me ¥a“>Ue ve ee SE Se wae, Hess Satis te3gee Soy ae rok ahcen " rash eared SN "12S Be eefacials FOSS aaa eee erent aAprSons % Bearers . oerays ty vy ft Ys eed “Ssoe yD ao EES PNALN, SeaSas “SOS Soper %Sa PES ghee noire 2s LsENS ERY Ree ares RNY pena oan ES rer -. pas Setar ayvast ayeSes Satetee

e Fe tas are te S — “eek ot eg ee oy ae we ay TRA B al SE wy eo s es — & eee ee ees

opepe ee ses es oeOe Sige ee i|

n| .aan a ewees pce 3| eis nseee “eae APE Sees SeRe eee aeee PSSipe ge eee Be aBee re ies rites ee EGY Lao aes 23 oe oeSey ne .:, } ages Se ‘By ee 2 5Re ER SS SES Seats gave Fepoets Meee Oeee peace ENE: atPRR LEER ‘Loge PED iat nae aeeeSS eee aeOTe SES Se eae ne :3 .ea! : -“SS 7soared . ee 4ee _See -iho e ne ooEy SES eee ses cane Ss7Spe Sera acne Sie poe SE Eee Loe Le fect pepsi ee tines Rs Bspee CCee aoe oe ee SR ee see Yes neBSS oRE By RENEE ire song ierSe Ba eepars SERS an Bp se TES

Me ~My Fae eos :Be ee Loe, Ras are ~* ae Ses oy Be Ue seer Sree Hee aLe eeBS gi SES ™ ee2we ce a, 7 -.- :a pete , errr Ses xSs Sere" pee : pees #me GisGane eel eeae ran Be Bocce S oo ee aeaes Me Hse 3es Bes es BERS Gee ae——_ Oe BEN o, rare Royeeaks Panes eA ea ee Pee ead SSE. oeesOe PBS hae yseeBae REET isis Be Lee EON REE Peo, ea ee o7 ~ meee erIEE ed «eae SS oes Less eee FEISS aes ere sRasie BOG eae pees iePo Mie Se oa. BE aey ee aViste ee tea A,- |egos Sa Cs See ire [_ Le ene ee ee: iGee ei:aeae, EEeee Re ee ae PES, eeees BOS Sd aeee Pee =*an 3. “A. eSRSS oS ivan ee ERIE ieaee i Pe Sa Le yates ie EE, acites oe oe SOP es ek. aeae pss UE cn ie ar zg : apoe BEOse Is ORR Rates eas ey es Rie as Seco hoster STISr eeiROR, Spe Saas StSR aePE ee 7ae: eepose Le S 3*2o: .aSERENE a. ee aoe ‘ ake Pe ‘pea pneu ae 3See Heri ee es SesPERE BIER Mairi ee Bes Renae fi ike saat reEY Bee eSaes ae ed rae :: : 2 - os Oe cD Pe wh ‘ee ye $e pag Meet a ie Bs ee ees Lee oe SS Ppa erate Rs eee es es pi ; se Ree Hee aa ._ 2 Renae ae we ee

rargee, SY -eeag teelise Seay Rages easaeRARER 8eSeee Rie Se oea SES ee MIE POS RHMe peter eee eS eke gs sneles RES: GEN Bees Le ee phe O53 oe te Sheet “ay, Reece et Se Nerate Bae Seaseee pSSener Res esSie Seow? PeeVo aes itches Shen Bosi aepten aes Re Bae see aie oeey Bes fist ae reed detae Sano Bie RAE ete CC epeeeae ce sce oe Bs las Sirgiy BeSE seein Soa REE “ see ie raneei ee ee ie LETS es GET biped ee ae Eee Sa. eseres af Sete Sone oSes5Ae : - ee “ares Se 2caw Sa x Psa pote re Rey ees Bee edie ee ba reasLe, aepeeee % Gee iyLeSrces oe ee Vien eeHe ies ee Se ie Yee eesoy Ses ener oi Es aor BEY By PE Po soir SR z:ZA ae 5aogge SL — es res se ee sees DIC ie Ries Bev 25 PE SR See eee Lea os ee tee ee eeibis pine tg Be eeBees aes Seo : . . . _ ? . ee sss ve ee His ie TO pe See Se ies ER Se m8 es er en ed SAS es ca eae Tee ge Se ti ei eee SOMES Sai : or HS Behe aot 88 — aie Re Re LU me AS aS ES enna ee ee ao Sls LOSS i oF Se, RNY oe arse 2% =f reese Bee Lpeegies Be ae OR RE See: 2 : :wets yO | ee ee fgrae, ee oven, ats Bs eee etge nies Seeies er Soon éJ spite BRS Sore Oe pentes pete Lees OES BreaoS Respens ies Re eeSRE ‘ Seis RRR ee ESSen e WEE SES oeAes ae ie See ee Been ee Me aaRt rer Weg ee Me Be eee ee ee Reescse O . ee eas Us es ii Ps es i ei ae Pee rons Re es ree By e Aes oo -a ,2 # :wee : - oh , r cece . ‘ .sah. 2 /ene lsek: He a SN SNS BO Oa sate Boi Seer Pgs Kasei Peat Liss patios eeeons sesHeete ee ERR one wage aS eee PeeRos eae ee eePsa Sera. yee seeee SEE His eee aeat Sy peo. itON Bete: eaeearner a eee Renner SotsRe ccna eee ROA saryee) ORs oe peers i gsos Benen ERE of eeoes Bee,ae SeLOR BRR Maes ES eis Stine Ds eae SPURS a8. satsaing ES BE ene ae tyPo eee Pete ee pees: SEE eee Soe aayeeeen paGrWiss stoi RN aeTee pigs Ae see SS FREER pus RIE esees: See a23” eve peReet ESS Se. ROIS ; Jatae : Sane aae : oo : has 7isuyReaeRS ca eeBeas 7 eee ae ENN, ei FESS ens Ry Dies Pate Sans eee SRS Pee ROA SIRE LoL ES Led: TA Me oe Re 3Bote Sea ey Aioe ap oe En 3 hee -: :a:os oe See esRC pees BeisiRe | ie Be as“NEbE BeUn eeMeier Lin vale tare POL Os usBe a ena: ES ESMarine See isPee ae sare ES Bisa eee Sa sie Boe +Sesegs pees Rene: Seat ae ieat Re Sees, “Shs * aeifpeti — Se he eae ee Ege pee |.me RSE i yessSeeeasa Ces Vea Bas: Bon: SA pee ye ae — ccs BiSEE ti. SO ear Ry

eee Pele Bet dae eS See eee Pas: ant Re Se oo oo5Rae ORR: Renee fg ore Soe Bees hee Ls See REG Stee s tee POai ee 755 eeeES eee Seer ee ne esBpiserond os Ke Oe nsou = FR Np ae eee PEee: so aes nae Rar eee co ESpetaee Lg gcSyae5:ne es ee Bere ees eeeae ee Rei Se SORE SHAN fteere uy eUae oo es 7 Ses sete See eS# Pe.seEe Bee 7ae “ %.id Re vo Bs oo Pee Be eS ee : _ Tee ASE BE SRS aS isis TERS oe ee re : me ao Pon By: fy-.Baas REPT NeSE gS IR Mg aaa ee Bae oe eae Lees SSE Snae a as pe or Sia PERO feDS Ses See Sea ”ey : -; .55yue :oe :oo :& :=a:aE :4‘ "» : 'ies |feds :ees eaetiRaitt aeeBy, |eee |Ce ay Re ee Benin Os ero EG fipea Fass .SON SS LET ipa aR Sony as Soe es, Ey are. a oe oF es BS Bs Be Ree caeirien Bee Res fs Sie eas Neh RR Coe eee oO = . : : 2 : OED ceases ae arene Ee See _ . Li eates SSS, OU Ese i Se aes ee: ees TOR inane By Soe, Las Bes Se SRN otis GE ee Capes Rea Re A aaa gee ct Se os Oe is ee fee Bee aa Soy ee es Reig ie Pere Ets ea Pee i ae Pn PER EOE cages & ies Re Rene Cait oe x pie i ee :wigtede . i ; : | Abe _ CG OT see oeape eeeee,Bee: osaaa ee sane Soe CE S bee SS ve SResSDs RES BaeSee Siere Reoeceie ire Ss, osree aheee RaeTEE os SAAR SS ee eS eeeSas ae eeeBee ue erate eres ON Rannsen Se te Le Bp Se See Bereeda RenLL ees OR ee “5, CE see RacaEBS See Le he os

ee Bae: rseeeeaeeNea ae PR ae: -Ss .PEERS coe ,ees . Seay es asSee ae ee — REI i Oe BRIN RE ehee3 Ce Stn ener ae ig ese Ka aeen siees :-/ : Re -— ea, BS |eeoeee rete Lee ee Gees ibe eae Sis :—eS:yDRet ay. PR eee oo Co Bee _aPRO :ereINe :eee :neCERN : Binees Zenpieesgee > 2saicee iaisRain \2a _. Eee ee _ EES aORS ee-aos Ran se aie eee Site Ean apa cko eseigen OI stenes ESSER Bseee pe RI es,esSR Soe eres - heBoaes ie oF oe Sy a ERAS pane aae ereo SORpee Ge BERR OE eeseALi oes pera Oti ere ROE aie4 Ses|Ses, e y; 4 peste Bi. Oe iiRies aeees — aeNe sa ui eaeBeis Loa Re 5 Oe EN oSomy a: erPEL pe pee pee ¢ ee 4 . €way { a8Bak 5 . _.SEES. “RE _ .Wee eesfSS ee Es RS Se pee eySELES Seas SS eePRA PSOPisa ae gs RO oS— SEsKes Sea -eee gi Nest See eR iRee Ba eaeCea Bees aan:uae ae Eanes PE: is See ERR Hae gas e siesRES Le Ce Ce - 4 : : 1 oF : ee RnR EES eae SSS OSES pee 776 ee CORES tats ROK. y Re pesemne See Zeer Se Paar Sy ease SLE Lay SRS SCT a on bs Baca x a ce oan a a eae ant ee ae SeeOE Saar eeeareas peers oeCEI ee ina ne Ries. hesSemen BsBee. Ts Me Sea ononie eratetins See eoites Beare Seer Sere Rereare LeHor ee TLOELY eeseeae ee Pitre a Te Bi& foeEe tn SS aes ROR ES 2oo. ue eewa eeee SNS Wan. rare nick ne ohSe is Sera eae weiner ars PeSEU ae asc ae Cee, SHORES mone Sen aS ee Sear Ree Rea ae Denar cone fish iesfate pees ey Sos es es oe: 2" fence aterES: aoeORES, o ee SaasBee aaarevee SURGES ee eR siteRare. ee oo Caen Romane eee eS cea ips pas Saees ees ESE AOAR Sees Sets i ie sepa Pc iss Tie RESTE Leper nt PERE: saeBeets Cl cies See pee eet aeSoy Begeyee Ree EES Seeace Boras Rear SS 8 Ree PES eS Bo ee aRs ae Lipeds AEG ie iseaes citeswes pie serie We PEERS ae eRe ae: aecoe a 3ey7cee Sones syHei ie aa oes:Rane ee aes osaSEEESS Cees SESE Rae Mee oesaes lee nePeSeNaya aisnee ueetSedeereer One OH Be ae ee Banas meeiiss ae as TEES 7 | .Le ee erweSeeeERE ee oe. ee aeePie Septee ene Ie SEES earee ateWere Lae Ga ReaBre a Pali EN itis Loge ee i as ERR Rea es iswe Sets Mis Bis SRR wn Aeene Sayfaesae oe aaooones Cl ee Ste ee Sees is ee eae ras ere Ronan ee SS, sey Uy Se Wests a ee Lao x ees ee Bis I Ae pee eee Soren BENS EES ey mS i ORE ovate Z Se ans ee PS ee pate sey RE Oy

, | ae ee i . . / oe a

3 eee Rae PSE ae ee a Pine pet Ease ache ae eee PERE oe . aa ue ais Be "0 Be ae: oe ren Me Bete SE ee ets Ge RE. OE as ee Bo — Fs 3es ie Seat agai _nbs es oo. oeie REY i :Oe|AR / ;heeas :ee.Sas— mal :easogeof Cl EOS :,Reh Soe seOMe es oe ah See eeT iret ene SS ecunnas OR Oe ep eree Cres ee sags Res.SEE rede PRE BPR SS a. d |:Batts : .ee . :sos.iLs Be | Ce Raia Bee fon sser es SK ES, SN reReeDES osi

oY eeepaces —eaeeSNE Hee Spare — RE Sos . ee SGN RI Tie tere tig pa Lio ee ee ee . oo oe ee Seay Sea Seen ae peas oe SS nt: ee See: ae ERE ee he eapetennes EAR Geiser ie ty RS Seen Pe Ssoes Bs ERR pence Baie ape ee escue SES, ie Borate See aeae eee BRS aRS ee eters EE teSears ote eee —ers BOGE Set 2:‘ee RUN ee a— sre. PRE: Le Ba eee ee eee iee poe Se esERT ae Re a eae We Se me srs aeReee: oarae .EAD |aaa :ee:_ee |Sea mas ; es : aeo | tos _CCC _ PORE Ge eeeas ae Sos Ete ae neosaes Bs TRIS 8 ORR of os nas .Ge Bie zBator Cl Dates SERENRS a4 EOS9 aes er asRacarnes 4) pears eee ee os Ree vee er eee pon sysno Saree ee atpe eeeBRS Wa SEO as IsSend Oe ee See RRS ti Rear ssNe eeoe es hss nah eae RRS Ber a2a apa

i Rass ¥Rise : om ;Tie 4 ne:BSS . . ao SIRES eeee Bea RES are ese Des Oe eee SC ms aNKRoum pos eewyaFF Shoe oebees ees a ee eenry fen Ha ie oot Sopa Serene 2ane esPenne EE aseen .Les neoe pene Soe: Ge ve Sia eae Se eee oo ieee SEES eee sos -ne ] Sees his ‘ Sena: nes ete REE s geese aeSNe eers Cates LSS Pee es Sara wero Sey ueee ay 2anes ates ¢eet EE *— aoee cS eae ofESS arree. hy ee cee ae ee ab, ais -pops aARee a5 ian eee oe PRIN ene ay) 3aeSsoaee ee peeks ee Se C. re — 4eRe tg ee oe. eeoe Hie Res ae oe ons se eee NOs OS ES Pane Pisa oe BERS pe pe pees Ss poe SEph Boe Se Sta faUae Lae paaUee SSeeoo anaet eefoe nee SSR OR Ree Le aarERE Ce FRONTS SE eet .BE , ene — ‘See :HB -ESS ; ; f Se ; |SO : eses _ar. we Syren Sees ee PSNee aSSS es L,Rags fetid SRE. ona Ree eeNes oSeee eetRS oa LAP fens Puntos 3 ECE SseeePts sae es RRS ans OE Cay SO eee atoo aetety TESSeS aaa cee Se Roepe Bae ¥aSRS |heseaD |EVER ieeBeisRee, Lg Se By eR ee Res es .BASS er oe :— ene ees

. _Ree ee a-:a—— Reece asne| | :e:

..:)— eases ae anaes _ie aesee EES: Bae eNO Ree Peay :ae / _ioe : p:Sea hss Sp ee ee See ea eae .itFes Rae esREE :ne: — oe - -— ‘eae °oseae :vey: =ae 3PeeRonan =rete :oe iesnag: : eae :Re: ,ee ie ::ES .2:peta 2~ :4 - oe _:ite Soeese Re oe or aORIEN igs Re ee es aa3iS Bs Ge Bey Sees oa oe Se Peaias eee:}Se : .ee teeeoe _RES .Les |Picante. 2iaSeReece iChe See ee ROE es See Reece Pe Benen 4 : : 3 : / 4 Ae HE Sener sepa See Se iene Sees Biers) aeceien SR is.ee Bas aSete 3 SeerCa EESSa SoS ae ne ee eseae wepaces: SNeeee Papier esRie ies ey ees Naas oO eae sont ee es . ret 7. | cf @ : — . PEs os — ati de ee oe ae > _ —— Re . tay Snepate Het REC Rane sf . me oo _ nee oe pane . is saws _ee, _. *& pee Te Sen Snes fe . ELE . pices Re paee Soe Py Bae RROD ER Fes i 9 oe a = |— Lar ae, aaa | eae ee ee . eS Cee SE eee SS, rire es i us CC EEE CR ee = oeIS EES Bg ish Seas Le: .. ena ee Speers EE ee ERS Hate teas one SS, See eri RoE ERS oy Sie ‘ ge ae . — : . Sih — |. Ee EB _ . She sees ie EER BR ‘ Ree, eee Oe SUS ee:s3’

_- =ENR ieEee aes Reais SEES ee oes Beare —ee7ence: — teCEES ee a -. _is. t= ee aese one a eee Ce .eee Seat Shee PeeoeCO rere eheae ptrRees on eos eee a More oe Bebe: aais Se See Bes —— : .a a:4 .iCC _ft oe aa — sage ts a ae eee pees [ee i ee Co oe see es iss 7 — CO: Res aes Ue ee Resi: . ee fee ENRON ss oy es Conn _ .es’ ae . - SRR eer SEES _ es: RNS ees aes ere rene PeonSOS Sr es . eat Sa eesee. iS ie a ena ae ee o ee Rae Sa es Pee eTSener ee ee: eg

. Re: — soe — Ee _ oe _ —- : - : - : Beh

i a _i i iS — z a 3 :. = : : - : . : : . : ete. RX — Se2 :See : .Ry : . Rates . : _ ee —aeos ee Ee Rane eeeeae ame ERIE RS tin+h Lies Sees Rea— SO, eto Py,aeESE ne ti itd ee e Per oe Se eeaeSOS ER mene . SSBEES a at Ee AEE ee eae SEES s SE SEE _ SES nee pie Pes ee SRI te iets oats Ree Boe ae. ES ek gw es Lan oan BY ee pene aries eae SSES - ee oh eeNS me rene peed Kee re Seeeais PE, aie‘aaa 1 SSS OS see SES See Cl RSE: _ _Co Lees SE Suny eae ReCE SES ee SE ESR —. eae Deer ee es RA Sr me Reees ee CS LN ES Ce we SEARS seas Se aa macsee ON ee oe Fe Ee OS USES COMES RS SES % oe Ree ees — ERO Speen See GO: SR TS Sa aden anne foes = -« a wen Se SenRees oe LRaeGTO ee TOES: a ae SAS es Panels Raa WeeSESE arenas ates Soa ae eee SUS Ser ees oe sant ee a,Sean ener ae etSie SEeee aaa ae Co. .a_Reese eeies % EES SoapsPER : __.Ser Peeee PERE orees.Bses \ : :ES: = - .Sais - a :ce S is oeBE eS oe Sota SS SOR. Soe yd Z Be aS apenas: Ne ee Gede eeé ee _. 73 . re ie ..SES eee PRE ROPERS cee aDUES aeare Bens fosKecaet SEES aosSR sere ENS ee - A~aise : - oO ‘ =-— : 2s o-oo pee: Oe waste Reaeroern arene pekenerecns eee ROR recente welRees _ me seosi Palen Gi Hees a otees :> Sot setae ee . SAR Say Sere eae ys Sth oeceernes SEES ieee So oe OSS ees Ses open aes ees Gee aoe esOe PORES > -—Pes . epee 2 ee Buenas aa Perna i ee BERL PRET ot eo ere ee aera eran SR ae . ee eas Ser SESE rs: s — ne See aa

.. i| es . ieee Ssaoa i. ee sige Se eeBASS SEESSESE eae 7 piece Ree Shee peeeee teeaes oe ee es xeeeeRep — rs Soe : oe . ee“cae ee eee enES aoa Seen eae ee HOPS eSee acacia 2— — ee Say Hie aefois ae Seoe _— es= ~~ 5_: See ee Seo ee aera cae on ge ee oo ae oe, kee Cl ee‘ ee SEES ees SEES Sees eae eae oeSe pruners ass oe Bae, . ééSoe, .i..— :eden ,— =a aSiena — ee Be HES we ee eee ee eae ae meee eS ace aa emg : a | 2 , | e 2 : 7 7 o SSS = eae aes See Rs Sete Sera _ se oe py eae LN ee eee SES Serene on eae eens Re AS a Seeger ees eee so pera Agra Sad me oe SNES Ra ast ANTE Rea SNS ee Be Re . SERS oie ME ad Stace CANS corre eS een BR _ . Ss ee: Mes ee ate EE es Sa Canetti aera ens an Re : _ . =, : 7 : Bord Rate meet ae ects . FF sage nee EES SES we es frets wa SESE eee re OE See a _ > : “: cee SEER = ee RS —s ee SS Saeeey Saas SE BEY eS Ss Soe! Se eee we ek EES 06 ees Lee e : — . o ; oe a a :A|2ei :Be " et; .in /co :EUS: :Be :Ss. :Sues _esALAS a|.wget ceeran: -EE — anata. oe SS pc BON ies aBee ise ee epee RRS Re Scar pau ates aS ere ee eee pes ee ares SES = Paes ee pos Bae Lees pes RSLS ee Ce pS “.as ee a we Ber ES SSS iia a.;|se CC. Soares re pene ore ieee eer ee soon rains eee aBeas = seer eS is Be Rg Share ae po ee eee Wau CRoe ens EEE SSS proaa oe Snes meal et wanes a aoe See nek Reece oe hey SR Seen SIE Cl ye : _4oe :psec A “ |‘s ; : eS .See SOE Ses Pee Paes eee Si ae ee oes .rae Oye oe Ms ess Se Sees iBaronets Sion ee.aS Fate Es BEC at:inete ps . es oo! ee EG Se — Ts OCs oo — 7 cee SERS | Co: — is SUES ae oo pete Ee be _ aw . es oe od IE ae 2 Ses Theta os Siete ee So anee _ eee a 7 rei Ea a SEES Do Pree eee Tien Le are mo Sey Renna ees nae Ee Seana De coe oe _ _ aoe wie Shee LSS Smee SS ieee aaah aN Sere ee Se ee See eS ie Se LG a a| ee BAS eae eee SES saree oeee RS eeee EES pees BASs EEE — Sa aee ee oe eS Ee oFoe :ASS Ee ES ESS eee CES Be pee esoe ee — LD :oe eea. ee eens ee esaed ae eee we Mesat een eee wey creat wre she poten a__. es ions EES .iN: erate ees Eee Ree aN — ie>.ae aS cee Sa ategate sd .ze ast - Cc : i‘=>-3 | BE ee eee ss SRS RE See Se we areas : eperen eae ee : re oe fe aeeoeCl ies fe ae ee oe — Peo FF eee Be ae oe ee a se eae Sere a ae ee Sear be es a... oe aes ee ae a Pe i ee a _ niet ey eas eee pores -: Boers ae we _ sh oH Le? Ae Sie es ee SS. Dre Se ° ees ES SS Se esas es eer a oe eee i (EES Seen Tah eee peace neces EGE: ee — _. _ , , .act _ i so a oo ES SS eee Ec Rees ee SEE Se — i é Oo S eeieee ee ee oo Ne Se _ia OS Eee ae pee Ee _BO ee PES ges oe aa oe i es Be TSE —— “we rn er ee ice Brees oa ee . a : | : BEES! ss eR

. a. i — ee FF. oe. “ — :

ines oe a Ct pa eee SNR me hares hon Saar ee SRS paeennes Soe aan AOE Se WILY ae ATE: ‘dae oo Re Se rere was Soe Oa a Spee ae Sal ieee BS se Betas ae : > -

Sees SEs SEE was . C. Bee BES peace sea Tae ae Roe nee ae papers aes es ETS wee en aes eS ee iS, ES

:

Pe ae eS ee eeSee ._: ee eS See 1]_ bed

Oy its narce ¢ nN ar h m a Ww n itions oO Osi :i. roo ‘ . ; Cav ose S : : 3 : fiction film a : ifesto. « : I!OT sur :C. asoto sto. :ticli°"Assi sSS1 that 1ious! he subjec he isiality. beca ‘ei :::¢!‘.a.:

den , 3 S Francis ot . 3 heroic ;: :e1S re

ra obviou had nthe f Itali ties atnolic groupdce i xTIC

Cath re) urla In itary in the mid nd to “en ™ J C] €

ch “anep 2 3 : m ! :ic|ani irepre stress :reat ,myy favan theth strug wa se beans ¢can unci n ;p.: : S

; n : con on tna : ; € ciearry ” Renderi £

| dilem : Cava : : nunciation of a h y possession and

10 | ancis ~ ions n ' . uest vty : thus rs . . ) nt ission ion :) ny 18Si0N, . ’s S sellini, «i : 3 3 Ital .1an lization, ee ? < :nrmS1810 |u; 7O F od .

: 2 oton Cc re ) wea ut also uodie ;

hus : yCavan c h’s Not unq: Ro ctures right St. Francisto oryb a 6_ y | ruc : 3 he my : of the real.” St. F nc was one 0 films e

icle, shu ; te

,Galile :).,.ers ‘focuses neratio os :i:ian 0 ; ning .of ‘ Tele tion

:

andby = ance 3 backwhose . ca mbDitiou e1yoO unded € ita V0Comm executiv e€and i.

m 1's next fi

°

o (1968 | a controve etween a free

-

ereaes ae 12 G Soha hg es Coes SaagSa resneitirsrnie Ses ., bee oe Birssesn SO Se SOR aERR See Oo XxX

Saas ee 2. Pa RR -ReeSN ‘SSeS sheSi. < BeBp SRSRS Soa Lc eaeS ete See Seae eS Sa ae Bee Seo Sas iee. eee Baan atin ioe‘ae sos ae ee SES ea oo Cl as Be ego SR Ramee Ss ee 3Boa Bes — Se ae Beare x SR —_ . Ts SS eeeees EAsn! eRe SES Bena Ses a 3 Bee: Ce peonuueeee =peoromaes :.Bee 5 $3 see aoe % -easratsCee _age.:aes$_Lateo-Se oe ne Sees Baas Sees ;..ri—CO Se SR Re SOS . Re Bod ESS SSR oe-. osES SS NS rect BRN

Pe Bese =Renee See eae SOREN SE ate SSS ses ae Sea Re Se oe po - hs =ER,Bats EES cetera . Rese Sees Sane Se eo RR enste ES ess Seee Ba Rene Se ER eRe Seng Re SRR Seams SR Re oi Sa ae teint Secatts

Bae BENS Se cea Sa Co . .— Sarees Pon a 2a se ee — ee ss oe Seta ee era SRC RRS =: Na BO Sena oF — ed tee SNR ert ne :— = @ : . anor sek aes -: :: Es . oo es ae oe aes Stee ee io aaa eae Soe es Sas Sean — pepe Rone a ” .BOKe Se SS es rf ee ne — — od oe Pace oe ee SOS Sd SUNS Sua — Se Rae . ed CES SESS — sotatee Seana oS So SEES a : ; Soe ebeaaenane Se , ae . ca ee poet & SeRea aoe SR Se BOI See-Scans Bats Seek “ERR cae a USER SuSE BoRE SESseis Cs om oe: em aan mai ??

(Oed sd ght who buried her brother in defiance of the tyrant’s order. S) The Cannibdats ibals t transcends ds thi yththis dm reflects thetne 1968 revolt of th generayre ang renects revolt O e younger

* *9 r) oa 9 ry 9 e 35 e

i h thus h i skinshi fil like thel1Ke Tavi is’ Under thdign Si Scorpi tion, OWING ith a KiINSnip wi ms the lavianis Under ine of scorpio, asolnis rigpen, punueisS Ml ay, iru auts fFanrenneit etc e televi-

sion realism of The C ibals undermined the film’s metaphor ic substance to such

a aegree that 1t creates a fee ing Oo perp exity. ompare wit f. anctsS an

Galil C ibals ] loflevel achievement aiueéo, The € Cannibdais 1S ONi a]lower OF acnievement.

Li Wertmiiller’s first nt into film directing, / basilischi (The Lizards

1963), theIngheadi f soci edy.. ertmuliler, W ull ho ked fe , lalisfall underder the hea Or SOC1IOCcOomM: whohad nad worked for

Fellini’ istant, drew h avily n his J vitelloni but offered a completely

spective on the theme of waste out ereas Fellini takes a meta°

horic vi f hi bject, Wertmiuller adopts from the outset the patterns of comedy lan Styie, transrorming it into Come ew Cinema STyie. ound a gripping

Ital tyl t fe it int dy N Ci tyle. Ar ippi

rtrait of fe incial adol ts, Wertmiuller folds dozens of tiny stories

Capturin € innaoditants OF aof small Own in their their daily siee ood, S€x turl the inhabitants t in dailroutine: tine: sl SICEp, SCX, SICep, and a Kind OF WOK. The izaras remains one oO Wertmuller’s bes

films,if1Frhe S bly phapne hedy Uilanni by Gi Di V itituSes a not v the best. ery st. uperoly p otogr. L741i venanzo,

very Cu tivate anguage tnat pares the scenes down to Dare essentials. it e

ti fafe that | int icature (the visit of iety lady wh to the t to fil trike of the local day laborers), The Lizards’ approach is

yrical, attaining a Kind OF porgnanc that gives the hilma aunting power.

BR ge rN PCR NER ER ECR\

shee See tena cece tcnatante Mattie itt SiN tet bya one ta atte eee UR A NN Beane ta OAL OEE NEN RAE aE Lae eta a ea Ee ti Att ai lash eta dai ae ENCE Ea A I A a Ne LR ES Ee enti nar meee ea eee eaemneo nce aeeeec ee aeshereec ee eee Radiaeee Sueecnains mammaire caietnn cena aera emaeae a a eee me hin a, A aes ee ee enaee en aen ree meee a eee ae cate

BEES CAE a ee eeSe mean Ee os SSE at ER Sing eee aSEEN eee rR ERAS a eae SSaSSS SSOeSEU RESeeucaeSee SOE eine or eniamnegureiind cumnenciaan nae: sang aunanmntaiu ange comarca tani canteen EULESS, Ts Sea ene aaa aera ane, cae eee eee a acme a ena gee aoe ee seeaE ees SESE ees heeee esses eeeceseteaseee Nenese ese eae ecssesene saberanneatacat e sanatneetae es Mascteteceresee aatetee o cetee sel totate, tesotonabenranearetmetacesetatesecatetiotatatatat nnereatatenetatete aletatetetstoictatatateieeoty sen atetseutatonseutstetascncrateta em atguaresotatert ons tatvectatetanatete afeestayasatarasatatoessesngerreateantaneees fatebatabataneneestcantesstencsneecanateenteartiens atscate retes ae snenmeesertn, manaetsiestamnceataat eeerte s memmetememmesentae t eatansteeatesseanetr atoms ossmsssaeeatensivectetatetet ses tiseeosotenatnasonebitsnetteratst fermatnetsesseecans

TSREERE ES teresa cee Sette He aa sasseattaaatetete estate tas atatatatcoastanatnte set eaatereane coopapesnanaarcnacereateaeatentte ceeaeaethnenatane eseataoecesmatesatatate toeaeemaec comma eatenataectenesemesteceneanes eeeeeten nemmstectonso Nessvteansneabeseresnaereatlete Qcemscatrembendaramnaanarnneemroemteaieetctarsnans ses asetanssonesersesaatartnsmaredetvenmaseare,aastasternetenesatspeartarenessenmsteceacsneutreetea tosentenenraneeens ssmpeanneane satese:sstauscacarsetaeua sanentsssnansencanemnstenapoeaeaeessectseae anctagatertgitae seteessmarenernetetie

seetiiclet geestoemeisaurets eee ner aE Mee eee te teeter tae ternaryna soneeteeeaetae tenn rant cn anata cuca ent etter este omeneee mantener mentee se smmteban rental saemateena te mete eee on trerences auton Ee samt FE Ee transcendent eae muneietetesmneteseetootetaate ere ceria nana mune meee tay ame tt eueear teaereer meen me enema a aeCuraesneenteneren ea Eee er Seogee ee matt ee aat aemantra eee me tlaterme etermeen atortoneieen eens cea secant

SERS SOU ee oie renee wean Seen ne oe se pre ers TOULOUSE crite ean Sn ea ars, ae Sencar ae atte on Zee SEU Se See eno tata eee wesesetetenenee cezetaeccncet aeeocotatatatacsetesactoneenarasins attoisccees ene aap cetaceans seasanedeeneensene enetenemeseteace eh nee Meatet Tearaureanetemeeeenapeatesecnessotuleretorotannieteretotatatrnecaseretaten “erat s fitera dvretytnstonan Satebatsaatey Sievtet autaraesqusataaesaneruaniatasenegecatersencansie’ sonegatesatensaneasionneareteseersnrares, staneeteatativa,ererrabriccesaaoeenteane maraterspeneamateneesssasaeate tantes, searonesase.scseesbaterannntonscn ste amareted caahetatesatninta,smasetatatantareeatneensmstatetaritatnean earapagerrsatatnccresaneanrsennerammrenmiesetmratansteteteneeabatetinesenetess esstitassttetanstitesenets ctetrtetceteteiaratatele ete cont esta rancid Sopee moter selaemacateeiaeapeotuiee nee saee meas heaters uae aetecorensietetobatrastane'utohteraseesanenstatetesenasseersese’hty Sasegtse'ebtaranteseetior serene sontnasens satinnee ROMANS sastscsnssoeettare aracetanenremtebenurnceeoranueenee eeeoboeosatatocesetatesaiatenansoaneeseonetnate tata cheteaneatanetacnnataterataeatesetecatbontetscatptatanatabetrensansmventaurancteteantobegnops tasencsatetsanietpstosabutssstacetetetemenstranteteluyatesetsseteantngentiertonmntenint metronome ame SENS OIE URN IES Stare oeetate etatgteretstalsstst naetetel t “sites yaetie sbeetetails eletetnaecssmanlarsessneecetecenegntete’ sonora sanentucnecanear esecepetectaneemnerceaeteseee eayty afl Vie Ue aaa a RUMMRRMRSOSBROR ares) Tesansornseesaea reacegenoearcsutienttarie sssrecesatalenserterges teat agen eenguretontesaoeeate onnamateegaunatnerrate neaancarsestafearneceeansernateencntoraretsersctrstayeeaeite’ ¢ speanntes satenCer Mitatee satnentatetetyentatanatesatatrtetetetots ter cotataersntatasusroencapmatatetatetatatetarsterneegstacotesiate

TERS Sacto aaa cca aera Ce ae tan Ce er Se ie eC EE Ree eR er TERE SS See Se out aes eerie cates Set D Shennan at omnes Neate, seats se title Seok ce Sa MRS catcmte nematic searing maar ene o taas sence ene neato etter te eter et sete eR ESS as anteoeseutonnsneamrterteeeteeatns anes seeer ane a oeoemmaem sete eee teens mmeseeraneateattette cameanen eatceataenen a ot, re MOM MaMa iaraetal sears sninspatnareainere eaceseneear stare coe rieeetsiorareasesre tastes memeetenet etree ooh eemrmiecmeneemmmmmemmmne te te grt remanent emmremttert ti tnteet ntnntt anteaters mangoes

Bee Pee eels atm eee, entea ceeeiea e UR Oe Hee eee eeueee ten oeeen mineral tearentaatette teatey settee aaa Rc ios atarencetesptsbnce atrnewetatene eae ecannane atc veaees eactegaegecaanreteeteanateeenee memosate escent enremear satiemtetemeeeee atonement memeeeesrceaeemec erate eter resbaeter tooo rarer stent

ADE statccetasceatosatatatetetenrrone otetooes cerebro antente obaanaaratatet ct rseooatamiaatanatatanstatenotansnanenstanatanshasstatatsti'atatetanaretateearapateratensnasseateneeseeseeeteneetirsneeaetteaseatsanasatteteatanseetls seareeetnnsne srelieneiests is a RRR tees oases cNaustecancoatenesacevesostennsane eat aheteaasts oraaaaevaatgrumonrenmassmieatennnezesesensnepemstevesratenertecatsesesssararetesetertes ence eoetanatensiesstatnestatsmeretetrsterenenritane Soetetsonecaronm aananctateseneseenseeceseerncatsteteseneten eateretst 4 ssrststatetegateretsssteremten

MaPaRELeecicaraaeaereaae atesateeaesaeneteeatae ateete eee eects mate teeta eater tens, Megerea enreenetaterans, seater raatretormerints orecemerdepetae tree tomineretatntertene eT Meee aM : ert: REUSE OA SRR "aay eteratat planes cilana aia deeenonaesiage tactetaget neste AORN SO RRND RRS ESO ROR BERENS CAPERS NSE ER atx BON SRS AL REO SSS RRR SSS NOR SEEONSES SSORR BR RE SRS TRAN ARS RA ROR A NRO Sc ae RM sooo aeae eo NSE ERR NIA RIR SERS RR REE AROS SE NORE SOR OO

SER See Ee Sr eae eee yeah, sagen atu ou a neta etn eat aa tycoon au aoe eee eee rater sunt ngure ne waaaae sue amet Mee See mee ate ime

SEE SS Sa rag ati ate ote, neseeoe eenateote CS MRR aoe tecae Seentates?Seaonpuiews sees oeRaaee erent "drei antacnmennae ceesree ean seae meee ea Seet e a Sasseatiecepineanecarcsieartase eee eter sas eesee seeer oeshiitie soe sanemeteteeoi rtecharceanetit AI+ for otcselecdsansiateretnrasateress sic eeeceian mee Sate one euro 2 ceerteteseetnee nt eaten SERRE BERG acon cers ners eres NN aE UE eT Hee mrtRTemg raatIaa seme RO EEN cele tee ne pe setacaNt statetalatal Sangeinatetarandiateneretpsetaneiabesenatoearnseesbatetanerenelorasens uiasmenes encete asaraenstee aadeeseswaetalenh ean tieseterer ast ratts canine RUSE REDS DMRS SR «SRR RRR RRS ORONO RISERS NaNO SOS RASA BSNSame ORNATE RCE NE ON ERR RO RRS RN ERO

SARS Ie Sea tanita dna aeaineaeeeet do tentiy Settee dates se sekttuaetaee eines sears aeecatte Satasabateetacg otgtoratateceteeate reahaneee aegatontgaiote's #20 a Meat ACC RRR, 9380 eenntennnnne noone RO ORCR SRNE REER N RR RR NR RN RED os teontatennnsteers tate aseanarrbateeteatanecateoetatene a tote Vseeraaanettenstanaat catemtanataeettretaictes teteateet

PE RR RRR SOR ET eT CEES BRO RN RGR Sie one RUSE oN ea oo

BSS NS SORE BR EN ES dhe a See eae iOR SRSaS 5 Be ee ee RU cia ais Maa et aaRRS tacoma EN ERE OR gE ERSee ORR ORE SERRE CERRO | RRS RSScam ORR ee STEEL arise eaten tasitatan eeartete stn etereceeeeieneaetareatamoeeemeeaeeeteenete eens a reone MTERTEMTEEE ermine eam mieten aa Sa en a LADIES OT RRR RI SSRN AIS RES RRR RRA RR RES SRE RNA SOR OO NAC eR OER REC ISS SR RS IRS RSS BO AR RE

Sete ateth ates teticonetnanrcn tat taeteret gt aes water earatatesasanangsatstorara,cent caretacotanstaa one etaten atamanatacncatateaetee tate tatatageratee cotontatetns egessttie o cwehabetcaratesenetetatetetetsthsal “tstessta ists! AMM COMMER SOND ot RMEMBEERD ca2 ut Pat sa fasacecaracenesstsenactbteretesbsstathyaysneer ot fecaguissctetstaterens eset eet seats sametedeh, ieceoenae see stearate Soothes eeneeteeeee coeeeeneteene teieneb coterehetayaecessutmorttnes tenet sis stae sangestatieasstesatenetee seteser fe

Eee ee ae ee Tee A Ree SEE ESS Se naa ei eens a3 “SESS Re EES ee er Ros cae Giant ames eae wa cians mine ante © us sera pee nee Be

ESE Siete socal Ne ahaa ett asa 's oop athens ment sole outecaneataetayneiate reas eer eens tama Shee et etever memeneapammtet tea aan ah A RON MMMM Coss ven asso cconneton, eeetatenetoereearaeres eareimetatintessmeoeatiencentanes oseteey cecabacetereaten scone ataeeasesaomatpeosseseranemnneracneenreaeitety ceeeane oetersereenortceneeamne te es oeeeeamnacsmeteametretess mate nee eta oes ae JESSE SS esSe Se ater ites nos oe RiSeeR CAROR a 2 SEERA SR oO RRaaa ER SER Sh SEU co cane ou mine SRSRR Se oiieeatae SUESeaten SB ae2 ate NoateAeeeAP a agRRR eR +, nS aS eee SeSES cette em Se eae naeBothy a amt Te SSeS i eeea cae ee tae a ae a aaa een

ean

Seg easinbanuaee aman oetieehels antennae eta Sec ae see Ropero RR SS en Cite SNES TE Bs Ra DR ROO Seas toe - "EES,EEE SE RE eee Cesin UD Senaan eeaanee ne eaereBroce GO Se cee StEee ge meee|eyRac Se ote arRS a ES So Ce Seton oe Se ra a Sa gute cereee pa eee eae are see RRS crs ag ec eens gtied aon mare a re eee SIE ean 2. SEI EES EGN Cina So eR uae seine rar ae Ee aa RS aR RR DO a RS perenne ae OR Se ee en cee cm ES SR SS Re cen eS nn co ee SEs Pea aE SERS, Seer Senna aati eee anton ne SPEARS ol SEINE ee REECE GRRE UE ce oe SE Rs Seiad seaman ie peng nesles nae aeeoaneie neeaeememenere cs cueaaeenemgemeten arn cree eR : ONES IRSRSER eenSoae Sane ein aaa SNme ae meer noe anRAeee SSSR ee Sines, Seestieaeeeciaas Seren caveat” penton eset oe:masts Seen Ge LoShen TR SS IIRSs RESIS SSS ESSE eR DORN RRM SN OOOO BMRSEB RO SO Saeee OSE OU NN SRS RNR a atemesrattenetaty,ctatetatetotatatateten Soteferetetadetpeetatatatetetstesecstarstyysfecatetecete,atasaiess eset © tatatetateretangtas salbateepbetare’otatatanssecasatatonerstetg tase chsstatese atel ssatiratajetstatanas sutaterescreseeno ir roche ens) Aaa RRR SIMON. sence ses Sens aiesnacece renee cote ne eet eteetet cee arent ease eee Pea eee Ntaee thereat oeitaceectegeseumebnesetnestaeonaetaaesmatrantent semeateememe anenntlssenntyetantetarenestetntermerrestanatee acaneneaterenmatee syeyhtee

Rac ace artnae seheeatoonatin, Santee eeienetoate teat ennai acntenieits eetotet te taretteat Multan: gen ee ea cc a a he SOMMER ss tecessrrtccsiesnneiacepctoto screen eat snepnanmanenterenreecetesarete ster teense eesnetoe eaten eneeeereanes emma ein emanate ete ernest seminars

ESS eee DSOatatoaeiaatcnreneetantsesteatene ARON OER ORR ERC SCRRRsate RMR OOS NER RRA ASKER ISR teh REORIS cance arnienteannatr tinaTE ns RIBS 5c SRR ROCESS a EaRNR an aRD Rn RUS oR SRR Se eae etaiane urandin Munanten sean SEES scence one” tr peeetsataecen es sot tees ctesaente mami catenin e SOT SEER ESS OS SR SUES ERR ERS OSES SA ES IER RS OS RNR SNeta een SEES Eis. ete, oi oeoeSivan aman aes, Supt mate aien, Nea Se lt A ce sese“ehnthcNuncnscencrayeuchcres peay ens terns enctoempameentstenen acetateregen ane teehee ensBRU St eRaR RSE eatlamteeeeton heIS eaeRN emt tate ee GateSR arse Es PRD SERS CRRA Biren shattete te nese meen saeSane eae oem mnteeiteeaNt aNa OREM MOEreSCO Ro a a RS RSE scscC anticOR gcgscwsts cscs rteuctrctamntrae aerate EONS COR RST RRS SSR RRS Rr cate: Nees, tetera Caton, te cevasereceeeaeteeren enero enn hpcsc RE ORR OS RAR nantes sac nocenrceraterncenees eneanitnrsan BSR earmeni SRROER SOSE PR SORE DON a Kern e %tenets Seas So Seuaeeens Saneeety, Seatac neabias Fee EU |eeu Eo BONDE RRR cnsnoun ne saint ange Sunes aetna mannan taanier niente eae coed ara auntcette ee emer SNe erES ee ROE aa Setgiehetebeceiearte rastes deers eceatsee mane Niet fo chk coettet Sabatater Sotecatanatay.latoneraTatae sotatetattattteratanasetatstetarsrctates etctateea.etagantasaters,efeser acnnestecstentsnseter801en patie RECON RE Se EMINNRDAR SIRE sto stet tase esenre, sacseesocttieey serene eseisin seeseoer oneness meenanrectanetetteen tomeniactrnatesenon sshaatant asstesatetann satareseretatermrn eiaarterrnntereteaemecrsers teen semen etetnterseeaeieitseseatinienraetatermtaisteaitttetenten

SESE 2 ER ane ecasetenCeaRtN cane snaSones hteatreomSeemann, terranes, Seteeaateeeiee Seater ATESSeiiraccusemanueoneeeca Sie NE lS OSCR SSSR MEMRRSSCwatc enr ce actintesaenatrocnaneesntace SAT oakane ee aeeSere emanate ot at: ate cea SEES RRS center ccnes Sts Saati cimae ee aeons a ORS RRR eeeann muaea meee oem ae maraesrnemceteeeeaete a, sean sathSesto nineeesoe aaa en,ema Sea a Cm TES SSE aparece eaRRRiO sti, coe ate aves cee ar eee aero onmarceeheaeeeecterenecene moots Ferlentene aerate An ee RRMA «MISMO MRR RMRSDSER’ ese ee rstce iacnitetracn erainu tsnnnretrnesisceseseesetseanasinacen etntecrearamrabos aretoomemtee reer omettoee tatereereniee moeenenre oetaaamnra es memes semenumtrnon mains 2 crc ESE RROD NO RRERORE Once oo ho aan cule adeauntais sean terete AN Gin ci Co a See OS RRS SERS ROLAND RAO RS REASON ERASE SOAK SS OR AOR NSE RRR

SES reo nes ise Cacmecranare Seana arena SPARES 1SNES RRS Se : Se LON Fes NRO tesTERI cetscnten, 9 nce CARR ae ie SRN Ra Oa BIRO SESS SR RRR END es BRS erirogaccccnmetnne ee orerectanna SRR SRC NO ON ORK OER ER ARR NOR RT SSE EERNR a ae ee etree oR eaSRDEN SRR eReSSesIETS ERR CER OS eeOS SO RS ane my

Beier ae ee Srnec meeiarmian ms mmamnaeanes uence anne RIMM i st Res eee eee ee wr earn SEER CS en ESERIES ety aeR Soeee ns en ee re Sa SS en ageeR eeee vee SREP SS SRS eat tp asiatneonammtnas snsrncrnsoueainecnenntinns seat sseaatin auntie taoicerreetin permite aN aie etn Rican eee Reta POR RU RENE RN RENNES SOONER HINO RAN BAK BAM R AN OA RON NS SRO AES RR EARNER ol SL Tes

TESS nesta tnataarnhmecy eancseieatn aan oar RS Batam Caaceresene Ran or RUBEN: incessant SnRRC ene eae utns Sateen aa naan anemia seEHO oer MEER eero eeeOREO Bok TS os. a eee eieleateeee oR eels l0e NORIO NS SO RNP RPM IED.snc Sonata oleate Tats era nae Be shannon etalonsaat tasnecteetins retig sae ecSeCo tN eres sy sateanseaerehatetetarenestie ant - alll OOS Stee USER, CARIES eT RE ae ebabcneatetenenetscereraenensemen renee eae ter eeeMAREE ae NATE er saeco oeRYN Seen ee ecoaaeatantaceatesotebaboaaate,ctetecatstanecad ane wecotanan spcusaretstapetetrcatasatatecetstetatgeatatepenitattcnety tetetabeter trate ienretareteta Sel cae Setar ceases scenes sctssac ne Seate RR RR LEER SSDI. SONS SOEeeaae Mesaeess’ catartate,clanctatafetete,ctesivareecatesere ane east aneranat tontaterit cage AIsEsn Eas oy EERE SESS CS SE RRR AIO SOON RON OS aR MON SUN ENTE CRRA NP ECOULEMENT

Sate R Roe iain cteesruiiatey frie tons nh Oa RR RR IER RSS io ua ttn cuuie tens cect Wc. RRR SRE OSE URES ESO SS ERR SRO RSS SONU ES

Ee ias SOON aD AstIRIE SEE IE COSA a RRO icteric RRA DRR ci Sy), SEES Sateisnctttatenert ee rah I AR enue acan ene caneaR aae,RR Sheaa neuen suaian, enna te same Sennen Boos RRO esataRRR. 0 aeSecs OSNSASS RR ROMO osRRS WEES US NEctsRR UO RAD Aa ua RROD Suiheninuieeeaes Sateen aoe : SESEERS SEES PAC SRR SR SORENESS esas Sree oc uanets Cnt Svat rsa CCRENGRIU HERG SERIE SR ea eae ee ea NaICIS See SRN ISOSRC RH RRO ONENE EROSION SR NSTERROR OSES on TRRREINS RRO RCSREN SoCo sen each Ns wvcetereceatsns Gate71S etree a crc ESERIES OSL SSN RSD RSSROROR

SRE AS: Toe aR a RRR CENA OSES seco ccsscsst seetators sore «steno 7 MESES fo USLIES SS BSS SR Sac eat : :

Reape chon 8 2SoRR So SRS ENE coe ManeSnare ne soacuca seeeeae en ea RB TS, SO RR Bg neSe aayOP agUERunt(UIE SSS de, OUR Be RO Sn aoe Ie ate LT LEE) LaRue RRRne RES. | RERMNGR PERRO RME IR ico ent einer ncn serilaa sate ee cae Le ee eee nnn En nmin satireswk an . .

ae Cae ee a Fe BR oc" Mo a Ce “ERR ae I RES RRS cnn at, etnies eer aUe RubernntataneneineemmtneENTEERR en tamernee tian Sate sry, dor ateee eee ceteraea EN ERE BS iiSSR SeeaUERMR RRR ee gece me neNSaeSSSuncrest ae een eee a ooira : RSaeESS CnRo diabieioamec iSS Rye ht Le EN RE oeDR SRR ha aeeaePena peat ea RES ee econ ee eee SSCS ERO MEETS Con EY Se venEg emceaiaet ARR ER DRER trots ancotnitoteeetoo stares coer Sennen mei EE NT ot BSB sos eee ee tenet en atin Houdtnneyer SUAMERMI STALE, petite cenccel Gun UME 4: Io SRS SS AR MRE NN BAND : 1) SERIES TEES AOS ROO OR RD BCR SR RON AK RTRAR US NNN RRR IS SONS ERRNO TNC RMR RRR RRM MDE TTT: : :

Biasynere oo DIGS GEE ELL cw, Pag get sey CEST TS SSS RRS RRS RSS RAI RS DS etic tlecienirritesnitcte tip nares vstetttina. ti ORR Seen Se SRR AAU RRR SBOE RERUN ISN NOON SRDS ey! te :

Ree oo SILEQSEESE SUSE ag Yd SES OSS USUI SESE RacSA ERS Ronan CRE NER EEN OU SaON ORRIN Sreatiunnn maaanNRE eatsERrime sa eames meee ROR ORR 2 BOSS NSNBE vostro CRE RUR SRNR nse ns reese ners ttnaanrat RR RE RR OER ERE SOIREE ER SRS RR RR NOES OE ORS DIBRENN nceUe rsetae eesaab TNE mms Bipotsn NE SME grin cos IT beens otis wis wet. as SRE SSR OR RARE ho alesis atari 1 SOREN ROC CNR MRE RR SDE OR SURERROR OR OR aanittte Reeeo SS SAREE os Piet TA TEs LS SE, STIRSfe SaaS a sheaatt oartigretcernicaseteeet reeset iae sss th SRREe ERR ORR RD SITSSSE SS OSCR REN ON sansSSS. Re nasaSR o Sint co aSCtEE SESE Bsantenna SS eee SEE nes So eesti eee SUNS SOSURNS SRS 1 ROR pI cc

Began scce STS wees COU oR SSeeenrnatanantice Soe Seg ies osc 2oeaR es cae Rte eeee eeMEN ee AR Reeceost OE SRR UU hn Sl tan TEED SSS Ds ESNES areSER Ste see naegr uate eS intece tpaecr OR nainenemcaniaer meas Sa aRE Rees RELA Ran SES ae SE ooAUS SEER SR emer aeraRuiten em meter eR CRcen a Reae SRS ny sme aS RNR IRR 2 Py EI TREE LISD on EST AULA a ORR gs SS 2 aE ER SSO CS ONS ME NC ARE NC RE ENDEREEo SN sso ei sateen Nee Secyeiesamemnnennmeontnes eeeen mera meetin mem oe ae es StS RENEE SRNODE ROR cor Bo sister 1 ARCA SSE Cn Sa : Sed RSIS SENSES SSnah | coRRR shnhnamtateannoncmmbictanere taseDei gaia 7 NOR RRR RRR RRA eoRR ORR OTS NERDS RE SR RRR BSE RAREST fies LS. BEERS aes SRS a OR RS RRO Sears ORR RA RSE RB RR Rear s eae SOR ARC OS OP RRR Se SSR? Sa pi eae ALIS 2 TETAS ST ca SaaS Rt ato : Seapets: watAUS : DISS ematiroreeseearesiaampnest ets EUR RRR Snes ete eae RRR RRA RTE Rep cr Ss tee eeOS tt SELENE PUES) SRE SINIISIIASTuC SESS eeSS ; , POET a lo RRRethnic SSSR CSREES RRS RU eeeee RRS RRPRRCN tn RRR ER Bence UL RRR 2 USSA CURSES oie 2SSS SESE SN ys Pe RRR RE EON RRR RSbats aiePORDAS ORIG SRE SRDS Reena oS, BRR LOSSES ns Sea Tne bolene DRI EI RR eSTT SS SSE : ae : :RRR LIU EERE Saeae S CC “ESSEC RSPEI RBSERRE ERRABNRRS RS Ny COCRSRR RER RA SOREN

Be oe ee I or nM oo SS gear ee er cS - See ee ake

Pecan RRR - NEES Ses a os vob ee ee aoa ogi: LESS SRR OER RTE Nee eee SRS CR BP SSE oe oo SERN Rc anc . . SERRE ae RRR NRO SB ORRseca NURee casi cee EL ranstenrenert aeintstentemasplnmnitints nani cette tsa Poe Banga ESLER EnCr Loam ES SS BP Sia TE,celta : mo weRSA ARERR Rae ee Nakano igamestnenaresauntenamat

OSE RR IC RRENESI ‘o's c SOMRENSRSERE SRS RONEN Ss SOS ICSE eS ISHCIAS EC SoA EUSA SRNR RRR te ‘ : Lee PEAY AO aes MOREE TSIEN SUSU IIR RS Oe x ROS as Mie anaes Nee As tnectacesesersteseensesecsgeargegetsany, ge nett atten Searchers reemereea athe sens

ROSES oCRASS Re oeRRRERRC RES SOO 1CeREASON eon ne eres fone RRR sas RRA st reo cateteen Rs eee ROR RR au heseatrniy aritnntiaetttntm seit fee tee aR Ss Sa core So, RA one me ee see en yay : PREMIERE, SSCSRRR SS ons entnn N UREN EE NEO ROR RS Rae Oa. CO eeaS PEN RE sr RRR RRRS Se ok ir csBOS RNC SCT : SET Se 8 ERR Re RR renin dnsCT a LS oS SCOR SRE ESE URN RES SR :ERS. or Lagan ODOR aRSRR ReaUR TERR Re emnuntanatnerteeca RR nes emacs ura crit PORIRUA ogelecc o.oo Slelcecetareeetatetene POONER I TSR aR REC.” : oan “CORR ore ean serene ery tr ae nun aa ua RRO RRS RRS BR UREA SUM RRRRE ORR ouicnenuinn ethene ge tyres Sa yan

SE RR enol SEES US SR PROS RRR SRR CNR SHOR eS CORK sige cache stuartONS eee eR SNRERO NORE a ge SLA 1 STUNT SUERTE SSDoT EST US ARR go etaCS eaeeoa lst BSoe REA Reece EU SNR NEE N CERN PCRS RNcE STE as2p

VERSE Ie vs . Teese ene en RES SeeSo SSE ar eee eons Reina csBeEns . 2: AREER SEE ASEnae OSouRO oseeSoe Ge ee es ae eae . :

SS :SHEE + nt . -gr. ottiie . :reste RCS oa11 Irene NREn ee DS SADR enee :. . a. ber cco ae :NN. .- CANT ;ee0! . foo >SRR 2ee gaia: ees & “. oP BRE SS Re ee Berea ehBee Sao aARO oe ae See .:Sota et ::;:a: :8‘NSEC PRE. TSE Sacae was :. .:-: Bee .;aBee: SMES. SSNS ; Sate: cot Paes ve sees lad .SPST tea ae eons Seat: Sng OR OS SE wa!:sy

eprint BSE) wee Td : Toecet.ee: sa:« HEICED Bee SSBese ee SEES tie UTE : : * Soom, : men at BOL CADIS RR cshte’theede : Ls ens RRR SOLS RO RRR RNRMMROE SEA WEEE Fee OI nn CS % Deaton AUS Sy see eS MinneLS in : . We Sines . se . RRSIPMRITIED..*. Se Ceicretete tere tit ueiecclengcn GS SUI I 00 SUN ua EE EE : 2 . SPRBEEERE SSUESae oT LD DUES ETN Si Se lelsl ee 8 vat ghnenesetsettecntcie siete atagate seine urna inet gaa tatniate niga annette ac nat tian ceaaengucantedundei iain tga ii Rao SRR neice fea gest ean saat dann austenite detain ge aut Looted ao Seaiiaaacea aye age od oa ego aay

I cannibali

, 202 The Glorious Sixties : Wertmiiller’s next film, Questa volta parliamo di uomini (Let’s Talk About Men, 1965), differed sharply from her debut work in its simplistic caricatural vision of its central problem—the battle between the sexes. Let's Talk About Men is a popu-

list farce based on a showy yet tame feminism. In her later works, she further developed the style introduced by Let’s Talk About Men rather than returning to the promises of her first film.

TWO OUTSIDERS: ERMANNO OLMI AND CARMELO BENE While Wertmiiller, Bertolucci, and Cavani were working their way up to interna_ tional fame, Ermanno Olmi, the most original filmmaker among the newcomers, remained enclosed in his small world, to which few people had access. During the sixties, Olmi directed five films, all remarkable for their dispassionate lyrical objectivity. None of them has a true “plot.” They are built on the slow unfolding of a single theme, of a single life philosophy: no digressions, no compromises, no yearning for fame. When, after twenty years, the fame arrived, nobody was more

_ surprised than Olmi himself. Olmi’s characters are never successful in the usual sense of the word. Even when they achieve something, their success is only a narrative pretext used to make the viewer realize the illusory nature of “making it.” At a time when the majority of

Italians worshipped the liberties of the consumer society, Olmi’s nostalgia for a return to nature and the simplicity of feelings could have seemed old-fashioned, even ridiculous. Later, when attitudes started changing, Olmi’s modest souls and his dedication to the simple life became popular. Even Olmi’s least accomplished film, E venne un uomo (A Man Named John, 1965), a dramatized study of the life of Pope John XXIII and an attempt to draw an official portrait.of'a public figure, eludes the traps of officialdom. Though referred to as “Olmi’s only widely acknowledged failure,” by the British film critic Gavin Millar it retains the virtue of celebrating an ordinary man “not for his ordinariness, but for his singularity.”>’ Un certo giorno (One Day, 1968) is the most telling illustration of Olmi’s conviction that modern civilization has a destructive influence on man’s sense of responsi-

bility. Blending the description of an industrial concern (which he himself had come to know so well) with his own perception of the human inner self (which had always interested him), Olmi made almost physically palpable the loss of moral values. “And now everything will be normal again,” says the wife of the protagonist at the end of the film. Her husband, a successful executive in an advertisement company, has been acquitted of charges of manslaughter. During the trial, nobody is interested in the victim, a worker. Everyone accepts the lawyer’s argument about the “accumulated stress on the defendant,” his important work, the poor driving conditions. And the manager, free of all responsibility, can go back to his “job.” As early as his second film, // posto (The Job, 1961), Olmi was concerned with the alienation generated by industrialization and bureaucracy. Whereas the protagonist of One Day is a middle-aged man, afraid of having a heart attack, The Job centers on a working-class boy whose mother one morning dresses him up in his best suit and ships him to Milan to apply for a job. One Day and The Job are based on the same

The Glorious Sixti 203 ea ee aR. a ft Ae - - oo Lot

we BBTate UE Og ER AER BS Stic rl GeSee taeST RBS geES UsUR 4 feCo ae 07 ~RRR zeee Be iYRE Ra Ss | Seto 2an PSORO RRRARE ~EL >t te a oe ssaarsametar OOPS UPS SAS Se Sg RT cece ESET SRSLY, pe, ae S55 eo ee Se “ APRs BoeTAB em we tan Patel ee LSS eo oeSol: ETaRS ee Bee aSad ee070 eeEP SR OSE Se ee 2 FahSR gna ec RHgfe SRR MRSS TREE oe Ta SER a FeaesRES Bee el aes 0 EOS IES: RR ORNS we 7ieaSse Ra amare eR mRenS oe ° ‘.1A SS Se ee es 8s ott oe Oa RS ESS PeES ee “he igh SES ee osRea. aeSUE i ee aera cs Soni ae oS tee Se Sse RL Eee te Be OioeRR Beer ee2 Ee OR cayc eRene Sa Se RN Sa aren BOOS Henne Moe ARES SE OER SUE GES > TERR ae hae TS Se Se BRR2 SSR pe BRO OE aISeae EIST eR

— Bereta SS oe wesSO ae SES! BESSWHE: GR Sa ST OSP PREG ae eS SF eeRSS SE 2 ER Co I RS RRO ER ROMER,SE So SaOR RR aaaER eC Se aM eSieecae RR et LET neat EAS ear SE SS TR CEE EONS Ai RRR MB to ati ees a DOR soiheERS SEE ORAS ota RS

BR EE Ree ee OLee ee EE a ee eee eo hee eS eer Degee eeEE SS ee

_ ae EEE BAU MESS EE See SeIetere erUae eeeeeeSerre ene Bee es ee 3 eeoe eaUE re aes AOR Ee eeere Reeser ener ee AS Se ee te BrBe Reeys eee Beeee Ee gOS BBB IFE en eeOne SeeEO eee eee Cg SEE OSE ORR ee OE eeSa OS Re eee eee ne BER fe re RarrerRene eee Someta Se ec eee ES RR oS BROS IEE AE Sh in ee PRE EEE RS TE Sa SRSA See a "ETE SENS Soearaet foscee EgAi eee ce ear FLEET TieEN EARNS ie eeRR ORES EeSS A RRR scyee Be gn eed Mire SIEROWe EEER ES re SEBS SE ER Ln erie ES oeETA oe I OE SOE eeoo CRCLUES OS I ESSa RMON Oa RRR Pg BSaSEO CEReHSE, a esDE URSHES Tee Bh ce TEEEET eee EE SORT eeRRRD an aie aeatee eeJRee earAEA SU eeeaect a Re ee 7 ee A AgSoAUS SePee oo DEAE RRA AE eee Te Oe

SCE Acrc SRaeRRR icc eSOne geceAORN I SS CRESS SoSE Raa POSSsLeSes Oo a REE STE aE EEeeRB SeEg ea ee AI ‘Sibert RRR RRR aeaeRES Si ig egBe TRAN ene eee eeSEE [OER ee SE SEIS Sean 07 Sea ER ie SES Re OES pL Rsaeo SS Seen Serer ee sereen en See EESSORT DEES ee POE Ce SC ee oe @ oe ee: See ae ae OO igs RSners WA OSES Eg Ssog ARE a ISS EE TETAS _@ oeSS BoNG ee 2SBOS HOE RS ned opr EEEee Ee is Ee oe eee Re ORSBg SISELE a CAA Becerra SOR WU LEN esbas eae eee ona eee aR SE SE REE Ee SS A eae eG ey Lo OT EES Se i ESOS A ee Re ee ee Serena! ee SER i eens a So a na RE een sips Oe SORES Sas Ble SOO Soca ie RS Rear se an nae SE2M | FO RR CEES ER Re Ne pS Ag EE Beet nant ween man’s natural inclinations and the forces of alienati

e miniscule details and shinterest OwS no y pp . Yet whereas in The Job Olmi

asks hisen recurrent questions with a 1 feeling for the tragicomic essen f lif

later in Onemelancholy. Day his tone is ch d with ) years g angry Job’s st impact results, rhe s strongest one hand, frdepiction y icti , on ¢ , on its sympathetic «

2 3}e ;determina e r, +e ° from i| | s omenicos de its y g e life of this simple bo O succeed in his first job and, on the other, f . e film’s detached rendering of the bureaucratic routine. Th ‘purposely subdued an . dedramatized style is most successful in suggesting that the life of this si y °

} ne S gues, who have been demost3 reveals the co Ww ’S ViSi Yee that the y Vv Ww party pioyees. setting is a lo gr and ballroom company throws fore» its em Th€ | occay OU sion ou and boring, pervaded by lack a tragi ic | of Souturns ;sperately y a sadtragicomic In Olmi’s nee Fiances, J i ; >91, 63) 5 anzall the ntial f essential features are will follow the same patter ns as that of hi ld ll V

The sequence that prived Oo their identity and sense of values by theaily d ilyroutine. ti nsistency Oo mi’s vision shows a New Yeart’s Eve party that th ia

: OvVe.°.

communication. .

again concentrated in aprincipal ballroomcharacters seque Theare princi n CO! quence. The twoVv | ers, both holdi ill id j V | ; olding ill-paid jobs, because of y ’ ifwho pove are unabDie to get e

eives surrounade married. T hey Zo to a dance where they find themselv ded by Wwell-meaning ut Dasica ly indifferent people. Th i peopie. e realization that none of these people or

204s‘ The Glorious Sixties anyone else, will be able to help increases their solitude, which eventually becomes the film’s main theme. The man accepts a better job in Sicily, the woman remains alone. They exchange letters full of sorrow and helplessness. Their painful reunion is portrayed in an austere style, achieving an almost perfect analysis of two isolated

human beings. |

Nonnarrative, formalist cinema found its most important (and almost its only)

representative in the sixties in the controversial theatrical director, actor, and writer Carmelo Bene (b. 1937). An eccentric personality reminiscent of Salvador Dali and drawing on similar sources of inspiration, Bene soon attracted attention with his narcissistic, highly provocative theatrical interpretation of Camus’s Caligula, as well as by his theatrical personalization, rather than interpretation, of characters such as Hamlet, Ubu, Pinocchio, and Faust. After the “succés de scandale” of his Salome at the Spoleto Festival in 1964, he published his first novel Nostra Signora dei Turchi (Our Lady of the Turks, 1965), which in 1968 he made

into a film of the same name. ,

| Beginning from the ossuary at Otranto, which holds the skulls and bones of 800 , victims of the fifteenth-century Turkish massacre, the film departs on a fantastic voyage, mixing mysticism and farce, provocation and sentimentality. It is an outburst of eclectic, visual, operatic, and literary imagination, demanding complete submission from its viewers. Bene’s next film Capricci (Caprices, 1969), full of hyperbolic egocentrism, draws its inspiration from the Elizabethan horror drama Arden of Feversham but is equally indebted to Roland Barthes and Giacomo Puccini. Of all those who have ever dealt with the myth, his film Don Giovanni (1970) probably expresses its significance best.

Un Amleto di meno

The Glorious Sixties 205 Exploring his own dreams of sexuality, Bene seems to control his personal fantasies better than in his other films. Freddy Buache once observed that Bene’s films resemble “a show orchestrated by a great fashion designer who is infatuated with literature.”35 On the other hand, Alberto Moravia referred to Bene’s work as “desecration by dissociation, pushed beyond the point of schizophrenic delirium” and to the overall effect of Caprices as that of a grotesque, delirious lynching.*? Bene continued his surrealist experiments well into the seventies (Salome, 1972; Un Amleto di meno [One Hamlet Less], 1973; etc.). “Bene’s films are visual, lyrical, and auditory cataclysms whose lavalike outpourings are of unequalled hallucinatory perversity. Their visual density and creative exuberance defy description.”"”

THE MONSTERS OF MARCO FERRERI Marco Ferreri (b. 1928) remained an outsider during his entire career. He had left Italy during the “difficult years,” unable to find backing for his controversial pro-

jects, and came back in 1961. He joined the young Italian filmmakers in their attacks against moral conventions, surpassing most of them with his biting sarcasm and an uncompromising hatred of all dogmas. Ferreri’s entire life has been marked by his refusal to fit into any artistic, social, or political pattern, which made him into one of the most difficult characters of the Italian cinema.*! Regina, the protagonist of his first Italian feature, Una storia moderna (Conjugal Bed, 1963), writes on her night gown, “I am not doing it for my pleasure but for | the pleasure of God.” And she means it. For her, the man is just a means of obtaining the status of a married woman and later a tool for acquiring a child. The very day she finds out that she is pregnant, she discards him like a queen bee.*? The man

(Ugo Tognazzi), who has suffered a heart attack as a result of the fertilization procedure, is cast aside into a tiny room and left there to die. At his funeral, Regina

does not shed a single tear. She stands there with her child in her arms, more beautiful than ever, wearing the same victorious smile we saw on her face on her wedding day. She has fulfilled her duty in life, just as her family, her priests, and her teachers had taught her. Her desire “to possess a man” was a holy one, and she has successfully passed through all the stages of the life of an Italian woman: a model daughter, a wife-mistress, and a mother. Conjugal Bed was Marco Ferreri'’s first fierce attack against the family and the Italian concept of a couple. Fascinated with the bizarre and the grotesque and possessed with a Bufiuelesque tendency to view the world through its distorted aspects, Ferreri created a freakish black comedy, which, in a way, had its roots in Spain in the patterns coined by the Spanish directors Juan Antonio Bardem and _ Garcia Berlanga.” : The influence of the grotesque aspect of Spanish art became still more apparent in Ferreri’s second Italian film La donna scimmia (The Ape Woman, .1964), the bizarre story of a bearded and hairy woman (Annie Girardot), whom her husband (Ugo Tognazzi) exhibits in the streets and at country fairs. The anomaly of their relationship is brought to a conclusion when the woman dies in childbirth and the man continues to make money by showing the two corpses—hers and the child’s—

206 The Glorious Sixti

USSG SAE SsSSTee SES Be Rese,SNe SRE LN eg eee Sak SeaN Se ae SE ey Be Ree IP BRITS ee TR ances a 1ats eee I aResRE Sati ERE UL AlHERE RRR . ee te TE PEDROIA RasOE Se SeteVEE Fae — ORE

SES UBS eaSeeae Oa ate LORE TEE IE oe a See RS ete SEE Cie ere aS oOHS ESeT SEU NagAeAseedune Sete eee nce Lt tte 7 ae Seega Feb BGR SRE eh, oie RE EE ED Tek te PP Sete ERS Oe ae ae is we TET Dy let ens. Te AR EEE GMS Hb Ee APE L85ehet goth e SAL seh

inoueEa ieraicneannet etnies Oao ROR RROD TOS OED Oey ee ee oa eS oe ots .e:Re * pgem pee. ican “2 EMsen eRe de ena,Sees te eee TR EES CE ROSE hahaSRA ace ESSS ES SS Batt 0 poaees EE ROO TO eePORN Bae oeSEER oh,ARON Shah Shewed, odope Slt Aaoe _OMI RT 3EERE SE OaaeIie oeSNOS egOe RS one OA ee Ba ate seca RO ea ARK OR iis ae206 Se BS ee rsGAR ER LS RS PE EGOS as Sedcate circ kg OND RO RON RN OU CHR STEERS ARREST RENA Sooo 7 BRSEER ein tan's Coanet: FREER RIGS Re oe HisRO Serer RA eS Shp i a ET CE eC RS re ee

a -#%a °&# &. PRS NO wen ES ee La ee Be i eee Repeat“. senna RE oe Bo FRE TEENY GTR 2 a SS SeRAMEE OR ERS Ne ae PSR LO Renn 1 Rg ER etEy Rs se feos ROO SOR SOR RR SR BURRS oy LINE GE PRE SRONR h Gad aaNF eC OAS oo Be BROS CB eR SA ea SLE SR io Eee

poner a ie Bi eR aeCNC RRR Saint STS aM aoo alien, 2 SS Par RS ieere ere oem catia ASSera i deerRete CB ERE eee OU aERR ERR Geeeae ienEERE OR aS SRR RIPE ie Sn Ne sie ENieEEA IROES ee 2 Bi et ae RRS Ro See ass Ro EES SeRRS SeaNUe ie aeERE PE Ee eha paras FS 5 Fgoa eaBee Se Panes aaces ne MERC ee epee: cts So neSSR ak Rare

oe 2 i See Co 7 ea ee (lA BES RN OE TES RRR is cine at i HP OE Os a os Oa RR SESE Ra SS ee oe See

RS RARieee a PUN PIRCET Re RE SNae SRE a |eR Sa eg “aaa Wa ietSaeeaERR I REY Te hay ge aBera RELtage MS aainn PREEee SE ek er {aR an Eo aRieSRE isiene Sete ESS i aocaeSo RRS Re Se ces Be eridinc oa ee ea eeeRS eei See EReee pe REIS eR aER ROR sn RESO RE SRN BS RR BR aRRND 3eeISOS Sie Pa en ea nS SRE oe es SS BROS cathe oS I ERS. pain act aySES Se SOON SRE RRC. eaRRteSOen ES REE SRS ne hae BOGIES RO Renee EER RRR oe ES SRR REE CORY ERR SAPc Sp rh, CREM T ONin! Pot ORI OREO OS aRR ROPaOREO Se RS SER RRRperenne RNY! ei Aah ORCA eS ST PEI sc eteS REtePine SON OR RES igi aeoR oe oirea keaeROO Ge ES RR pierre gh SNR aPRON a“RRND neces otSee Spree ooh Og NIiSoNR UO hE Sr aTR BSN. =" 7TR —_ _ BR a Bree die gis 2 MER ER ce Sah ie Nees aes ee i sey eet EB oh Reon ee ean ae Tee aenathy ARce Re ReAR Sa Sec tndtthe ioc Ba Aa oa RRsCREAT BONS SN Re SE eNO cathe ay ARDS oS TRS OU ee AN ti SRR «enaseen me oh Sorty ARoe RN a ER oS “nee suite tat ct Be: SS es fae ORES Se SR SRA ee ee & ee oe pos =e Bg ae. RARER TARR Ie ERS RRR RRR in i RR Rie iget ca0 oc dt LENE Big se Pe CS | ae pe i Ss SERIEPe eRS

§#EEECC=—i' cc ee LL OS EE SPS LIRR NRE ooo. Ete ERECTA RO SR ER UR RC eR gp sis se PERI HOI RR Ba nN IE Be GN ne te ine tin ob te ty ali te

+ RRR eS AT, LRTSS SI ane EE RR2OR RRR gr ER 1 Re RR a SS 2 cE eR Ne 2 i RR eng ae Pa aS,” PRR Sea N us NS ete rian en ee A eR RO SN Se oe Dp RR ee SRS it~” SSE SS ee ee ee ee Meh i PET Se

“ye oT RacineNOMS Cire EO of at enenanuneneS BERR aetcin fies SRE ae Ee NOD CROCR SRRTL ROCR REEeERO RNAI 275 os - CORNRR S RSM RSS COMO AD RR CS eten elnad nd Sone st aad hen Rie SE earnRC est aRD SE aRRR Sa a A TET BERR Shes, oP. ERR ce SES RRR SE RR SUR Re RR Oeae OS ERR aka NES 2 APE BE SSok, % Ne eegant eees eae RRer SSa2 SC ORR SON eR ae. MPSS EADIE AS DRE ESO EA SoC Ro RR Re ls GON ns iting. Suet «naniRR anette eatin oR ESS ASS a aceRSE ee eSES nc Ce itd eae

LA RB RR Fe Re RES ESRC ce Fe IR TS AE ST SS a ee ee

ON RRR 2 EE See EE, HR eS BR titi Nia ai ie AS cea att neti Tia omen iene a Se ee eg oe Seen ee dt tne eased

we aISS USSR TEAR es hs AR SORNR 5 ES SSeS RSSRO ES A A Ee Soa SDT? DENT 9 Ey EL eeeS ORR cL” 7000GSS RRO ES TROT RRR ER RES he YS AT A cee Rae RR RNR oe Line PTE ni neon a neat nc nel etate a dae ete EEN ee ee OEE Eo SL NE GEO CE SNA ELD S CORLISS SLE NO Eo EE TA ea a en Sgt ON ee NE Bhar Se | “yet ES Rage ee Le Ue Be eS ee i. eae aera eee a eee ene eR eS TESS St Ne DSS TAt +> hy Eee ROS RE ERR RO ee eo MO oa Ge a a nama ae a oat aioe mien ae Sea tc Ba A an El ee [EaBeetsSRnesSNAMMAR Lae OR -.—rrr—™—“‘“(‘(“‘(‘“ OC eeSCT Sr CRA Na Se 2 SIR os oe (77. gS ee ISRO SR DONS SR NR SS 772g RR RRR 2RESTS er RRR Re EE FERthee aaah alee incr es en cseae oda iS zr RRR eee EEN Sense anSSS Een Suen AECS eARO AS ace Bes aeLe “3ttRRR are aaceacarre ONE RS SRR nan erie aesCaont ae ite Rasa a RRR NE SE SERGE EE ed LICE EO Iak ARO ENE eea ne Si a SE ude ce RRR CERN hat LO ri dae Wee atcate ate aintea ddaN oN RRR ESREEE RAR RIESIE CS Re RRR ECO EER RAE tT OL ER PRR a ROE 9 2OsSRR SRS a rR Fons, REany RRShon OR teine RR OSCR naseeSoeegsn nama tes nino rang rete cencei mane neTL rateEET ee aEEneEn ene ee PRS LU Beate RAsano GREP ORES ORS SILI Fe ee oe ee nO Sn No Es STE SOEsea TERESI SCONCE OE TIE EEceeded PO a oe

pe es 4 Sas Ee Fey = ee ES ee ee Se na SON Ie Re

ie ho ae eee —- 22. BES eS RE SS a er —r————r—C“‘(erehrfh™hT Ee

. Fr —___—r— srr

PR ee Ce

SL eNOS oR SNR COR NORE I ce es Ee A Nahar Seon aN rae eae Bae: IR Ns DN SS Se eich eatin eed nace OIE A Oe SR ee

i #§.. ce OErrHE TSS SE SESS ESS ao ES aSC_|s to ES Oe es Es aPEER ———r— clEOE cRUE “§’™mrmhrLrs ser eNO SR INONEROUS RCSD ARNT RRR SSS ER SS Hence tae Sa aleaCOe ee ocA RS Neer eee ITSRECON SRE SEO aE ee SERIES Lan SUSE RRRRC a RSRRR ESC RCROSS TORE PE RY RUN eeirigta oeARIA PPT gee aA DiyRE eM IS SRS URN ce ReSSAC RR SR goa CECE

ee... ; 7©€7.LCCOCCLC§rmrmcrCM es re

SOR RR ERE orl © eR rates CaaS OR atUTRS esRRONT PRANRE a OES ac tieeaeR cect ea eedPRCA ie ATE INEG Ok EU RRC oc eceeed Rea icaerE a es eae EEE BeegHes OSE NOOSA eRRESeSee erate raeoeeee TRB ts”, SR RRR RRB os REE. So = SaSeats RR ONO Ot RRR LYaSie ae SDE RENE Re Ee PROMEEC oSTi Sala tetas9hy, oS A NE

SR 2 SS ORR oe SR LES Ba MSO GS es Le EA EN DT OE TE ORT ROS eR ERIN coe Toh ete ee a OR Stk Sek ts SO AS ape oa oad oo SR ee

with the patterns of the theater of the absurd, rep ted in the sixties by E onesco, Samuel Beckett, Fernando raDal, and others. e the theater of the a

surd, Ferreri makes n attempt to explor ps chological tivati t t logical relati thOf Nis ti Characters. f his Mowever, ch t Ferreri’s H Vfreakish 1’ Ogical reiationsnips among thehi actions

caricatures remain realm ofmaking the real Id aking thei versity ev more inineathe e world, their perversity even horrifying than of the i hensibleuniverse univ f 0the th f the orrirying than tnatthat 0 € incomprenensidie e theater o eabsurd absurd. Ferreri’s visual composition is based on the obsessive presence of objects with eroti

boliy) The objects eventually suffocate ht beifining on fining them symoonusm e€human oojyecis oc um 1}Sy m. y suffocate beings,eventu con them in imeta

1 i T i l i f Fi ri i i i t °illryIn Dilli 1’ erpi 4 e 99 * » s * l 1 Th i i i h f th d f i

phorical prisons. he isolation of Ferreri’s characters inev itably leads either to death Or to an LuUSOry escape. luinger {S L7é orten Considered rerreris masterpiece) e setting—and the “prison” —is a house equipped with every possible gadget an . uxury Item. € protagonist (an engineer in Charge oO the pro uction Oo protecti ve

masks that enable one to breathe in an unbreathable environm t) ds th ight in ae series of m inglinciuding ti including th ti off an laborate di 0 Caningiess actions, the preparation eiadorate dinner and the c caning Of an oid gun. en, naving viewed some 6mm films, gone thr ouge

IdClippings clippi reaturing featuring th inati oO f the gangster ter John Dilli dandmad oid the assassination soni luinger, made love id,nehe his ifehead, inSwims the head 1 t ilis iphi e€ toto theth maid, snooshoots is Siceping wileslinithe ou to a Sailing

* « ege,e@ ? bd .pt) p

p

und tor 1 an ires nimseil On aS a COOK. ¢ ian film historian Paolo : 1€ escape to uti means a total Closure oO orizons, the

Bertetto concluded: “Th to Tahiti i

aralySisS O ossibilities; we are brought down to zero, stripped of all perspec tives, and restored to th iginal nothi ” 6 > estored to tne Original nothingness. °

=

208 The Glorious Sixties

The isolation that results from surrounding oneself with objects becomes still | more nonsensical in Man’s Semen. The story is set on an enormous white beach ina house filled with objects that have been saved after a world catastrophe. There are electric gadgets but no electricity, toys but no children, a car but no gas. A man and a woman, survivors of the catastrophe, live in the house. The man gradually turns it into a museum of a dead civilization. His work is useless, his actions are useless,

| but he persists in the eternal male urge to save the world even if the world no longer exists. The woman provides food for both of them. When another woman appears on the beach and seduces the man, she kills her, chops her into pieces, cooks the meat, and feeds it to the man. The man wants to experience the ultimate manifestation of virility, to father children. He wants to do it, as Ferreri pointed out, “for society, for the world,” so that his sons will perpetuate the now nonexistent human race. He repeats the same mistakes that destroyed humanity: “He will never learn anything, never overcome his immaturity and inertia.”*” The woman refuses to conceive a child. She does not care about the human race. He rapes her in her sleep and then dances naked on the deserted beach: “I have sown!” he shouts until another explosion brings to an end all the myths he has been trying to revive. The form of Man's Semen is as impressive as its story. The precise and detailed | narration is based on a rhythmic alternation between long views of the waterfront and close shots of the characters. The precisely timed montage creates the feeling of a vicious circle, a feeling emphasized by the rigid structure of the sequences. Their distinct beginnings and endings make more believable the potential finality of all actions: death is a possible conclusion to each of them.

TWO BELATED DEBUTS Unlike the films of the French New Wave, which generally were preoccupied with highly stylized ways of presenting human relationships, the New Italian Cinema focused primarily on broader and more socially relevant problems. Some patterns

of neorealism reappeared in these films, enriched by new visual elements and moral attitudes. The neorealist heritage was clearly apparent in Banditi a Orgosolo (Bandits of Orgosolo, 1961), the belated debut of Vittorio De Seta (b. 1923), already known for his excellent documentaries. Orgosolo is a small township in central Sardinia, with stone houses built along steep narrow streets that fade out high up in the mountains. It was the ill-famed center of Sardinian gangsterism, kept alive for centuries by poverty and the silence of the people. The villagers never speak to a stranger, never reveal anything to the “carabinieri.” As a matter of fact, they talk very little even to one another, and their sharply chiseled faces hardly ever reveal any emotion. Unlike the Italians, whom they consider foreigners, the Sardinians rarely smile. Sardinia is a tough country, and so is the life of its people. De Seta structured the aesthetics of his first feature film in accordance with the characteristics of the island. He rendered the austere exoticism of the menacingly beautiful countryside with an almost motionless yet not impassive camera, favoring slow movements and few changes of angle in order to evoke an impression of

The Glorious Sixties 209

a. ff? aS rti“—~™~—~—™—™S™O™OCC”Ci«C*C:*«C;Cee) BR os ey eg es IPerea SAO eesSEES SSeS or ene RoRneee SEE “RR. > Sc S eeeebee Seonepans EEE Sa EeRN ae oF LOSS SRE Ro ee LESS UE es : ~~-C — BS ee ea acaasoeaeress aes RUSS see ennenen ee EY SOR Sa SEE SERacer: RABeen Seia ReSAtaSEES een Poe A resss aepees : Coane ee —.... Sipe SPA ce SEES ES SoTEL aes eRe ANS eeeen SOE ten SEE Sores SESS Renee Pyrenees PU 8TEESE ESSE eee Ps oe oeSAR ooSees ca: ee SE ey SURES Poeeereee aie mes eee gs ee eS RU Bes ee -. Se Soe See, EE EO a ERR ee TSR SRS Zoe AS aie spear SR 2 ee HESS ee [SSR BBR eR EERE. SENS oe RSS Senses PEERS eeseseSSe as |Se *FeyPPwas ESEees SseSe eatate ees TRS SESS BESS ee Bs anescog - SeSes a Renn ce See. eS SS iS pe cs ee fone RSE ae ve aR Sr SEEN SSS SNe Remar . SC Pe need Shy eeSeaeanenen IEEE : Se Poy Pate ne ‘ Pe GES soCaN SSeS SAG Sey oe aBeat SeSeERS —SSeS a SE Sos Siena Se Seance Mele aS ReninENTS SOR SRE nan Ligt Ra, fhe ‘SSeS SN Se Sa espane eIcorer Sis eee See Nea BR eee! Se ae Soest SN SEO ee aya*:RN aseS SSS Se ANN Bo aeRO aR cage ss EE RRR Te ee BSE an Zagee ee Ree SaaS ENS OS Po eR a = Baar See EE sie ee * SRE A oe ee BRE SE EAS oyeN Son oe Sa ee SU aeaaas BR ee eee Se ee SS = ee ee eee oe Se SS HfBeibene? PRR ers SERS FEES ESRete ene es eeSESS aneSS: RE OR BAERS SERS RAS SoS ERRRNSS ES< so eeSSSSE ae Recerae ere SEO SA aAES ore SE ae SsEN Saas pee ERS SSE DE RSS ES SERS SN SS Sees ASRS aes i Paes Ee SSS SSeS SR eeee Ny PANN iene SseSSy ST oo SSE Se Se SeeRee SEES SEES ae Eas See ENE ANS Se CrSrna asees eeHEE CS eteeS ie STs Rae SRD RES Ass RCS SRS Re SES ERS Rate peers RR‘OE SyeaBa Se ee Se HO aR Seeee mee SRE SEES Se SE POR Rts SERS SERRE a ae: es Dat SRS SSS ESPN Rr eRe Soe See eee Song Se Sc RR ee AN SEM See ores ee Pos SNES SE REE EA SENRES poe SS SaRee Se APES ateRnoe SER Te SR ERCSaS aeEp eatsNes RES SO Aas ae PSN ceeaearaies eesRR SO Sree SEE Serene = Sa oundNe Serres TS. SOR Neyh SRSERS ee POen eR Sea oe aeFase AOR SAR Sean ee Pane ioe ery eee Segreeee aes SUE ee aeSReon Sears EAS RUA an Se Be SRR ee Rn es in eeaoes oseaell

— oC oo See.

SRR ee ERIS, st ss on Aes Ro oan IN paar ss fe anaes sy eeSES STEN etic SS ee RN ae Sees SST SEsBees es ie. ertSo Sees: DOS SSi SES AO ~~ CC eeSSee SES: % Sie Renae Pattee eeeeres cea ae es ee eeioe ee ES ES Sa aeES Soe SSracare es eaeROE SESE SRA sees aes See SE eeaySe Boss = =Soauacunnctanese atten Pere Gos ER Bo Ss 3 ORR aSe Lae aera ee RS SSS eeSORES SeeGo ee RR 9.Siathe .... 3 = =_=—=—m ae as — Co en ..... 0 Pee ee eee BEES ~=—r— Sas ORS Sree eeeSee spate ee See SN oaROS peat etee SEEN iS ROSSR RRR So Se eee ee SRS= LNs Renee aco IRRSe SON ect SESae Sere Re ae SRR eet osOE 2eee SNe ee LEeeser SIS Siete Seeee ASE Shae eSeee gS SNES GC Sy NE eee ERESS SSS ES a ORE TSS Se aes Oe SS eS Bot SESS Ce. AES “SSeS EES oe _se~C. Rs SESS aS cS ae Saaen AS SARA *S po ere “SR Se Seth SPEER gee SSS ee 2Ronen OS See So es ee aaeln RY BEEN BE Re gi oFeS Beene hoe Sy Bete OF BRT Pee Reese ERE: SS SUES Renee DAN 2 aE — aOR es ene. “ne AeSESE tates vA SESS Be TAe hy aR LSet Re, OySP aeons Sn “attaebe aeramoe a, Shay Sand aeEE SS Me Yee :APE SUES espee a eee nyeSenn Se CRroan See asnicd AER DEAT TRayePa PaSRS weFPN Res Pen an ES RSEt,o SES SSAOS esSE

Toe eT - ee ce ' Sees - ee, , ii_re Raa .TEE SS Ag SEES . eee Se oN sR , .5 Cl re" SSeS SORES Bente .Ss cee

ARS MRSS PRE ORTTES SO eee eSSRT ee oerSS SSBa Bene PeeBet PPIsaeaTa ee eatMe, aresMAE Sore Sree OS ee eensay MaPeps adenoR, 2A Hd Seb te bee ee SSE Bos SS wee SSESs SSSR ee ESTESS, es eeSE CeSEE eS xtePoneman SEER eee EPS et Bae eeieieee po“, areaen Deedee 823 Src Soe Ee Sentai eenSe neon enancannneaare ene ar anes a Et, ay < TS yeASS tia A Pranic SeFRE eeiSan by, eae? beth ae ets Sah SRLene SS SESS SESS ESSS aseeRea OEE SEEana SS tye SEEE RSalER POST oySS Ay Ra APE EES AR Se ae Beong age teh Teng. Me SCE SSL be SEES ooeeSterner SEES ES ee SEs ore eka or Se iy ohne a. Tag ahMee. FR oe ntegttngs, 3SN AES BOR arcs oe ee Seesee ipiieeies ees SeSUR ee he Se (eR neSEER Pena ees :SS 0es Por ay +Be na Tee we OS Coen Te Mo tegtey MON Be BEETS Senne coer, LET Vs Pas SR STE Le eeS LETT Fe es Spans EES araBey anBFE”, gab reg TEN BSR he fae Me. ig Sh COO abs! Bre s ON ees ogee ee Ses eSSSS See RE Sees SO Be eee eee SR OS CERES nee Soar oe ee, ee ae we OST nan BIR A tee,A, ratte Se AMS Seek aePierced 2 ive OE 8Hie aren ASN aS "EEE RUDE re Epes OSS HE EERE ronnnenee ioeepreaaine nes pie Teac a ne PUR Fagin, nae ST Beige OTR ee one Rares SR de oe My 3° Rape nEE ee PBB Pe” aS Re aS Sikes Sse ORs AS eee a OOM Cra ee ey eeassYves ne ae og Se BE Ss RSE ES Sue ee See BER, Sek SE eS Sees ne Je SAVE a~~ SEA eee ee SE Soe as een non, gee ee bei DRL 2h AER Sees eee YEE Store Rees SSS eRe Rrra aBN ADM TRS RRSP ey ROO EES eecaneerD Se SUE Ne SE So, reee rr Boots ye Teaan RS! Tie EE Bienen SS RES MS eel ess SPS RE SD PS 2,-aaan STS Se ST ee TY Se eS Sacre LS Seen Se eee SS Be Pre eran: Day a SER Sores eee 7S ERO Cee Seti Bae 1 PR ° pee eS oe 2oES eee pesinnnrerst SEES SEES BEEMAN RS Ee SRS senna Brean Ses aes SCOR BR nN ee OS are a oo “aka ey tyeee 1Tt ROS Eats RENN ee BR SE SERRE eee ene NESE Sees Se EE tg as? BP et aoe ae aa eee Seater FES e Ss oon 2 SE ee egies ee eee eer ee PS fe oe rae FES Saathntn tend Ra SS Se PR ee ESS alae Tas 23 ees ee OS SS SOE PES es Se ERS Mietighs 3 “ne eae Aa ARS x kee MPG ee 8 SS es Wages at . spetiaas peer Poe ee ARES SEEGERS RRS pete SER ae BREE SEB See ee Se aces PRESS Soe Sa Ro ls Beg BR gt ye . See Rae noae SEE pecans Spee esos ppoeae ts BOSSI nehte NeSE, 2 be Stes SRS Nae ee +eae xVES ORSel*gg yeeSeotne SIL SeS sengnenee eeeSones eres oe eee ere eSoe eS SE SER So.oe, BESS SoRASS SeSite aeSEES eaEF a AES aoe . Bee EE RSG ee aeeres cage ghey Tee Bs eee! idee BEC Sen ge Sg ie 4 tote OS eae SRS Peas eeSees Le Cry |Peace fe Re Sb Se ceSESE POSS mee She oes a Bye?

— RSEeOE geSEN: aoea CREME -asees =SR ekANS BeSee we aS Ss Eaten See oomeaS Penna SF SR Ty. wees ESS SONS Co EES RY Sea ee peBee VERS EER EES — Roe eed~—rs—e eee eee ees ERE Pee I ence OS

2 SN ees TS , SSS SENG SE SRS SO RN Sere Se SSS aS SS Saye ee SOS SSS Se — a SS SE a SSSR So Sees aiaRS Sone eee ByBe FEE Sees SeLeNS SS eae “ .aSSCA SE SESS aaa a eS potas ee eSRS SaaS BENS ee SS ena ee SeeeSR eSekeee aaaa |BR Se See oyOe eae Seen i eres BERS Cu Bak Rees ae NS oeRS Se poet ae:aSEO Paine ror FAT ee aSe. RRC spon tes RR SE RS Se SsSee Gaara POMC RE Rceenera eeLe ee RENEE BRR SS pens Reg eeeNes RSS SSeS ee a ee Soe Ses See +BR ree Saitonastes ee SENOS as ee ERE SoeaaS ORSee Soot ERI Es RS ST ORS Oeges oe OS SoseS ‘ESE eee ee 24 erent SScaaes IRR ERAS 3aSee Rao nae Seas Sen SS eas Se —SAP aeaBene es ee ERE SP ee SS EN Bete SR, BR ane Reamer ARE DR: eee MA SA ensBe :SES 2RASS RON aN NS AEs eg ie Saat So See eens SESS ER SesRnR Pees Caen osae eae RegSi Stee, Reaes RON Rae 2. Sasa Reeae eRSR Soe ei SeaSe gees Loe aes REERS. SS TRS SIS BSSsae mS NS SesSERRE. na I eeeSaas a ea SESE eas SRO SRR oe Ce geirae Peano Ee Rice Pees Ts: Sa eR a ose SSE he aS AOR RES TERNS EN a a Se See aes REC SONS ~~acenananmanns PeRion ia i aSo LRN os Oe ¥ ORG aR SES EE ghee eee See oe ERE SEE ARS ROR Saseryae Ren Lins TRIS appa eee SES ot SSR Seta eaten oe ee Raeeeane e rane aaa ype Se TES ee SQA RRS “aoe peasy OS SERS ee POT SSR ai RRS PERE Neca:Re oe

CEG es ERS SOU St ae SEE ee PIR ee Ba eae See ee eee Ses eeteeren se IS Ee Se RERS RR SR ee eee Sees SERS RES eae s

okeSey, ee Le ate PRR SEeeEo en SOs aneaeey eee Senha ee See ESuser aeSee Ree LS oa Reis ema SEY .IRE RIS ae, eee PRN OR eon: ENR Sane IST oR eee ne Rees SsBoa Seancee Bete oesSE Bernas CEES SEE ah EE aeearner oe SES enesone EI RT eas Sees aesSen a eCEES ae Sas eSepee Seo ue RGR eS See Bea Saree We: eeFNGEST? =aeRe SON ee SesoesSEE ores SR! SSS SO Reena ereraey SL IS ES Resa ER SRN EERO SRD SS aaSS BS = CCaa Sees RUE ESS oeaenares Se CSAs ake ET ae areca SE EAE EES SeSugar ON IGER ae pers mee RR SoS teen PtES eRe ren Raat ~ Sarees wang pemacenny i Rea >eRan Peene SEES SE SAE ne Sane a gee heSMI SEL. COR eeeerNae eee oe Le Bean > oe aSSes REN Lee ey cee SEES oePRR Seareoe tere | ~=S—=s=CiéCeCii«‘ Soe, SSRNSae ae Siesta BASSES tetas aaSES EE eines SEEMe Wee SESS ennenas perenne TEENY E> fife RNRSSS PRS SOwey NPEee Coy. See Rae AeS ae a PRCT, SERS ENR SIR, LP ae Renee eat caEsSETS, Rao Seen EES Sean Onobaes SEES SeELS SRR MORES ee OS HPSS LURES SAR hy eS 1Se RS SERS wBENS ene IEeR RR Sore eeROS SESE ae EERE ree) es RES EER RRNGR SES Poaceae eee ME Rags See SS Oe Ce Se Peace SE SI Re CS eR eet Peer? ae Bn RR: OREN SBE CSE RRR Ms SRS | #&#&#&~SRR SRR Rete SURE RRR eens TS eae a Cae SEE SORES SES wy ee ee BOY pare CARRERE oun Seat ee See | = come Cotneneneies eee PRY eres ee Be peep Sarasin Soe ae Rie SES, SOA ERR Sy eens woe sry peuieectones SORES Soy es nar Rear: Sn reste res site eRe AES Sect Se Pern Fr pee PEROT ioe Ne habe pea ae eg ee ELS sae Res St RON SESS SER Sey VEE Roane. eer RIT (Re Sie RNC ate pecomrentantaanas SUA SELES Meee ae Oe ROS Te Raa Raa SRS ORS Suge CRS SOOT OD re Ar See RS POLAR NN ERR Sane

aa SEE See peers esoe cc See eee SEES Dan es PEGSEES _ees SeaR SaaaeseeSAU Geff. RS == SENS See EOS ERLE JEEPS Se Sees aaSN Bes Cs Seances rr ~=—esesmese Re Se eae RRR ES Soy ES Reena LO es SyOEee SR RS ee Reeeeenons ROS ait. ares SKN SN mo Wee ReSpectres SEE ireEES en marae aeee SS Le? SENS ath See SS SSeS soe} esAa See SR REN See ERS~=—r—eSE PISA ee a eae Rane

LIRR ERE ~~ See EARS one nceoa es eee STS ae SE SBR Bo SS SEECE Shes Saree pera SEND SEO aeee ee Sao ~ene SUE AS Senne he Lbs yeee sseT ~~eae CCRES SI ISSES a BROT SESSS eS Be ees See pees RR EN SSUES SO weCON ES RS aes RON BeRNoeRene eeEee OR Ee eRe Pana Re Rare a |ces Rpm SEE OSS CAE ei Speen SE 2 Sees Ie MY (SORTER Seng ee Sirona nyNO Drees Aas, SNeES Seles FRE Pe .SEES Sean SEER See ~~ CC.~~ SoeCC eae oe a8 Gace Sesees renpeas es NETREES eran | aa ee SORES enaASS rz Seeae aS -— ~~_ ees

pee Gove NY anes Loon eo SNe SaoSenne EEE ARS aarraas ESSTES Sieeceaes Baaes SORENESS eae ee ena . #@§ SSS Sys Se Sa _ Lee enn eos i ee ea eearee Sivek Seo ae TaSaaS SEER IS YQ SWE,Soren ERS Saye. Sy aes ~~. Se Laeaeny #&#&#&3&2&2&2&27€» pee AES mene RRR ene is a es Sree RRR EN SE Seinen Samra eat Se SS peeutbenneens SEE TAR ORE SEES, mo | SERS TORR ees Se 7 ee Lee ee

_— seas oe oe Ses cetacean eae tee CAS SUES | ~~. Se SS Seeeeeee — Sees pee Se ee pres oe es. RRS can eons See SS. SES shane ncaa Saeiey enna Re : CC os = ~~ | ~~ :a Ee — eee onEES Seti Be Sng nebo CRN "Sere UPSETS Co eras se| CC Se eee UO Se & oe eseseee ene eam aa ROE ATS pores Bate eae SEES SORES SES ener Ree a SI Se SS ee iSEs RNREs a Beanies see eee ee %_—=—sS ES. SES eS Saoee BAe SRR eee |ae eee teenie: Ee eee -ae #2©373«C leSettee ® HOES

pes SS Sees: SEESDOES SEESSeSEES a Sean ent SRSeen aeeS Se Panos Sees: apesSee NeASS pareaees RES CSE PR, SEE EEE Se we SES LESER EO Ss SesSee BOSES gs ae SERS oo Rea oe : ae Serene a proeees BREN pees enn oewaaay Roms aan Es So ER aH PR SEE ay SAAS Me ene ae nae Sens ae ee aes SS eae mies Tee Ree ores Rieeater MS EES we oe ASSRe ts SATE ee SSS aos “aySS sn aeSES es easEES SE s Be ee Resta Bee HpTER rans mies = eS See Ge RE RE oes hoe ened ote oe WS fea es ete ne Ee ne ye ay ned 4 “ pore oes Rie Senna EE Baperer aoe. Soa SRE ae RI ORS SESS SIRE Se ae Sct ESE Ss etnies ceennenes UE LE o Ce 2 Sg Ee IEEE a See Aen: Se See Sg ae eee Be ee BS 4 Sarena pane SeSG etees,emanate [a BH eens Esa eee EES anaes Renee: Tey Speen SPS, Seles Ee SEES SeteeS— oe ee Seerect ee See oe these ee eean eS Oa Pe ae ESS OES Seen a easteases mere eins CSE,SEAS Sey EE SLYLEE OSEOER Nees SS tie ee Pebenraaien Soca ey EE oe Leonean = pee SOR Eenoe nana ee ae — a ee oe ee OSE: 8 PS Se SESE peeretas ES a SES SAS MOSES ¢ Serene SESS SSRs cesar eens See are on SaaS SSE: ee eee Seen sey SEs Aa ey Pe Sees ee SE Baas we MRS Sama eae penne Se LEE ot Be Sees Sas. eee Sees noes SEES AEE ae EES Searranine nec pais ee Renee: PEGA Oa Seas Ce es oe ee ° ae aeoe SERS eee Remar aOS Se See cas SS“ee OSERC EES ecient ereaPLO L aES XESS COE SeSa REeras eeeBRR Eeoe Beet EA Bape Sass BR SES SVB SEIS ee eseae aS oe eee aeSo es eee oD Moane SP Se Ses JA SEES SEESCate SORES oe wet See SSEOS SSE Roatan ern ae pent SRSaeSey eee Saleen se ee Senne ravens LVS rel ge eeerete aSEES aR eeana eer BEASoceans Syup Ca SO ERS SEE RR aa ROS aoeeeeeDApSEET ee SESS ESS Pena : 4 SNS _ oo Seas iSoe eee eens oeUS eeOuse eg EG PGES cae BROS Sonar Saeeas pe rae ee eReOne eaeA WORE OC Ea ONES IESESEES 229 ae eeBO Co weRee eReSeyi se SE Sh Beas anes aoa PaeEnS VESPA att ing mney seen ee eeSees ESS See sey Sees SRS Iees Se Sok Goes ee ue eeTo oeSES ae : RY, z lacie Reaeaerene eenaOy ae OE oe Oe SS teatro aoe NSSES. aimee seeseae a Vat SEES SSNS SSS SSUE oe Se Se (ee ea pa rer aee SeRee oe a See ee 2 ceeeecee : eee 2 Se BaSep SES, REE ESpeters a RES SES ee anaMME a Pavano Bees Berets SEEOSIS EEE DAS SSS SeeSeeegeeeoe: neds ee — : Ss

See ee Baas . ieee OS peeaemeneste eee ao: ee anes cece Dean reas See ences eee a. ee er — Cee 8 .

See Ses ee eaeee RRS Sos SSSe DEE Os aeSee ars— iene. Re ee ES Sue ES RO See ee SEU SS 2Seer RE Eee Pe ee mtorr ee eee eee Eee. SeSePee CUEN —— DES ERS as aReine eereee eee Peter ee SEE Se Rae ae Se Ramee eee ee Eyepear eesSEC Serene — S. tae aBoe ~~.ES pees apenas seeEe SeBe eSea£3care EERO RRS ETERS eeSeoeRRS See:SEE are SESE Sk ao JARS soonae vereRe et Hes eee Seman sania wee a preitaen SAS SRE EES Rs DAES Boe A renee Rees ee eee RRS RS BAERS ROeRe Se ReSSS SSRN RN Seto Seer eranee SESE cane eee RC = SS Sree — See BUR Serene EES ees SEES ee SNS se . ig: eecatishelts .a : Belles Haines co— SF : ee | seers SR ne ae : Fae“* OSS oes :Oe Sc BES: ae esRed SA ISS . Dos cee sa _ oo = ee Bs SaSEE oe in .GRE . eeoe ca oo ae am ee BUSS Beats : eee at oe ols — a ed cL, : See Scan Soa a BSE SER | : vette: oe a Cree RES See pears - Re Se ae , | | ,ee ee

oe SaaS oeoe Ste ee ie Se: aaSR: See oe oeSeas ee ng RaeNone SeRS Ce ST BRS eee SRR Specs ectSed BRR S; Ss : ! es “ coe :ae Se Siena Se ee._ alee, SO . Bs PcmySRC aaSo anges SEER RES :woe SN Rano OO eo ee ae Ree we cle ey oar. PR con . Se: Pee Ree ome : ee oc usettiog ang | eters BAR : ees Seas SOR SRS Se ae we. wo ar Se — &. .-eRe 2:cS ae Sasaws " re te (EES eas daa 0eed eee Be we 8BE ny, PEE N een eee PEN, He eT wet 23 = SsNER late ee3Steele TREES "ratheae RSS ata S aeeiaes ae pesos a a.Os CO SRE BENS SSAA See RN. :SEE eaceanuee us oeae ihe nietcap SEES oe esr oo Se : wut a ene ts Pee EH a Core eR RS a et es oe — Be a Bes Se a an SOU naa ee nS oo cae -— SA Sos Jo age BON . a : oe ; Sosa ste Bi aR SS me SEARO oan : dela needs 3 SCREEN eee SE SN Se RECESS os SSE ae ERS SRS peieee ne a ree ;7a a8SS,oeeeJ.Sa,ocBRO / . : es S ne eee A :-. Be Rs “ee: Baer eee . | ct — eet .as Rea SRR se=ye oe —:ROS oes so: “et aanREE” Ses IRR - Sete seettnce se wate ow a=Bene . ae Ome Da : SUR SOS hey BES SR, eae2Bene SRNR ORceae RSa oS pe SOROS. 3eeeee ee ae ee as, —= oa Sao ge §.SE? . BOS see SsSkeet Pata Seer ee Sees SELL ee, Saeenee ‘: ‘aan ; :SERIAL ,:Poe oo :Cotes -ae . *.gk — BS Se oeSESS SSec$, whee. Pe : Be Bea TO ee“< whe cid cing we Ss k:Sea SRS arene Reon SeeRESTON PS SN COR aes cheaea _ —aoe o :Ree < aee

Ree SBR oh FS iathan Tam Oe Sines. OOMINSG SRS BR : SERS eae aS ES :ee Les = SeSR a ah Saoo Lys se EEE . wees Seceediecanie Saige : a’.aSERS oe PNa ERRORS SRO RSE SP Mh. z . aRee cSee

See Sater Sa Seve Mohs ae a Rees E Sogge See panies — SR ae we EAE Bs See oe ae oo oe Re ee ue sehen ere ce Res ateeletet: Shathers . ‘ ve a Beans & CS eet oad boty SSSR Sree NY SR Seasons RS DOR SoS a res “ See ee Pee ee Sees

aN b:Soe : |8TRS ca .SOS oo ae Lge SRE, : :Se-:Re :RSasu See Sy . bSeaf i= oo 4eons — Das ee Se 3ce Hel So Bn ee eee oS he tee ee Doh aehe ae TS hn Ee BS Bs Sat Seea oo . an a :CONUS HES Se “ae, hates BOS Beha has ar hens, nes SURE Lg ea eSta .oe8ie m ' . w ~ | ae : oe Co ee RES : . : ee ee SRE er RR Pears eee: Be! are aie: Seed rae. Sa oe Be ce 7 . = oe aes SEE a re me 2k eae Se ae Sea sis ee a a & "ee | . : c = i oe : oy Se uae m2 SNe Rae 4. le Fa pastas soe as Rohe Se ee ee SER SRR Boo ene: eae wo ee a coe Be gies es at a— . ae Jee : 2Su eae SS Be ES eee tools ee oD SSE Ta : Seay ESS i : o Se ae sues EE he ES are = Bee SE : Caner wl pe Ao ak . BER oS . . ioe ee es Le eI : Ba ee iyi pals ooh Re Ree oS — eS BS : a See ee ae ae .ae “= : a | 2 “SESS Ree SESE Sees a a De a Stes Bite Sa Po oe + RE BO RE Jos SEES A ROUSSE a i |. | Ce > |avenatcfaehe‘ea.eau ‘ : . : . : : oe BS oe = ; , | | : ae WOES as ee OO . a SET er rs is : SERS Sean Sess a ; : i S : SORE net : myake cle Serie RR : RRS oe Neetee SR :5Senne : :ms oe oea that Bae aePobiies. SLES Des daere Por BO wee ot ‘3awet | ue can ::Lo Ne Sag ws eB :LOTR SU oo oreees wos OES Besoece ENO S : Bese? | : ay Bolen Bee wo ; foes ree od ee EsSSE: SS nt :.:;as ca ener anil peat & Pees ES MEPS ES sie ne AE Ree Fee ces — See See ; ; = & , , . ce oe eee ee Aish — snares a : . ; . eee 2 oh, Sake” ie ae ee ae Sh, ES ee Sere te et aemnniench SOR tel nw — ne S < m, . : 7eei eee Ene ls RRS ees SOT Bes, ‘ oo Shae Ss a ted Bees Soo ee i Sue enGS Be _ aSARE :Q . iecaeacs _ iah anSO oe : 'Saga . Sees ERE ica hunt : Phe i : atorate : Pee 2 eaneS, Sea le So SRN RO . : . Se ee PrN ne ae

e2:DARI :7De! :2 -oo — Sea RES ;;. .Ssan a-:| 5_-é ,|ee ‘ane -| Q oJaoe CC Sct ee Bi an .:;ceESS Rare ve oy SLSR os Se oon ro ad :sz... son :: El ee See eee — eS Ss ye xane iea TES vy ._ . CS Rese sen aac son SEER se =on ; .DOE Lo SS Stas SOE RS :ee 2:eeee~4”Ola2icece :res— 5_— S2S=aeSE se :oorSoman Geos ;—

a Seed eteca rg gh ESR PeCos eS ccs va oo oo 7 SseS : ee .Se 5 | | ASS eee — .Soa . : ; Q : . . I ae -. Rees Fo Sash . ; Eee PROCES RES pal OU -_ «.. 2 | :| : q-: " . 2eSiSeaas -ESEaBe| Pycee aead SES: a : canes: . : Fee

eee rasBen ad atet Lees: enas: SR igh POH POE OS. oySe oo: .oros sees nsSas :meme vo its. . saat me anne aan eepara 5ae Dore isbah. . CAL ee SESS So eens Se. .Be eee SUR Srsae oisee ¢i SEsOe SY ances ae Slates Ogmale Ceo SeSSNS SedSeoO oy : eee ees Sperhyoest ee RS SSSree ; BORN SRS NS Senge bans eee USE nd ; one : an BRON ns BARES Ba! |. Se we ce , a , Soho Peer onee Bre Peet wo UE, : a : Mo RES: eo as — nee | : : ’ SESS: EES ene ese fs a pu SEES EE . ae ms | On — ” oe hee SS ees: EENde DS esoe : reBee OES,uae ESSE PEER .; f| 3i) aesWEISS [PARSER SEE Bearers aePe Perea Seog e Les uoBREESE woe & ER SRSee S are7eee | : : Ses REE so, SEER ee et eater: RSS : "Se SESS fe > tesa aie: ne LE gee SESS ee gage eres USE aSos Aewoe |Be oS ,lity 7ES .Cl eeBxe cee 2tat re. OSU :oe eee [ —oe ere ae och SSIS wtae . go osney : :WoL ae: .oo . . set Aes cores 2hla. ott :ee. °:.SSS hg Pe oe

- CC

rerge. arr 1“ yoe” y =, :-- :e. orhood and ; | | ulSive C The | . } next ; € WwW , £ :;ne i. da , is trvi r|3 |ia |3 ,= 1S Fs A : iovanni deach ) :what 0. ;; Id ieve , | notte

«

wewould em ed. allbec sh nd ad ed Cc likeBut to die : don’t loveneigh u any are mo aon O

, I ne ilapidated

Giovanni in the fi equenc I ave e€ avaanta

ovannl, aw e estate of 2‘ njust atten ve : vteant. despe -Kn n write e nigh : 2 nd film take7

e during one afte oon and O | V r3 nt to believ

Lidia is y he en O ) own hedgra an: pulls :her ‘the2en

tend es not wa ve =

attem eca what used to be. A er h otmneS: in | rin atigh

Pe RLeh pat eR a TSR Gate Bay clea Anh bt em cyye Myos tkDAES oe Rea OL: SE M4 Peed Bhee Eee R Op DE BERe. TPE ged 28 ala ie RS tahSec SR ES SaSo MR Be- o.* Besos SEOT Ba RR ES te Be any BRR ae aeS BER oe tyeeFT ase vote Me te eS STU pert Tet aDE ay Re Woe TR7wt ote BOP Oe aoti BRR aae By Fee hs :tae ‘ reaas oe yy GE ae he OeyeRare ee, MED, Ten Mat Pe URE Be eaRRR pn~~. E POP Spree Ve oe ky esee if? ie MED ahead May eR OE -tetage US ~TADS TTRSL .ie -care at a?vo. CRE. COUN a ot Fe ‘wae, .ee wee aan ‘> Aare BAS 4 YOURE MEPS RES SAS OF 1 oBeet UTAG : ee ty ART 2ae etae . ye iseBee PUR a, Me ettad PO Sea eg he abMe gant ieABae ES oieTeetEn De . aL SteFe, ett.ie. log FEA Sy ue ie iSU i aAOe od Be ee

atesES BOP eRSa ae oe so BURT es Beh gee eh EN Sheeee BhSeVE osatclabee ne7OG ELS . “Seatietetoat. OT Be:RRR (00 CREE, SUSE SRE Ben RLS Tee Ea oe LS Oo ESE CS BERRI SOREN RRR coSRR Roe SS ae Sa Re eRAS RETSs uk OLS a os VES EE otRR Ce et [oteERR QRS ATL eI ait BOSS Rags org tr eeSeeer eeREE ee Se USPerera SRE

|CC |. ee ee ee ee ee ee oo rr. oe SSR gE Re ee SOE RRR ae | ee SoS oeaenateiccanenan a ee SSE. . wie) ny SO wit SEER SSL EIR RRR a Ui el 9 eRe TERS ‘ Shame RR oR oS peas eae MCC

tie seeis oe MERRARSESIE S01 SERREslagsticariedelinen ea eerie a! : Phos. reyhsBareenoa BEAU RRS ECR ORS NRSUE - 7 ;ULES : aes aaSSX SOUT OSI Remus SERN aRRRRNOCS URRIEOTCNa a itinnrecile lebetameatetiey PRR BDU EREcounan So Lose een,URGES wan SS eR seta SoNORE SMNANG cRNA RNS RRR CCE SRS REETanyenatel OLR EEC RRs SER a Boles CUED)attsLULL UDINE Soewey Bester Oni RS ee DS 7 CEL on 2) eh DEL ies aU te esd, ULES PaReruemann cea aC nS SSN SEU RRS NERS OTN OC TERRES “SERRE BREE ster late Ee te io en Sa RIUD EI RRS SS EE Seas eel : SURSteeee 7 BLA UNS nS aD Say aie Sagat OS Ree CEESEES SS eed

EoSat Seachad eet nuadnaiotin oe SOE PUtayo ees vo EUcena UPSpeepee RT SRE . :ee “EER eesSRR COE TLIEEESSSR es ea PEEIAIIEANS UaRUSE Bi aE ae 2 a AE OTN SRR Ee LEESISEEE Shc) Bouin nee 2S ER

SIS UES IR ESR ieee eee | gan Sei UP IPSs Se TI 2 hs 7 SARIS STR ea ar | Doles - MOSS a hea TONES eS cane ORNS ESI CoRR EC RRS Rees eee ee ee eeER ee LSND i=. CNL TSU SE SICAL COSRS OS RE “AUS SR eh SU Dn 0ISSSSORE Te EES Sg SR OeOS anRRO Td EES ES tha RRS OSES SS

POS geo so RRR Sd CBRE COURS Ae SES SPE ORE e EERE SRR gg ES se SS es an aR MRSaae OSES natn: ECD RSE OCR SSO

SURES Re soci SS CIE es eeeagaan ce USEDSe, USUI SD Sa SR en Tats SSS re ce MERE REE oN RRR aE CS OU eS NUON pagina geenee ante a BE ahAMSesne arEe eSITE Cae neue SSSOCIO POS Dod eeNY aSS RS aesren aera t NOS ERR Siac EROSaics pn et COU ateanaeaemcctet slic eeeERC TR PEDUEAD RUISN gM?USS DELSPose ich vl OE UMRESS aoa Nee ESSE PERS CPE ES AEESSE Socemmememtnnca ERE wown OR SOUS SESee SNS SI1LEE esSone teggTe aReeSRR aeSRE ce |hao SER ee ee ee BOIS TES GEARS cdRRitDS US SR CL >. NON ERAGE ARERR ESS SSE) ROR BERRA TS

PORES IERIIC IS CA eS Se meena a SED Sue De SS SIN PRED ORS DOCK a a 2 SURE ESI ESR RORRRRRVRM RUT ORNS RRS TERRES SS rrr——,Lr— eseee-r=E—r_—_e=—r™r—=eg”~=——e—e— er —— SSEEEEIIISRS RRR EESee RERANCH SLSOEEE we EO Sen TR) Bestia i oseewR Se Be Be SS SIME Leha, SUELO QuAS noRE Sn eS ee SSS oy ST EUR SS BRR SUSE RRR ohSERRE JhaSESUA RO ERS SSRN TRRe CNa SRenreapeR nN ee RRR Sc SELES oS SESE SRR BES SN STS ad eeaoSToten oleaRES Se Se Be RoR Sc 78 -RRRoRROO R BA Tae cS) SSS ERE eo 2 Peron as ceca BER ge as CE SE oe oe . ESR 2 ORRIN CEES oe ES Rad (URES ESE SSR a See Be RR cet SE SR ee SOS wsSS SE

PEED ds SRNRRRR CECRSE GRRE SE nS eee Se a ae a pc coe ern oe SGSe EeOe a ena orpoeEER SEN aRGoCC os See ee SER ORR

ROS RSs SR RR SR Ro SO ORE SERRE RN REasaR ee eee as BORE OES ERE SEE eR Se RE SSS Se ee ee een eee BGR Soe OS eS EN es OUP SRRAE See ee Iirexsstsin. ors sa eR SRR A ch aca eat oh {SGEEL CT SRR RS VSR SU UT SRR OSES Rs eer ae a 2 ERE Se SSCS AR ate oS Ns ERR S Bee es. Seni Ls San Be RES Ss EASE SRS SS SL HRN ee aR os agin ASME Sse Oo Bea SSRIS ANAC RESEND Basen REE NCR Wet SEE en Sho SUES RRR eco co na eS AEE ir SRS SE ech oe ee ee SRR RR RSSina ESRa eee ph SES ue aahs PRSses SOP) sloBeTeds TERRES ERR sk SSISSRN RR SR REA SS car RaostrSRR eh ee USES SNR SS lgLigh 2 oe on ERR SSS SS STS rng RS RE Rae RS EE AREER an eR aap ane SR

ee SS coh UHURU SSSR ee EES i eg oe "PEC SISESE TA ib cutee organi tata aL MR RR a ego

ee ee ee eee eeeeeSrFSS eeALenSSnes rr ——SEC. ae ee ee ES Repeater SS Brcaneisgaitianancennneaae Seas SSUES Sho ne Sara Ra aoa RS SSS UNS yeese SoS ee nT Es Ss gSSS SEER RS SEES SERRE SSE SEES OeSe Saas FRR SRR ees SOE Ae1eoAER tee eeoR Bede SS Betas,SR (cuentaa ee ee ase SSSR LSU MSS CR 8ESSE Se OLD 1 SUR RR ToSe ESS Ree ae CR REEROS esSS ots a SERRE EURena ce ee SRheoeSUNS ES eaSESE) SER foRs SORE lots og oc CONE igi ga

Sie serbia Sonar SSeS a On RRR SRE SS ee LaZe Les ee ee ee rae ee eeSR eatSRE once RR OR St SS SS SRE Lats Po reee eo ne cence ee Reba Meatreiniyrae cea ctintheg tien ape tieeenniereens 2M ar eed Cnodeslace RaSnesat NON as ena AU SIR SR NSO OE ccs th ao RRND DRS DR Se ER Sate [UIIESEEER CESS sa DRDO RSRRRNES ara anaECS CRASS peiceDOB tae decent a Tot NRE SnelAS So ret ah oa DeaTER, SSS SSS SSRota SS Sear NESE IGINN ESR CEC ER SSE ER ERSOS ES SOE S URS vio RS oils eeSRR oS [SR ace nana aSaiSe SORES aa SRE MRSCGe TIEN ICS SOR RRR eee inuteg nan Mee ooo SCR IS SsSSR US sn Eapestrh oan MRSC EARN RSD RN REC ERLC DER SR RRS OLIN 2 NSS(OEE See spo acanatenrcne cage EINES Soy NES SS oO Eg ESE 2Sit OS SRE ESS SR SRR Se aRRS SaSRS ORC SUR CORT ERRe MRT SSCS SERRE SSSSRE IES SR Tr,eetATR SoS ERS "EES RS RR oraSEALES SS cee NR RR oecca ee SEES OSES eRA SR cea RR aSS inne Betcco Es Tenet Oh JESSIE a Sn NODE RR RUDOVE RR aaa eae eaiERR DN SSIS ce TA SNES BREE a ES SSIS SR Re SS RRR RR Ree SS SO OrLge CESSRR raat ee Sh ISN SoS NSS

Bats Ramage Phen heen aesayeaa Seaane Sci TSeEE IE Saga nce LOI REE en SEES SSEACERT eo) SSUES SEES ES ERR SOREN cc nate Res RR ck «RRR eS stt “RS eae caamamuctgmmenmates 2 ROR RDN SER OCES S SRRSEER RCS CEST SERRE oo?TNR steRIS. cena alenen ORE [STEERS DSS ORE ORR,SORSR LISLE SE ESTER Sie Sree oha tacti tage gegen meneame 2S nmecetes SUSUR SOSA, OR EELS Renting ct eeanptzcteseusttn CORRE RARER ONSee 75ooCNN Se tae ea TOS Eggo SSE EEESE athegS niente [PU Sn Se picesIIT eteCSR RRRRR SSSR OER SRR Soe TLR tases OEE SEES es in a "TESS SSS eh i a acetate aeSSS eeathSe ee ee

SEIS a aes Se SS SE SRRRRR SoS SReterna ee “ORS UE Rae ES Sn eeeate: ooSo OSGeS RaTRISTE Be Re Se ees gePRE eeRRS SESE SERRR hg eh eae STnee RRA Se ee EES wee renee Sa PEE 0SSS St ES RS ES RRR ee Saunt Deere Reet SORA

ee ee ee eeae SScue SROF RS SESSS See ee eee eeERE ee CEE a 2SRS RoE ce AES SS ERED oe ESOS RE OE ee LT ee ===, ,______=_=_ === =F ee ee ORR CRE RAR Ge GREMeera 8 os Soth Se eeeRR 2S SESS DSLR Sis eR Ha SRSA Se Sagal BGR 9 OSES i reese RRRSRS OS EEE Sh ee RR ES RRR eS SeeSREN poe a OR TL ED SEEN a “SORES STE ARR RR: SRE, Dee “ESSE ean OEE SSO EE ea RRS E Te 2 oun Ss SSE EAM SE

cesta geese Deh Se Rogerio Steen eae Be SRR ee ae ee Ben aoa eye ESTES SRS Oe pesca: 1 OERRRE SLSR ES SES UE LS SSS . ning pane ae ae DER EE SSE ish ee os a ee Benge tL ENS Shee SORES hoes

ee rT Lc ET LF rE.

ee Co eeteee ee ee ee eee : ARRAS SESS SESS ASS SSR a aN eter ecg a a aE RRS RO

DCIS Ener STIS et SL SDT SCL ERTS SUS SIE Tn a) SEE OL RRR SEC ines UES ce hay RE each cane aaanguiae dna gut nium’ Hh a ROC aa SES EERE SES REARS RnRR

2S 2 SRRRS 0MO SEBR Sg ee OTL ee Seeee SESE ot ce St RRRR mea) RS el eos See SSR CEES HIRES SS SE CLEAR S00 EES oe oeeee ee ete ae Se ee ee re ESSE RSS eg UR ER SE eeeeen OE SEES SSSR ee ee egies eager 0 Soi syEE OS ee FEF UESR REE oS ee eeOR eea TCE FF FE OEE Be ”—“aliNO.C—CtCsrsdsC ee FF FF FEE JOE cE_—ELE hr Lh mL EE re

ee ee ee ere oe ee = FE oe

Poh OE pas SERRE 8 SSS SCREEN RRS aes Sa LURES oo RS EEE EES SHS Se RS aioe oa a PSR SS Re Soo SS LE SRR RR SRR oe lrerrrrtr~s~—i—“ irs Cc mhmrr—mm—rr—tmrmmsS~—siCRerN eCCsC«C¥ai(O RRC eg _

Soa aeeriie nea SSSR RIC NT Binet ER gee cee SUSE CRUE gy Geo Fai oto EEE NCSA RSE DIS SOR ESET ERE NO SMS RRS USD VCE E AL ello Ln annie CIENT RISE ES RUSE

ee errr erereelrer,rr—~—~—t—”—“ -"-=—r—‘“‘*EOE"ERPEPENRERRRRDRHERN'’a’—d)D"—'""PBns—— s§s sF oe

ERR SRSSa RS EE SR RR RR ea SS “COREE BESRR SS RU tanta aeclan cout eegenghthaeean Joe SSO Dn 2S Ano Ese PERS oeERE SRR ESaa SINE I 200 ESa SSO eaes SSSohsd SSSR RSUh EEE SSR, Ps ee ee ee co ee ee ee ahh ice coteam a Sa ee Se oe ee Bon) Ee cee e reece Oe ee i ot a SS Ca NR a RE OR As ER EDES S90 ROSS GS he IE a eck OS! ee ee BEE BERR Ros EE ee ee ee ORR 8 Co ERgego feend rrGE Reo nneeees Se poem ShRAE SIS.“RES EEES dy einEEsty Aa RRS I eee ES ee oo ESRRR as Rees OR Ee, Oe RES Be Ae2TEER CE Me ans A aES eae ES eS “ERRORS ooSe aSeee ee ete

RGRFae Ee eh SedWOE ee ee ee eeeSo Pe aRSEeeSReee SUeenn Po AER SRS oS 2S RR SRR ST RRS BREE REI SS ee ee SR Eon NS oR OEE BE SSS tg Pe En Se EER eee ee LS Seeepeeioae ESE SOS SS ea aragonite aaeee Reg SAUER US SURES, OSS Oe ea

oeeee eeee CLC Llc rc (eerh.eee CiSeiC ee ee ee a ee eeee Seeenen! Re ee ee ee ee ee eepee ee ee eee ae eee ee a ee ee cee ee ee eee eer eee ee ee eee EER RR RTE VEYES bef SPRL OTS Sn tigate HELA EES RES aes poeanerrhas ELSES RIE nian onan henge ne mrerbenneuaene aetnaOSS SSIS: Bee PURI SNE SoD coche SUDA SaiTnUS EEoteLESSEE OSRES II Ia Rae eS OSS Syanee mS DAE Ste RSS ae aeineNa ee Need Sons Sig tsSRE SERRE eiSo

oe OTE ne SLoa OISRRSscea Se han:ne Rabson menoon SOS SS aSAD ERs eanaen PUR PBhteos Sen Toe Sebago RnR ei fre ESR gaa cEaR cet De ASS as Sa SRN MORNE SNORE GERD RR RR EERO Ea OE RSS LIS SEL SEE SO EEBe ES: loa ORBNE STR etyDo ite SMES ete anaes : Bees SSM UREIg st)3CLOSER ISSR Sas U1SUES Sane nen SeataESEES SE Mann ee SERRE Sc ane ERR2Ene oeARS Se POSS DS USS SUR eo Seg ees SO CALL ID geaeess ooo fo Shnaih ‘ teed JURISSEL Tk, ieee nanan ae SURO nS Ra RR RRS CE SSS SU RR RRS SR a SG Le De ES ES

BS aed RRR eee Gt a Paar ne Cages! Seabee : Lone: . Tt cots 1 SESE OE anata auiranania ic suagehanmara aiuto hers : CES SRR BE Bs Se ae OR A

on =GEG othe SRS te PULLS OTS, fe OES ee na a CS GASSES REESE BR RRS TREEne RR EE een eensSSE 2SLia SESTR SSE Se ane2eantancan naaimuiauetataaoeun areaoaSRO SRRISSR 0 ERE ee ee ee Se —“ MLL eS t—~—“i—it™ss——

PI SUILTESSDS so Ss eS as ONES iene SUL ey : SOMAEERAR. | VEIN TUS De STR SSS ES ne ue cna tate aie iy SEE US es > SENSE SS ceo PERS CEES SHOES GN es Sade oR SDR da oe SEES oe SETS ee eee a Peet ee ee Rtn

re ee ee oe es eee Lee ee ee ee ee ee SESE ES SSE Pe ee

ea SUASUN SE SUES anSS a eng eg Beets SEIU DnSean EK MS ae RO ane eG CC noe SRE eeeOe CESARKIS NEO Oe TR ee ee Eg pele SesOt oe Ds MOUS Thonn AaaSareea eae eeSneUS RR EY a RSS FIST Se Pachoes Pa SRsR aRgD SRUeAT bel UL Rin EsSUSE BS eae Se Civ) IST SESgas nesOne oa SESE SERRE a Se BUTSDOE PISSUAS SU SRS

Peggy Sana eS Bee a tins Ry Se 8 ee USGS 0g SE eS URS 2d eS et

iae TEE SoSRI URae TE StenESSEIEESS OEE RSS 8 ESSUSISES SES2SS SR SE ae EE STS SUES SSSI Sea meAISee ee UOT IS ISLE nS REOe eSOTIS ee: wi WteSSVE TESOL ES PE CRESS gs AEESPEooEEL EEE SSS SESS SRC ASS”: eS woe SRS enT SSeRRS See SS aE DS taste ee ee ee ee RS "ERE 8 OSS eg SE Sn Ee ES Wa Ng wo ee ee ee eee ae SEES SSS cea CRE Es AE CP LE RS eth Stay Se Se eee ewe ree ee ee ee ee caer arene ieee er es ee SUSSE BegOS ag, UE Es ee ee eeeeeeeeeeSES ee ey ee AES ee Es2 SE DSSe Sige PSESD ge EE bes oy MER URS AID EUR Mae Bane oho Dn LP DSU gt eee 2 ESE TELS SS Reuse ae ah SSE Degg SESE CREE wag ie ST TAS

EM SES BE 7 oe en oS SEE RRR on OS re SSSee RESee Renee ae NE ae LUSSUB oe Benen eee oethsee creRRee a ooeeSESSA ts Seer aeeeCPE TP AS EEOSU wan BinEne

:. sp ¢. «:

Phinde a NERRS OS Mere etl Sng SS SeeSBS ie hy Deesan Se eel gc Se Ra S eanSSTT peey OOS voleESER oe aor SER “UES oh SRESS EESSSS SeohSs SSMoa SASAD SSSST SaSSDS Sd SOO

on: c: ms Clea cS oe : ie OAR ESAT SEIS SES 1 BSS SoCeo SS SSE SEE SS OSS RSG eeOs : SIeos RSA Ree Nee Seam aweaPasse ce nesas . Ls OIREU oo Sy LAI UT ier A Ue crete tech TSE SIR Saige: NOUR rae:Cele -; TALL Colas a:SR Ls RaES DSSS GUSTS Sen tn aeRcats, BR cee ReeSEEN | DERI SEPos IWS esMESA Edy Sas y, % Sn ey SIE SSS APES AVES egESS SESEOS Sh epee cig SREISE SLSR 2 TESS SSE ES Se se

Sole ie. Ie BRE oeEER tet Se : anRE AEE Si SS Se SR SDR route eRSanne eS eee Dee 7 be RENEE es ES SRRaA : SE aE SRS eT RE RRRSe COT eNOS Ea Sor WSL cg Sh oh

PS it on nan aeUES ie ; Bt eS UMN ch: * aa 1 RRS‘os7oaOU Dan RCRRER NREon ARNE RRR RTI SECRETE SRT SSeS SUE acs aS EERE SENOS rans : tiny SRESSS We : oa EY SSIS encase RRU EKER SS OeEE SSSR cares eaeaeaeee EES heMaat!TSE SETERRA :SS aE EES RSJAaS CRIES DSI a i; .CT ERR

poe wad a et a ee : ee er re VO Sahn UP AEP SU Se Bo “LAER es Poameeer eens 2 RRR oo oan - : a we SOD Te USSR DED he Die Tt a noe vee Ab TS SSE US Sh se ee SUEaa OSSRE SR gg SA bite Seg atua ee intea . ey Es oi) CRE inde Be rs Eee eereceten es welt oT auinghea eRe SO oSBoone oo iad eeORSISSESSE SR he Sousa anoe es 2s RO aeJ detec CRMC LETseen oat Sect: eRe err oe

inabili 1 f Burri’s canvas The Large Cello-

inability to free himself from his suffering (e.g.,

h ith it dominant and brown on a choppy surface). pnane withof white its predomimant * . euse .On the

Cd * e e ° ° 9 5 especiauly the Cracked wa :

ther hand I influence of Red Desert on Italian painting cannot be ex-

*.

luded. Burri’s picture Large ite 1S reminiscent o emmsc ’ e

ioni’ Palma

e Ldis*repeatedly captured. (Red pecially th ked walls against which Giuliana

Desert was the first of Antonioni’s films to be Pp otograp e y Vario . inning 19ms-——excep — ‘ ira—were photographed b Beginning in 1in a 1S avventura—W i 1 Di V Di Antonioni is quoted as Saying:q“An Gianni Venanzo. ntonioni g: absolute color does not b

*

230 Highlights of the Sixties , exist. There is always a relation, a relation between the object and the direction of the rays that illuminate it, and between the material of the object and the psycho| logical state of the observer; they condition one another mutually.”!° Red Desert is set in Ravenna, the famous artistic city, and today one of Italy's most important industrial cities, where Giuliana’s husband works as anengineer. _ He does not understand his wife’s confused loneliness, which is aggravated by the ugliness of the industrial wasteland. She attempts to commit suicide, and he tries to help her with the most conventional methods. In her utter despair, she is similarly conventional: she finds herself a lover, only to run up against another wall of incomprehension. The last scene pictures Giuliana walking in a field with her little son. Vapors of unknown origin appear above the grass, dirty steaming water runs out of a faucet: yellow fumes surround the hideous chimneys of a nearby factory. “Why is the smoke so yellow?” asks the child. “Because it is poison.” “So, if a bird flies over there, it will kill him?” “Yes, but the birds know it and don’t fly there any more.” With these words Giuliana heads out of the field and disappears from the screen.!! By the time he made L’ avventura, Antonioni’s style had already been fully established by his previous films, revealing its facets with the progression of the tetralogy. Since the early fifties, when he had relinquished traditional narrative, Antonioni had been increasingly concerned with capturing moments of psychological crisis rather than with telling a story, a concern that relates his work closely to contemporary literature. In 1965, with his “tetralogy of feelings” completed and

his long-time relationship with Monica Vitti coming to an end, Antonioni attempted to find a new thematic framework for his recurring questions.'? At that time, he became more and more attracted to the idea of a film set in a real desert or a jungle, places that for him represented absolute nothingness. He went in search of the most terrifying jungle and found it in the Amazon rainforest. In 1966 he wrote a script about two men looking for lost values in other civilizations who become

trapped in a jungle. The producer, Carlo Ponti, rejected the final version of the script entitled “Technically Sweet” and instead offered Antonioni the opportunity

to direct a film based on a short story by the Argentinian writer Julio Cortazar. Antonioni accepted when Ponti had promised to produce “Technically Sweet” immediately afterwards. Yet this next project did not materialize. (Some of its narrative elements appeared later in The Passenger.) Blow-Up (1966) was shot in London, in English, with David Hemmings and Vanessa Redgrave in the starring roles. With Red Desert Antonioni had exhausted his subject of the failure to adjust to modern society. In Blow-Up the characters are integrated into modern civilization, at the price of not even attempting to understand its logic. The film uses a classic thriller plot built in cumulative episodes and sustained by the idea of the inscrutability of facts.'* The murder in question may or may not have really occurred: no camera can ever reveal the truth of the incident— or nonincident—witnessed in a London park by a fashion photographer. He saw a young woman luring an older man into the bushes and took pictures of them. Back in the studio, he enlarged the photographs. Believing he could discern an arm with a gun aimed at the man, he returned to the park and found a corpse. He went back

cee See ee S SE Se Se BE, Se Gees See Re ee See oe ae Rest BSE WEES Pens ts SHA Reekg Ros BueSe Eee ESSea SReae Yoh 3aRe Sa wed eS, ee“ Sas [RESEES ites ES Se? Eee Ses. mite FeoOPee anne eae Rooms IS sate te eas ee ers SERGE ae Soca eeee Senet Peek EL aaa Se aes perc ~=—O Sige SSUES SS ix ie River eee hashes kestsSe eee—oe See re a heut r—™ a ene SS RRS Bae NSCOR TS a Oe pe Le eas Ss ee ia POR Pee eo eee Se Ses Se Ree pa SEER Sc ceBeane ne eae eo eeaes Bh cre ae pan “ae SEES oe ee asitiBe esses SEES So aes eee SEES Ben ASS Be OEE oe —Sree . :DSS eee SRS: Ae NS pee ES. Bees Sat hee aieePaRes ee *eeea— see SSSh Sees ee, iy eee SONS, Cente pian Reo ea Reon ¥Rar, peo eeSER ee SR, Eesiete Clle See co 2 Re RS Fos oo eee See. EEE — Beeee Sac, SeSea cae SNe ae ces BiSee Soe RS oo cS See Some Eee Gs Senet Noe Sens SeeEe: ee — cores BA SOS at Bien — Rent aaa eS enero Wey Be ge SRE Sh SERRE Bs ee Ss oe aS 2eERS caSees ee Somme re ie are sie Egutaret “ Bre Bes Sao Meare RRS: Rae: Saat rte es PO oo eee tee ee, pod Senet, eo a ;: ..: oe SS Sige Ee Sets s Sela sone eee se Se a 4 Pare 2 EMR ARS oA Re a se He Se ouiaaeene See LaSe, Cesc ee8SEER Cae Oa ae ee a eae SEES Ras ee ee aase EAR Ss:SR “ReCSE Maes:eee hy eeaRenee as Sate tats asSEE ASS Le -—ieonuecmeen cae Raed : a; ! ERE Bi wigg Lie RS SORE Sie x. one SRD ee oe aro onREP Pa aee ASSSE —Bee We BARRE SS,

Becoae ee:Sennen SERS ein Rea Ree seesBid eee 8.Set SSS SERRE me ERS ae 2 uum cs EES Sete Sapte era “Ses PARLE. Re E ens

8 eseeeSag oe Coane ae RSS SeRe ahh ee SeSO, eesSeen SEES, saanBee aitea Boas Rosset RSs hetSRO, SS St OES Recctad panes:

ta — cee i mone ts a aesBe cots aes Bore aSaio ae oe coeptsbd SS: Sat Bacon Stsee SSA itaeeis SETS et eee oeiet "ese =,Seen Pexess = eave eee perce Sees ho eats asain: Sees Bets, RS A SS Daas et See See Powe setateset’® Pape pegs ba ae ene unre See Boe Re Cs Sea ecSse Sag Seyrrateag 4a eect reves ete Hae ee esta BO ee ieatte eee Roe ani nent EES Nene 4, Steet Ses 2aera RaaNeS Bees, | oehen et,St Vee, eae Seas “aetet Soe, eet SS a,as Seeratats "atte ot Lat Tee Recon eeeae, stSitar ae, — eSSpon eee Sseet a.SRE. Rao Races Parone ens SRE Lt. ey max FES See aeeoes So eeat Prod A3Petit Set, PE aee pod oo sooo) SC ihste eae ae SE ose, Sees Se SS RSsfetatege’s crete Eat: siege coe a Sa sheet press TES Seeees eh) See ESSones fe ra Lhe, Itetee eeSUS eee Sn SE ear SE eee aC ee See Son re Neleet SARoker SEES tt Peas tithe eeoye Fe SIS KS iets oS of eee 8sieSt feSLTEES So sepos eh SEN sresabeeoree Sete, es ‘Sear PS eee neat Race eatin ave ones Bec MN aee reas Sp SEM SP ee SieteToe Fern ee iat, sens Se soetees poo Te. See eae ttBESS ia Aueeer ashane eaasets Se se ee abetete

Ses, Sn SaaS sree Na faite SEES a aeiae Se Ba ee eee pee cate ped SEAS, ae eS Seca agua series th Sees pene Pee pecemene se eres eo See seit eta

NER: Boss ispane Se Ss SEs er SsBE aneee. See Roce os SSR oeBane ae SSNS eres SR on : eee .ce:: aEt oan aS tes *eNotes aRSS: asereS eeme Sieg get os ae Pees OFS on RS ee SRR oe fehl SSSSegoe Sees aeeee hs Sg SsSRE oehe SE mates TEEUIEE Shc Serres ae sae seee eens : ae aepape rare 5BO SE See RE canna . eS oo De . :: . weeCant TyNaas pce nee 2Sos OS es: ee SSE ESS SBE RE Ree Sn aoe USRRR Ne ee Re _ = we .aeee seeBe SORE Set aeSee me eae es Sha oe “he oe ecuLe Betas THES ag OEE Pe eat E :SE RSS ee3ol sees ss serene Pee Shae : a. Sigs a Sassy ans Se Se Sa rate SE ee Maen he LL — ste Sno $3gee ee eee) EES. ee SES apenne See 2! SE Pages. Se Ree “Bes: Soe eaREE ok ee SES PE She Se Sa: SSS fe Se ROO SRR aRarer iy .nee Pe nyBog Se Sig SER esaNG eoeei eae eS ee, eg m8 igi cy Oe ge See SESE gee Sra : wes ee See SOU RES i co:: Saeeeac SN SEER “ees Ne Pomenc Ro: Bie Te aaBoos (oe eSRe oe 5a: - Perr asae gee noo MO ages se oe Soe caer Le see SEs. ae ee SE Rn hg Og wo See mae! Sock os Be ts we ESRO ES BEE CESESE She Bagtiicn maces: SR See Res Se Sed -. Bee . ue : ::: ed : : DR aS See ee OES SS NEES” tsOEE Ses TeJR os “3 seSR EA Romance “pa Ee, ES ORR seuuanee ee KK SS Sein aa eos See oe sees ooUm Spee pao Se euthens SSS ees get BERS ensBROS ae hRocce SSLE Sal gE Beal 7areSS ake Se See we OeFe So ees un Re ee“ot: See eoER Rs we PRSSe oo —ek Sooke Secicie Sigieenses a : Ree :iait atao ane 2p RS Sean os Lge Rewer Bos 7.cc-— Be SeBho ityRe Sarees. Rae SORE Beek aesiews Saaee pees ARR BEBo Pe OS LETS, aaS ees ee ee aeee ee oeSees . a eas nnwnatoe a UES en Manet Cost SRRRP ae OR Roem sae. Rae Sete ioe sts ee I SESS eS PRS tc SE pease rescence ees Pie SRE a ees Sos states Rien SS e, Ro Soa mete oe or Bertone Sa ae Roa SSS Bia sees Sh eecaseos eee ss RAR Po ee seen ot Ra . : .

og es ao ESS ee ae A Oe Bue aL, . eee oe a eo Ses eres Eee Bee RES RES aae aye eS EE aeee . aoe ee a we :gente aeaeoro ae faoP Ri eS BE ge Po chee aeSea See: ey cs. ee oa ee eee wet SoS ose Malo STs apty Se ee SLs ee feEe oo wie ; : aes 7ee fe Bae eke CEear eee "eh ge ae eo eee oo nee eee ee iS . oe Sa ger ag ee ee ee ee OTS SO SR Seage SEER Su eo SEES st ee waht is Signe 1 RR ots F OES SS S . nO SR SheCE SS febre aEE aa : ] ce RR ee eee oe eaae apee Pa TAS aes werd —: ee ee See oie . reoei "od Oeeee” SEou.ee . aS — Soe XS Seme SNS See BEERSgh SAEEe ae alPe thy .om Pee eos. A 7. -. PEE S hesBe ee -eget, See pa ntDAD me eres gee on s 3. eePa RRoR aunt FeriNc Snaes Conte SL SSR wooReatwes ae ERS en te pe RT 0 SON Bees clessagen oan oe8 a : 7 , Bee Seta Sr aeSON eas ras a eenae SoSERS, EUS +SER Ens. peoiaes ean gSSe PRE RS “0 3 Se—r— Se peanut psphot Sees—Nt_cneentennt — eens

meee eS US Bae SEM nS Ee ee Ses. EDS ay MR ge Ea! 9!Rt Sas pee cas ne ee are Sa :aSa “es EN fee ahs Ses foe SEE Brows Rages bg aeSERN ae Be ee ee relat Saas Sa aa SeeSe pen Bees 2% gy pane SY ese agE a wa Se age SR essrae rag :eek RN Sey woe .as eS a SR Sn Bt rerors ae ee 7fsPo::a SSeS PIERRE SE ge ER Rate Rone ouSt : i:eo SEEe x ag Sen aE REN SeeeBees a2g _ Css SOS et eta ee Pere tet Oe ee Don BRAKES fa Beene >. ee Recta on fonon AEDs *om :ae ONS Sona SR oe SR Beha OE Seg By Ba eg TS Biss ed eS So Se oh SESS ORES 08 elRE Soe SRS Sone Saas Shee) oe aan:aan SS ata aan Conners ae ae ore en say ey sa hy comes aos vate Day RES, Bos Sa see or ee ° Boas a UL esd SE Soa ese Roan Desi an ae : ::fet aee aoe eae . ngs AR Rete hee Trent MAS eg 2a : we SR oe gee ge ne ES ee a aS oe _ -— Elgon Dag Shp Saanones ::.a] BEETS cease Sy oes pee hes BETae Se,we Sete wR % osoeBS Ry eS AERS “RS — a.ee | wet SEipom ras Rokee Be oorSeg Reamer eeeeons Rae Papers EOoS Seemao. wa¥2g BES, weRie de Be wee Soe 2 RSS ea ES me See Aei ee SRS mes Bet eae Ug ete ae oe acne EeSeeS[ ek =:SSSSE we sybian ae ‘‘ eR erssises ite - ON th Se RR. Sata Pee as is ca eee tog Sh Cet So RS sage Rates Sel Meek eo wth SESS IONS Re Sou ee , eas Beacons eS ates oe Somer i eter eae Bla DS wt toe

ona Bie tet ae Fas Bk ees See a& RR as " 3“ete geeebias See eeES: - Pee —s Se wee neh et : Bee Poraees :Be *Sea SS POR wa! SEE, RE eeRR oeBoe es So Bes ese -.rt—~—~— e wing! :. 4( yect Onis mo as re j n1 , eser g sixtie to it StI ac ight ° th 10nl ° ich fe ished of hiayart ove €su Cla e.ertornal capi or 66 h * ° 9 -— “joO S, pop words of the n of the ippie po from grou d rit tio 1 V Su sti acuum : itu ow ’beaani oc1a r e> nia, Ww. sce mostwnere gle.” B -Ups dexist soci AftO . tory ,from was fe . y. ner t, Antoni ies,” whi s allege compli does ists in a im a sub - London

. e al-

232 Highlights of the Sixties The original visual intensity of Blow-Up has not retained its traumatizing effect through the years (as have, e.g., Girlfriends or L’ avventura). On the other hand, Antonioni’s repetitive monologue about the mystery of intention and motive as __ well as his investigation of emotions have gained in strength. When we look from today’s perspective at the desert in Giuliana’s mind, at her loneliness in the middle of an industrialized city, or at the atrophy of human relations in Blow-Up, Antonioni, the most prominent representative of the phenomenological trend in film, appears almost as a prophet.

LUCHINO VISCONTI “... and thenit will be different, but worse. We were the leopards and the lions, those who will follow us will be jackals and sheep.

And all together, the lions, the leopards, the | jackals, and the sheep, will always believe that they are the salt of the earth.”

: "(Prince Salina‘in The Leopard) His fight with the censors for the release of Rocco and for permission to stage Giovanni Testori’s L’ Arialda (prohibited for “obscenity”) induced Visconti to leave Italy. As a matter of fact, he vowed he would never work there again. In 1961, he staged John Ford’s comedy ’Tis Pity She’s a Whore for the Theatre de Paris, with Romy Schneider and Alain Delon in the starring roles. At that time, Visconti was

bound to Delon by a profound friendship, and it was primarily because of this friendship that he agreed to direct an episode for the composite film Boccaccio’ 70 (1962). The lead was played by Schneider, Delon’s fiancée. Visconti’s episode, // lavoro (The Work), inspired by a short story by Guy de Maupassant, is a small masterpiece.’ In its protagonists—the count Ottavio and his wife Pupe— Visconti _ portrayed two extremely provocative types of people doomed by their origins to the bondage of money. He surrounded them with oversophisticated luxury, thus stressing the unreal essence of their relationship to the rest of the world.’* The story of Pupe, who decides to “earn her living” by selling herself to her husband, anticipated a turning point in Visconti’s oeuvre, which was to become increasingly concerned with the aristocracy’s faded system of values. Visconti did not condemn Pupe or Ottavio. He put them in a golden cage and displayed them for all to see, not without a certain pride in their good taste and beauty. Visconti forgot his decision never to make a feature film in Italy the very day he read the novel // gattopardo (The Leopard) by Giuseppe Tomasi di Lampedusa, a Sicilian prince. Lampedusa, who had no reputation as a writer, had spent two years trying in vain to have his book published after he completed it in 1954. It was not until 1958, two years after his death, that the Feltrinelli publishing house decided to give it atry. The Leopara’s first modest edition of 3,000 copies sold out overnight. Within six months, the novel became a bestseller and therefore highly attractive to

the film industry. But the author’s widow agreed to sell the film rights only after : Visconti had been signed to direct. For Visconti, making The Leopard was like telling the story of his own family.

en ,

2 ty i ce Sa ; | ina . of a venera r ,

J j 23 3

Highlights of the Sixties

He r ist, the offspring li heproud Leopard’s protag } f é identified with Prin ti’ otagonist, °

" amiSalina’s y wnose t of arms nea an a dan m ared love oi 1contained Ohical icipatio eath,

hared S and| disrupting stargazing, his an oepta hipn7 class an | i’i 91963) ainst the back y — £ i drop »/iscontis V in the years is set in gi |aof: the him eye of hee

innerita ° '

d his acceptance of the hisistorical changes that we .

f mo ernhone Italy. Itjtells . eae b . a ta Making , } ; | r ribaldi’s arr anded o : kingin m N ila of aturmoil historical transition: _nthe 7 ily; aun Italian he intricate story of a Sicilian no

© famuly Cau

e

ation of Sicily; gdom endin e lace French occup k eC ; istence, ne the asc nd with itca wet he Salina ) ¥ oun and the inevitabili y he li, family, Don Fabri ’ ;T: -deon an nepne ancre soc alc ies off‘ale his beloved orph hew y ackKal. muc fe i wealthy lower-m e hat “if ingdom Came into

i hanges \ ; e

xis W me tne a tof anew class—the dou © Oo le the hea h Z10 =

| lous social clim er, a ; ; A of an unscrupu | . i iSES the nouveau me | asvery Prince Salinaaydespise riche it j neveryt ing must Change 1C1S en ev ho rtu " h | SSS ae aaa CR | || eee "Egg Ps BE Se ee eR eae ar ee es Boe ee ERR =»

che ppo nist, he recognize a

every hing is to remain the w ’

SERIO ENC S505 aaa ee SESS oe

scone aineecscenee scien amas Be MOP En SS ERR SN

poponen. 04 SORE 8 ge eeeoe ; Oo REP EEC caee oe — oo RS [Se res SRR ROMS VSCERES hiSLE seeeSe RN ets Sapensnnnnnston : RRS SR. RRR BIS TyeRe Ue epee a Ss

HEN ESTE ANN ECE RON. PE Ree SR. we ” Aeon Poe BerSia Cae ase Se ee as SSeS RARE cn ISS a Semmrenere ER RN , Copne aReve ; 1RSE TEN ERE neeSe Sg ee ee eee SORE SRS Be Ew ase Ronee aaa kk aeSeen /SRR Se See Be EG Ras Se ce Re So a saree .: pea SeBee SS Shyla eS SRS SN 4See SES oe Sei SsSRS ORR Bae a See aeRe PeAS RES ER hee mies SeOEE ESE PRIN Aann Se Dh OTE Se aeSRE Seaanvena iees *. SS 5aaTot Be .aDan Soe .See are Sepia See Se eee ee Se Sarees ORSON aarta SSO ee ES ans: 8Seah BAS ORR .Sr Rorercies vsBe we Se SEE See aeee SS Sea ER RR ee RRM ORSON SCs ceeet ou Tees ehh haspopes Bec1esSee nteneeonalinennes Nee SR SSSA eR Re oan aES . :Teen pate ae oO Sees as SMES oc scieo SRE SN BE OSES LRN Se SS :Be aRR :SRE Sn os SLE ESE SS ueaiseereenr ons een ee RR RE SA ee Soe od ie Reg ote Bee Sh ER SPORE _ i See ET tee! SSH! || Stee oe cee oi RRS Sc apes RRR See SS ec Se SE it Een (AUD nn? BS See eee By Go ee oe ee SEC esac aaa SEER OTS ERR soe Nl ONT EA RS ERE eee Sea eas eae RS oy wey : Ee 3 Roe Ra Scones MarnaBR eames SIS te ASR SESERRS UREA aii eae SERS ae et SES re ea Bn S Cee . Beets“RES arene steer SRS SERS! " wesaoan eon : we Aoe SSESa Seay So eecnet a rrr—“U SY Lge Seabee ae Ge eee geOsREE SER SORE. : aca aea: TEAS

=. as SARS acelnDEES Senay Ram RSL aeLk RS eedhet . =ay.ae aaron be er SE Le Se Be: arte SAAN SARA OSSROREER ane RRS SPIO KRSR See,Re nesSeno EOS Rk eTAREE Re SReke hoe - SRM net Soa SSR RRRSE ees — eet 8 eea Seen RORS an ON OEE Ee Bape ihe SESSae Borincnwwe cree EI RR Seat RRR NE ee RES SESE hat3ggaaumeae RRS

ee ee SRE aN PE Be ON Ree ees BER See ee Set ake RRR RES SSS : OA: EN a te

—SoeNORRIS Oe bi DES Sage 2 ORR Ses See a aa Se oe wee Lars SER ee SosBereta c.. EET :se[SCS SR REE ee See ee Seseats eneSe ERRnonnetnetes Se ertate teats! ShLa SSeS ag [REESone Pitateette ste ated SRR REESSASSSIS 685°ERE onan Sa Ngee nr Soe eicratee Sotelo ata CoRR sersecnisee SORA Tie . rskenhy SSNS: : . . . “| RE., acetaropatetaennien SHoo RN RS Soe PER Sateen srittes Sas eae Soa nen Sea SUIS PERSE ELEN, SSSR: eons ea SRR *TE RR RES Se seen : RRR co |RTO : Re 3See PSseamen eeORR Sooke SSR Saree eae aSNR Ne Sa 2settee RRS RS SU ESOC SS SSesenee RESET : eeexbee SG Sea: aUgeetanchn esSRN SEER acct Sch anu aaa oe eee SEASONS SOS SNcon SAN SEO Se RE SES RS soe RES Nine REE Sane ee Sy as RRR Pe one sh camera aaiea s ee : | a < ae ee Ca perce ones SSUES RR ARR aS Resse x RS Sa RGN Ses Xs AES Se 1 EIA SES hiauann cas RE ate” . . : Pole TE sit RRR See Soke

{eRe ._ :rr neOe ee ae ger eeege3 ee9RE CESRR RRaEh RR ci. . Slee esRRS SCR ee 7Se nowt po sates os Repco Ro cpBSee oe ee: ooare — —metigne .— | : ,| i“Rea aaene SR a CEES "ER SSS RR OC SERS SERRE Sey. tts eer et os _ ;7:

//es—. += PR aN SR eae 2ESS SaSER eS SSReiter SSS foe US Recs SE :ann A EES BRR ROC Ses .ee ee :aSO Sayer TRS Seige pe GPS IECe aRere ee aUSee EEE: RRS Bearers RSS NN LOS URRY TS Semmes RRS pO Oe ee a_sectonenate SCs a SAEED als shatter EER SE RRR RR oeLS RE sect: AENDER RRR SSSR To eee EER : vee Se sek SRNpean 2 RRR .aaBee eea Ae SRR PRR TRB SS RSS ERR SSS ereReRa . .MBPS Sas RAG Sern oe Ee RE ERR RCE.ee eens RASC aR eR it DmaRteR Epo Te RCN ALLS OS: SRE RRS ash SEN TER cooRese De spas oN anaes ROSSI JokeahUIE SAREE eae NROell OR OR an aan 7DSaaS SECEDE ES iam rn ee Phgrebanwaen 2fon SEGRE ae SS. SRR RY CORRS So See aRe: CES Re URL imes NIRS ay oSORAL Pore Ror carecen Sees EeeeS See RRS. VSSERRE SE SORA EERE Rann. crc st anae SSE NS OE stBRR is. See SUR ooRO RRS resSie riRSS BESS SES scan“ah contac Re Pe Re ea . an foc US REN tatat SR SOS Saeeneees Se age ueSSeS STS RO gee SERRE See 2SR RRR aesac RRR aeSeBe ts DIE BeEe eiEERE eeCRN Raa ap hele SSSS eReran Sainscen Se SEN DORN egg SE ESSE BERR os SRR RES a SNe REST RRs BI Peemramtenrran SS: Rumen esRRS ee .SON oS _Sie a8 Soe eee Svat emits aie eaee een Sage EE ee IEE RS oSSRE EER Se BERR SRS SES acinn RR Sines Ss 2S SS VRS Sueetreeeen BRR SEES Seen Nnaeernneamtemeenenrt RSC RR BRR ogee Saar ne tevReamamnmmresiee oeaS SRS ore SS SES emer enBR SIASPE RRR SR CSESR es SENS SNS Oe RR Saat seatROR. Stee Ne osSEs 17Sys SERRE soe oseS Se Saas Oe Saye scheSen wee S ._. . ae ee ee Sean ae SERRE 7 “SERRE SR = Be eae SSS cee. Bett SR ES BRR BR eT Woy gs ein SS Sea sy Se ares SSR es SON RRR SOS SRS a RR Rr aR REN a 2 USER Sas Bb SSR Sees Seen Ce aa euetieanamnarnnennoa eee Se : . : RRR RMSE Sa Resta: SR RRR Se aeSRRR tS OAS SnSRK SRR Ram Ss Bees. EIS. eee SIREARNO Bees cote RRS a ERR ana SRA : Ses RESORT SSSsense ENR: .oea Se ee Sau BRE os SRE aera og Bais en ORE ec See SOUS RRees EER RRR SENS SN aSoh ws .Seem Se na PSSoe ERRORS

RR SECS CRU 2eRERR RRR ce &SoBe NeRRR oeoszRRoe RE BES Sa SEES RR ee . oa ee 2 __| _ et aoeapenenne — aeines RS oS SR RR RR CER Seas OSL aR Sasa GS SRS CROCS SRS :i. fd 0See Sopa oe VIR ee So RRaeEET Te RRR RRR RRS SRBescon aN teesRRR SOREN So Socom et Sa eoaRSaRE MORN SERRE SOT eenea SS ve 7ES aeTIES as eo corfae EeEES ae C Re ss neste Basi

o _ . 7 oS ae ee So een SER Rens Seamer SARS = ee >: Ue Oo UE SS aaa ashen ee ee aesee eeeee ESRS RRSAR “SARS Sa SS Ses Sie UESSS SEItone RRR oe Ri, SSN ES ee Ro eae Samm SERA SESIEEES RaSh wea ea atinst et SER ES SORE ISISS Busines SUISSE FEE DINERS SABRISOB SRR ES RRR eaten SES osRRS See SIT Ree aoem PRS ESRRR OR RSS cremeSa sei:SOMERS FRO ee ae Sitesi Sat Benes mee SSE ops ek a Se _- _ _TURE aSMU oes vaeeSE ee Bee Sean Bo See ene ESS El re coco See STS ae SR aga SSS SEER SES See Ba BR SS Se SS ORR 33 ee oe See Ae Sor | SEER oo ; ge a. 7 . — SHEETSiaeTeSTInEeE SRS KTR: SRRane SeesSeay oS BN eS «tat Reena a PRR. aes wnant SRE a SRS son SOR ates SSSR ERESERR SOMOS MeeeSERRE eee Reeve Ne a ee Steam antesSERFS [USSRSRR SS fers West Meo SHO! SOer RRIEN O>akc S8CBRE eth SPeeptarennter snes: siete SNS era SEates SORE ER Say areca ee) SRR raat TES ES a eae geanege ae esBee i ieee eea ee Baas 3 SERN SSN RSA RES RASS SRE ER RRR SRS se CR aOR Seen aaSRR es eee x aS _.RR eeSCR oeSunt . roERS CURISSIRie oom RC 2s SIREN ee". a IK SPR SR RR ere ReeSRN PRANK 8 SSSeamer SR etaEOS eee 8SRS 0 oe Sate Seer Spare RRS each ROR Season Reenenee soe Rea meRENUnER TROON RRR Se Se SES eaeRRS SS SONS oy PERS RaeCoE aera Steers SaRs SE SN MRRes IS OUaaa eee Ree Scents

Ba Seana saoteet secs SaaS oS RR RR DREN neSSR Staten serene assets Ka Se Ses eR soe ERS FeySME SR SAS A aOSES See pao SRR Sa Se SeasRRS eee gtSenna x SONSLs Rae ORCRE ee STs ARS icpemeaeamnieneaien Breer aanBOA RR ROE Sees es Sine Seon 5 Be RR Ck Soar | eee Bate RRS ERS oCens aSHp SEES Benen SRS RR See ager crSRE SB Se.) Sa RRaaa See SN oeESSESE RNR Reece ROS Rea ee SSR peanineayee hlEES Se sesteasiaas SERRE cs EEE RSDRRS SIAN renee St2Sen REN a ano PASGA RRR soeSE Meee SeRR ORE SeatBae cee berssssctcncesnearenn pecan So SRSA — tae, STR — oe RE cos . os ec ‘of o a.

pe a OE WEBS SReESEE Sama, comme iiOOD eee Chee RomoRE SRT SRR Rae oene Senrenaae EE osRECS TAO RR TTR RR eeSES | . I.Reese — : _ (RRR oeES aoeres * Rie 7 cea ;aes’ : e aSnes a _ ie oe aIIUASSS, ee SeFETUSES, ae SSpaeeses eae SSS SBE 8 awe Rane SERED as SRS RES hsLSee See "ERR paaonenanet SRS- SESE RSET SU ESO eran SNS SIEaaa Sg Bec Be Sessa WPS ERS Shaaban ne BL aSee: Sea sngEe ARRor Ds SORE CORR gatMS Pesre sae nea RGR :Sree RE SSee RE SDE

of oe . a a Be CER Se RNR “Bin RE SRB eS Sea as ORES RAC RE 8 So Bee SR SOERS SOE RS Ea es aoe ena a RRS BE oe ERE cea Tere SEE Stns UAE EAE SS SERS ee RSS SSE SE ARS EP Se Sea the Bouma iatong TOES oie a SR IIS BATES ST 8 SO Siete Nee SSeS RRO Se SUS RC Mee SERS pateratestiee, RnR >: eS ee ee hel ate a a Tepes SANS Paar! woe LASSE Bas Ne ee a Re 5

oeBoehemaagae! eeSerene BISRSRE Se “ee aS Rae og CEEURRES oIRR S BSc “Be RS SESS Or:ee OR SSR, UR See ae_eeOR i. He OS | Se eee Seatneerrennt Sern UR sy Raa ERO eeRS Setehs pteGe Ee ieSRR cei Uggs tnt es wll Ee Osaypoate “Ae ERE IRIS HORE SaSRT SRS ReSOUS OS REE ote oe eeSEE ge ety . a SeREPNCS oe . Ae 74 MO SESE Tees US eS: TL SUSE ath SI ASSIS EEE Lespita ciasarninmenah: EES ENED SS Rotigeamasincs : RON a NES CAs SONS URS RARE mete nest we SSS Beno, Sony EEE SRBERN SHERI SORES SO OSN’ SNS SACRE SnD SRR

ee Eeeee Seepbtantenannans ee ac ald RRR SS cnieainse centpa SURES SR Beccrateny ee SERIES ORYSPER RS RRCRERR ONCE RBS SE MEOUNRS GES Boon See erUSE eee a2oe ER ig EE EeCAME AES hyRR SRR ee ce : ORE ce RES Seen CE sts SeeSee OES PAIS SORES “een SEINE Este, Sek ee ee ee eSeeSACRE Se oe SEUSS a | STs RRi SRE re SR oe Bo oo aond abate emaaeY ORS BSUR geoo” US2ASR TaeSSSea etcee anaes ae2reli LIYE oeigper LSE see COREE siege teh aghast SSE EIS CREE SSE Set DERE RES peat: SE ER a ae SORES eae IER CMBR on RR tS WE SEES SRR 2 SEY SE ER Ba CUEE TE egees A ee ee

|eeee SRE neaSemen heShiite CES: ee on SRLS EE Ae Reoyeae PARES oe Sy SSTAR ER, eeShe ES Sa Ronis SS Wen ae SR SRS ke Se au 1a AIIESSs SoneoeBROS SARS SAU SaDae CESERTS RRS Sree Ss CSRS SARSEE serene OaRE Ra Bot BE LSIpee Pela OSES Sige Sok sentient ORS Ths Sle RENN ee SE ERE SSUES UESSrede SUSE UTES sacs Be See TESSRRRE Se ER : Bo UN BraERN tn eae te IN araares DINSeSEAR se. re SS RRS SERRA SahnERE ecrecn fe Tete le SeWee ne Besos OSRR opener

oeESS oeSee SeSSbee SESS h Iss sae BOSesMRR og po SeoSees oeeessee aie Bi SoSNE seo ee as GRE Ce apres aSER Reeser ee Be SeOU 2 OSSRRES RRrene EeSRE ARgS EERE OE aeLOUUNSS geeee SS eae 2hSopa eg RRO Tegeo Oia LARS Re Shae eS nee eta eyh aas Sennen, OER ReSSE em Bet a ee ER no Sseee CRUST Tighagas SSA Lae a Bee eat : - —_ Toe SEM[SSE REESES! Ten DISS SS SEARS IESE ALESLL gesEREEEEEOUE ee ae a SS Seeoe. SER Soop SANs ES3 Rane ae |ETRY eS . a Je - 4See . 4 =A!oe. Sperniaae NESS ets Soeane SMALLS os Poa ee POR ae prea SES)SSSR SEER ASR Ss PBS Sh EReo Se“ae eS aaa ESE SAU nancy reat Seton Sor Ce aan SIE SE a SESSERLESEESSS COE SRE aaa MASE UNS EES Reet on SESE tM ee SRE 8 Soe SEO LES aati TESS Sete ea Beni SR Rk Renan Rc EE eo . . =

aCOMEEEES. oF Se ae 2 SSOSISE Bs BRS “Eg Bale Sc eacee: SRhagaBee Se PORE SE Bean. eee BeES TUE aeRRR ELASe Con Gece ee ae ee Ate SRS Re2S Ry. onSORES Se ORE PSR csTREES SoA eeRESON SOLE MOS RRBaalSOae Ee Bech a ORS ER SESE ESRAREST ey tt SRR SEIS SERRA Sea RRR NOSRE ars SOSSEES Latin: ORE RSENS RSag Rrceagge: Doge RSE a SageSea EOS eeepc) Bee ae ee LOS 22 SR RORgg Beets serene

ee a: Seat | . SoRRR gearEg gh SN GES eesfeAE —-We i...Se Sento peseeoe IS SR Sone .aeoeoo i— * Se TEE eae ee Bes

Saran EEEBiearercon a SSR Sainto PSO Sena SL SeCE Soe SARIN SURR SSR URS, SOS pees EELS ee Does SS oSeins se gS LEBS ane Rass SS Sergey SR oo eeUeeee - 2 SESE vho Reno Saseees DOS cal enn FeliciaCESSES On SIRESYS My nS Se RRMe! ig: oe Sipe Loc connnce Sonnoeparatne ee :ieee Raereaaen ances Heiss earns VSS SO ORES, hae ee ee hae is DA eh: SENS SUNS ES SSS RNC oh See oo Sa ae eee ee Pec uennone! aS Pee RO Ee Be a - _ — TeEERRIE tat: un ae en osLOSE Sip Aa Snel GSUTES SLEEE EUEPEALS oOTELLAS SS Bae Barna Saat Rien:ceo SRSoem Sai:CNR NSSLee Ra SS ee a aRRR eS -.rt—OCC -:c eenaSJiaeS ace a e Quist SSSTa Seka aPerret EES SORIA Sigh SSR,USS Se TOSSES Besensrnnntesr oo Sas ce os | oeQO! _. 48 oo pace Sa See TAEnGS! SC2Lee ISS et et Se DE SRR SE paces nen ee ee Cac ae the RRR3Sata Ly ae aeEeOo 4 _.

if ’ le _ ——— go

Smeric os a icy : |. ce SasiseeSE —RISES ce OL ea RRR eeetinite OME DS STD SeaySONS NMREaLORS ORRIN ES ree RASS ARES se Be iteeG el SUPE Pas ST IO hae Mes SUeee es” AbD SLISD aie Bre eee SERA TEN *cee SSSe Se EES Rueleeiateeneen Beeescncs aSraareaes oes!RECURS EES ee a —eee . - aretenes —ee/ ._; ‘_ SS Leet a oe ten: ie So TRS SEES WS, OStaeeS Daoes OUD Sh SSISSY SeSenet econireen. women Eeeen BROS SE a panes Beet Se ASEAN

ar rere ASBoise SE ec SE are ee Se Rectan rs oe Ra RBseater ES SeReR ns 2 cao Sores en ae we FFeee oo aes: ee ee Bee: | pemaaare RIS SERSesarge eect GRRE RR eseaSas Ue—ea ees Son en

SOS ES SA ee OSS een CECDRRRe SSUSSESeatiseoes oan pperenenaes aa aren SRSea eeSE BREEN Care Ree a ._:_—L:«))swn— pegs Bhs th Snanhegh, do Bal ee.ens pacarrere SEESane ESTES SEE Rameantenn es ae seinats (eige SO Rg $ RE SOS ee a Nerang ESSESe yasae POSS SEBO Secon o.rsts=. 7 Bcrsnae coe Beg P= SRS cn ee SREae ay Bats Ree SUEUR Cheeni sstianunerraeatanenne SewneR eeeasetteennneet cea FS a.. uiaout RSS Reesor Re ER EST ES ER ee ee Sein eae Soha See ese nasa we STUN Hane ane nes Reon ee ae ee .Seen a oe — > SERIES RRR 0S SOR ERE ERR Become Soe Ramncss Seek EOS Se :_-_7. :_ .:RN RS esate sscattetenntae enn centa ee Reaneratote arethseterno ea ES SOROS ei aS inners RAEeects RR BONN CE SSDSR speet eee SSN reteates ORE Nata See pesstenteateteen ‘Sear: pitsraastotote tensor SNEee Snir Mactan nists Geert Se-- _ -— Brae epee ensSOO TES SER ANS See SsSe SRS humane Sunes SOS Reet sete Racers oRKeen SeePeseta aes.— ee eases sSaeteMane piesa ooaeesoe Mann, oem Se RR Rae Se SeeR ce Le RS SoS SEN SERS emacs ionnuiaeest as SSS Ce SER eo ee :EA ps a 7 _ | — es i aot siaeneere RSP re ger Ss ase ae Sane y SRA Sg RRS RRS Ses |. eee SOS ee cee Seco . SUES Se Lae a. eon Sao aa ERE See SR SO ae RS Penni 2S RE ae eee Se GS ec age ln eieé = SE COREE RS Sao ee See eee ee aR, SE a SCaemee SS Soc oen eam Loree eee oe SEE te SES RR OSSee SRE eaaReena renee toeneneeerenee SengeRe ermeenen Stas ..— .-.: EE 5 SRR RRR EC ey SEMIN USE RES en — —r—“——OS—se Se ae eeaR : See! RRR Bees Re Sea Be:Se een aoa SR SaAERe ENE . aSRS raBea Sean ees aa ate set ticgrec —ses—SE_. ig Ra RAR ee »— aoe SEP oo JR ere US So ee eee SSeS ee aSOR seme eco octets See eieeeraten ss toennatet cr RRS OES RNR ee ee CRESS SNR |Se RRR opp eunameertuenneeemeeme ee ROEREN wie nee ae SEE ESOS LASeeere SRR Spee res eS eo SC Sooe atone FF ae So ERS nites | TSS Mereenennata ne peace SN SaRNINSS See aero, ome ree een anne ae RS URN Saute nce Seana SO iN eae SRR Se. SO Ra Suicenecettee REN Sr SSR SAND ON SRNRnae ate =BAe SRREROS ee SSR eaicmue RR RR RNR REN Sore Sauna mnene one ee moseestetataenettns areetennie ar yreeennaeeeene SESS Se RRR eee SimNS BeSSS Bere oo | its us | | -— ae So eS Sern ne SECRETS oe SO ee Souacumeanrse Se ees ERR eae BO Ree seinen SSeS : aoa Reo eas SR SR Seren oR secant aie SoC Sr ee | ~ SSS SRN ORR pmeaete N Y PNT Sa RG pe ne RSS seanerestentensterteenepeatees RRR SRN Nae ek URE oon ee eaueenner nat SERS Se ee SORES SRST RO Cae es SARS RS oF ea Bones ee .. iatiea Sunae a oR i aoe nea una akan ae BS SR Se Be x ees SEE. SONS an UTR SERN WTS oe RRR Stee Scene BS |. Se ani sae ° ee cae Re ee oo woe. eee ERR Sineetene SERRE seoneaneemace = ss. ae SESE Shae aay SR SRS en eae SRNR SO pea SRC en oS setae = RSS SEE aS Be Re at a SE RE SOS ae eee Siisen snes Ba RR SRC SOR RS So aca | ee Eee ume Soe BBR poitemnuncaatnnnutn ce mecn as Rerereetentes SON SE eS Se Oe ae eR acetate ete Senate Sheen SNRs raee ere SASSER ERS SES OT RR SARI SRS BERR eennuneene SSR ssinetncountens scenes SOROS ee 3 oF S Soe ae SRS SE RESeRSE RSS EOL RRR oS Seaman vitae TER Serer Seema ESN Rsgemeemnenne ER LS ER Ss ERE ORR eseen Sse Pee ee Raa EROS

UREA os SO ee Bana SopSteet —a — on ee eaEMR hal srroe SRE SRR PR -os| SR eee hos~~. SUR.— eS eens SRR SS ne 2 eee LE EReee ss >.

co . be "SERRE - Seat poe ees eee ce 2 sk a SRE eR Se SE SS SA : eee epeeRae SCN SRE as SRR er Be LS Eons =| BRR ects as Satoshi

234 Highlights of the Sixties Visconti transcends Lampedusa’s novel by stressing the circumstances that led , to the birth of modern Italy, particularly the betrayal of Garibaldi’s revolution by the victorious middle class. This historical aspect permeates the film’s last sequence, set in a palace in Palermo: princesses and duchesses dance with merchants and bankers at a magnificently staged ball, and Tancredi celebrates his engagement to Angelica, the daughter of a “jackal,” while a few blocks away representatives of the new law and order execute those who wish to carry the revolution further.

, For all its historical overtones, The Leopard is, above all, the story of Prince Salina’s life and of the disintegration of an ancient family: the prince’s daughter Concetta loses Tancredi, whom she loves; his sons are good for nothing; his wife, who makes the sign of the cross each time they make love, loses her authority over the family; and the old leopard himself gets increasingly tired. In the ballroom sequence, the camera follows him as he wanders among the guests. Stopping in : front of Greuse’s picture “Death of a Just Man,” he ponders his own death, the doom of his class, and everything he has loved. The forty-five-minute-long, nonnarrative and extremely modern ballroom sequence (mercilessly massacred by the American distributor) is a foretaste of Visconti’s reading of Proust, a project that he

: was never able to realize. The Leopard is Visconti’s most costly film, staged as a grandiose operatic spectacle: thousands of extras, superb authentic settings (an entire dilapidated mansion near Palermo was restored for the film); costumes created by Piero Tosi, the best

Italian film designer; major stars in the leading roles (Burt Lancaster as Prince Salina, Claudia Cardinale as Angelica, Alain Delon as Tancredi), and authentic Italian aristocrats playing the parts of the guests at the ball. The film’s original version runs for 205 minutes and is filled with exquisite images of the past. (The English version was cut by forty minutes.) The splendor and the misery of that era are re-created through a lucid analysis whose extended historical metaphor links _ the past to the present: to revolutions that fail, to human beings that face death in disarray, and to societies that have no place for the “leopards.” The collapse of ancient families, observed against the background of historical events, is also the topic of Visconti’s subsequent films Vaghe stelle dell’Orsa ... (Sandra, 1965) and La caduta degli dei (The Damned, 1969).'’ After seven films that had left almost no room for hope, Visconti directed these two tragedies ending with absolute damnation and excluding any possibility of a happy relationship. In both Sandra and The Damned nobody wants to forgive or forget any longer. The past destroys them all, trapping them in a Sartrean situation with “no exit.”

_ They are all vanquished and guilty. In Sandra, set in contemporary Italy and loosely based on the myth of Electra, the questions of guilt are never resolved. Sandra and Gianni suspect their mother and her lover of having betrayed their Jewish father, causing his death in a fascist concentration camp. But their only proof is their own hatred, which destroys the two of them as much as it destroys those against whom it is directed. The truth of their alleged incest is never revealed either. Gianni, a stranger in the world of reason, loves his sister more than anyone else; refusing to compromise his feeling, the cherished symbol of his childhood recollections, he kills himself. Sandra remains alone, doomed to her hatred. She

te Baas es eke SRE eA eee Sol gesaesS POEs ERE TY : Panes SOLS ee an Ee a Fost Riss Dues oie Peace Es aren Li Ps OE SENSES s ROR EE So

URE SE Dh eae ange SPAS RS : “EEESRES USE MES nie)an no EAs PRA esSEE “ain Agate pe aghecths cae eee Popemer ae LheasSSS GEESESS eee SSUES TSS Res HORE SEaeDN SE CORE SEE es PEAS Seesone : :. Ma US Sedan ies ae LN PES aR eae TSE aS ot JESS

CO, HeeSEE eeePee EEO See BLT Geek . :Cee Baygvh i cy HEEB” : fo) Soe Bey Bee es Pees oe Se EE SEs Er HERS nenee EES fo eoniea hee ae eS gee snc DREW : Lay as Uy Snes fee DEeet SO SER Ee SEES eR ES eR ian oe Sees ESS SOI Bo Sane rea eee :Moe foe! = aosce a. Se WW eeEas at JESS: Secs :;SoS ee EEE aca SESS EE StSEs SEER St AE SR eeeeeeORE Raneaan

SS aE CREE SEES Seer RRSESS SCR ot aannees : SS . Ueph aneeeSS “0wT : nyEEPee Eee fe Ge ES EES Ey a SOE DataPee USERS SaaeWe EeUsa TOES ees Saeco Renae ee Ben wo yee 2SENTREE SE ee yt :oot .ete Eee. whe us7 She aySE ears: are) Vegeta On SIS oeQuest OSCE, ern?sete, WES SiR ee. hetesUSPSA TO PRR RNS ES nee ORE ces SESS rae LE weSas CAINSTAE enSE oe Se caper BES OE, on see fn ree Cate OEES aOS SESS CONES Besee ee ee

MeeSARS SEE oeomer AR OV A Tes SEE . .Se : Te” Cae nee TOS TasCEE: ne SE STEAL SeaRR OTR REDS Seer Se acaCERES eae SeatSSE Bay as SEES Penna Seer ere eS eaken eS ESTAS anager SEEarene ORRan . ; POR a NES tyRie Ee Ente Sb SORE AAS Se ees st Sor UgtS Soe ayEe Ee ee ee Reacemeecr Ps SeBSR Br, ooF, EEE We ae aeieee = .BREE :.Ree Oo RNs eone ee Ts JESS As HEARTS Set tgenpe SS EESSE SS foul EEA noe REESE SIEBER WBE pee rae EE ee A:-Leet YU SEES BEES Pe MESS Petes! Reateeseentae MINE EE Eg SE hehAES (RENE ae aaa seeueines arranny SeeSeer EReee siege SSL whee : BF eePe es5ote He a zy seat ESS See TSSRee Degas Bea ee COT SES WSS ateee SEE SUS ccoreeniaes pene magne ee ee Snee Mig oe Se SRE So rere Fie ol LEP SEs TE SS aa nnn: Sean ESS BURLEEA S an irae enna aaSener pacer pares SEE SEE SAGES Sarna ae nee Loe USES Oe Demet Coane ean, a Soe : oO IRE. set oe SR Sa ae ae Say ER OE MIRAAEE ESI SEO SEL TEE SEES a oOR EEESee oe eee Suara SSUES ES Lee 2. Boe seeineee: SS Sethe ee Beare een SE TE . ot° ST Te ite meer SA QDR SE EU Sesane en ee Raa eE ER Seone Se Sao ees JST 7SRR oS HeSEE SRE: on .hee wh SEE. RR eS . .oa ESS tah SoDeaeieees MERA nee Ce CeO Seren aenar ene Bess Snee ena eae hts es eee eeve SE Beer SeaaJOSE SeERE SU Ee Sac enc Ee AS LSaes SEES ee DES EeSee aSRE ot CEASE ES, EE SUNS VE, WANE goneAS ASEE ig SeEL 2 OER Cle. oe SNe Sr2S eee Paisano arene ep: SENNA eo: : Sesh ie A enon Paiste loaeTEE La, Fe,2SS SRE Ee CS Rea Secs es GEES EEESS HEE SE TE ere Sg; SER MAS ues aS coBere RRS Pi RR RSAS eeeER SRN UV Te peewee Se AEE ERS Paras Reo Snes

LO LESese © SESE Ue ESpeor BES atesaeSERRE on eee 7 i ies Ss RES a ESR Rea Unease. ee. ES Lean te aes MDWE EEE Eyawa iesCA Peswea oe ceana aaa Re EES SARS OD SOS Reine eetaeaESto SRE - 238 ee SS SEYPGE So ace CRIES ukeUP BEES fe NR EESSE LUE SeSe ERE BEY SESE

ee eSi BEE (NEES ESSE us Engr. SEES ED SSiRR OSoe “EERE Semn oe RSS, : UD MELEE ee MP PERE ESE EISRS SOUS Sane nee PeeSRR tena PB VERSE SRC dehEean keooeS Sete Bites SEeaeee Sl SEALE . “EEwh CIS SLAChe DUR EA bs ONES See eae SO eeeOSeee TELE SECIS Ta Seg eee SEES CEE ee ES eechane - ataoat SS . ,CSO .Seas Sd Seer I Unyenhet nettDern Onis aa ORS ES “heEE RR TAREE etee. “TE Be EEE * BARE ae . EY a + SEA A Inte rte Bes es esES ee neES ONSET Sos Baan

_ o oF oe ; SRE ae ee ER . Wa ook ee eee SLI a Saeieen cre aoe fy Bsa tigate eee ee

Pee ee eeeee CSS SeinSESE bak oe ee REESE ARES ES Se EARese pe coo ao :oe- :ueve“OLS (EIRnea E ThE SepWEES Ss SORE BSP LEESE eSetSE Se eeeaeReecancnes Reaneta renee SER SES SES resShee eae EEE SEBE Siege SAE EERE tCnnae OEAES eS NOSE Peeorea eee PRONE eSORC | OEERoane Ee q _Ea 7: oo ES 8EES aNe bee LES, ee eee peeen aePo, FoBeae aeoyES Bene :ES : ‘SSE 2Paes PEE PRES eacroensons SOILS VAEOI oneePaeeoaons HESS ut eens Soe- eee SEESoe SEES SS SEER TNVe Bee SSS ee gee? pes Rea age. weet Reece ernSes SS so! sty SOS SSE we Lo :SES ay ws MeDOS che tele ae eae ae 1 TUS A ME area nares ee en Arete etn whine earn EES es ESE AeHAS Renta {ES Le Pine SEE ESLnSE A rears Roreaten nna TeBrrr nS EERIE paar enn panto EN Peace Soper eae aes Se ey PERSE can!eo Seyamen Ce AERIS at SUES. Day Canenrn rofogs fee ee.See WRrS tees retaste Bt ER ENE sett Seol id hoot we. nS.. :. :.Ma! Meet eye”eS im ey eee wee ye SonesDeere Saar ea ae Te creme Orcae or oeaS EE Spanateneeet Me Vite ioe ie ais SUSE

caeae eres EEE ES US, eeSL ee wale? te Beeiereosee eeeae tea See: Rear a Pe ee BoE. oot eae ESE LS Sn ea cakeoa aden atte canon POE LORE HEL SuesoeSRE Reena Pe eeEA PSE Reeterae Sec Soe Ean oaeet ao Soa UES Beet hda ESRI wes Sop EEE ESeeeee Satan Es SSS SoS es BES SE ean Sa ceo eae Ses oe SEL ENS SSE fos Se VRS = BOESe HESRaat Pigs ee Serene Peete| wut eee ey .Ricans a Bee AMR te . anPoona . 7 . - feteaias . otis stSEERA Se me ee tas re on PeSS ae nce SE, SELES ee Ls honey Senne See SOE SRE AesSEE SSS SESE CREE (herea LIne eg PERE CRN So SR asDE ee rns SCs Seaten Seeaane TA Renae oles SERRE VASES “eh aa .ets any Stee OU Soy PRES nS Rae CORE TnL YE Se SOSA es See AER SEE eg ag PE RS SESE See PPR SSSSeon SSS aS ES Be DURRAN: PRR DEANE erIAS eeree eee EEE Ee SEUSS neSeseee iesSee Saud

. _ #... = oer ei era Sg PER Sg et ee ees vA oe BRR See PO A SRE (ORE Ee eee

Seana aesRoneececness SOE Se Renta pcre Anena RReeoo ERR ee SERS ee So TOS Soe LeyERa .CEES Ufc. af FY SEALY, Se ot SES Roane URS DEES RS vite Berae eenEE Bee ne ee; LES eeeMD eee he SakiSe eCae SedeeRES Se Le gel TSVES ins FSS WagaS DEES Behe cera vie,CR SieAS SRELESH erence oy hesScere LUISESEES Rennes2“s oereeaee SESS SRS

as Sencreeran ts See Re Pte Se He re “Ea ay Speen Pe es PRREES ta Thats net Sh ES OS TEP 00 a es FEES ee COS OR SEE State Renan USES ERIE SSE FO seSE eae ORS ee eS ae Been CREE ys = ees ayeOe7wiea 8:SES ee Me 1 oo eset ea eR Ge ers Oe esCES See era CERES See So eenec See. SEG Dae SSP: PORES aT ate ee EE a EE, Ranta aie aen oeaee SG Bereta ie Be Sr eee a 7ae Pn ee “EEE Sys SERS cry Sone Soe TREE TOL SS oer un waa Se(OUT SL TESS Se ZEEE SEEMS. TEA, OOPae RCPre erernrarneraes pe ce roe es -eRes [EE reneePU Oy yee eS eee eaeSH aa LUNES Daatesanenas whee oA ae Peetrha eee bellu tes oT LEE MOSNEE ee ney ESES cht Sha ER: ay Soe aEEn CUE SEEES ao Pena ea Nt SLae Ts Say oe BEES oe SESS oe wee Boe BeBeSe nS JE Sees eeaeOEE a bee ge 2cronies ouele egaTh ESfheieESTat gee SERS Reena ene SEEBENS EONS SOR

ee eee ss ESE SenSN Seas te Tas SOMERS Bon ue rr CREE ae “REM ats Sel Sorc SL SORERS SSE RSDELS cenawesenees ean ea HR Sonera anenl ean ee aera cea hee See oe akeoo i Senna RoeRES a tRaNS erieSee PEERS: SeesSUG SE AOI tUS SS Be wee Eat SeIRE we i TAR. tee) LURE ASTE pos aces Ue SaSee SOReae oe tTMEE fat MERen OEEShe Sg TEE eee pean ee

_ _ oF ee Ee eRe Saaenennon an Ee 6 ess ee Pe | Ce e - . : : a oS a e :

i . oe . —r—— 7 7 a Seen ON ON LOR woke Ree Ree SEEOES SEIREAL ins 1 ORE OE WOLsIne ISS SU ena Ee Smee raatLLNS She OE Sa fel RE aE RE ES ° BeSeer OS Rankine a nanan CA EY _. . _ROIS a . ESS .OEE se LSS Sen me LeEEREE eT Te YOS Be Pe POR ie eee foSe Ss Heh WAS TES SANS, —: ee SS Se OS eaeAY RSS ee PR EE LAME TRSaEE agiTa eA aaa Me, *2 oye SSSSoe aE OES, EASEened SP rere eo eee SESE SEES

a Beare oo %re Rare Ssh rae See BT SeeatsAe cae USan an Oped Ss She GPR ET Senay BES aon TERE eeTISUES wetes: SE Sa WE INE _SERA _ _ see _ , NEES oS ee ES DD Serer Eea or EEER Sia AE weLe ne:ne WEALD Dough WaT Moker SUSCS r ste: ESRaper SAESSE Cepeenc Beeontes eeeSe eaeAO aaeaar Seen a ieee Ca ee St SeDt ee ite deeThee EY cee BO Pa LE + PA AcE ees The cho ow wot Wo SEE ne ye LD rene net Pee he aa Onn See enna ee

| _ | . EEE ~~ Rana enna Bota1ieERE She WOR RTATEPE EE ge area EEEheh ag? SED AEE Se Per SUAS ere errere Mee ere we ERE 8 SST eensBINGE . a, Aon USE UE CSE MO Beee ETER Ch Ce J SS) ESS ereeaas TOE Daae Seas cae easESS Ree .i .Tes a eee SOS “aes GRDS Sea, : PTAyoEen! AEWES pk ies, hte apeoeeea Sena BOARS OT ire nen SEE So Sey eae res SURES ae Lon SEES: nes

ee ees He RS Toy ST ee eh Pep bongo Se Ee RT ns sere arate SOP EUS ae Po ae eg Po Ege Beate eee SEES SE RE TESS Bela oe Ch Eee ESTERS Ce eer aes TERRAIN BS Eg Sopahd irs AA a eee einen BS UR ae SE Pe ee aie ee ee Eee oo Se ps ie SRS PEE SES aS SHOES Rees Se vie aes ES oe “EEE Eg a She if a Bee Shae SU nh SAL oe Nee PUES SRS ADE Phe ite by Mh EADS SESE Sos DSN SSLEESSES DMEM Us ERAS SERS peonane on an Reena ee oe USE Soot EERE wg SESS MEETS ne peered Serene ees eo WE OE eT AOaD SALSS Te ORES AS BS Pe Seas EE oe eS Cg tna "Se eT anes ELS UNRATE TR ese

rr Eee Seas HOES SOS PE eS Ueakeee eeeWOE BOE ee Sasi oa12M ASStnShee A SEBEL ete ate aaceta,PES BLEeeeeee eee pas eeueee ES gE5STORS eehincanen Sy Latte as SRSghee As, ee EE, Diebhhanke ADRES ee Ten WeDa aSEAGER Voter eo, waren ee . ae Daly er aaa CONES tL RUN RE eyee Son, eas ee tee ene vee amenran See ne! Reon ine “et Lees we RSA SL Scent “ee enaes RECS aeaeSSeS SEA PET SPER eSpaiane SOM SEUSS ne PSaneTn SeDaPONE ie ys ESE ee ehyeSetSaas Rana eae PADRE A Rete Pesrarere SEPA EOS oneSPREE Se eSeeee SS Sa ORR oe SeERS OSSSAR Ge ASE Re AEE einsaR ORR RTI SSE oS BE massaoe peeaeees areAES See Rn fe Tee Te outa fists Tae Ls ee ae Lass wns ete See . awile wt eee ee SOSTat Seah, SeOey aaa ie Seanad Sra ot Daten sis Es SANE SSee en,ee eeRoeennes eeeee ae SEE BERG ue oh Be os Sy eee ESS ay Ochi ge PRE Fe So38eR pe eee Ee oeDEES AERO Soe Aes a a rs Ne Renae RecereTa Sepa ACEC fyWes ee Sune PS DRS DEY Sona! Sa TT APS USEEES RRS OER DEES PUP ESres coeain? CUS MNES RES SOSEE TESS Tae hae UE SSSESE igs Seco Se Ee Rear arena ey EEE PE Ses SSL ns SOE SSS (Oba Re Lie eg Ee eee ee MEE TA RRS ee Wa ene SEE Sa IIS CO EISEN Beh aoe! Breer SARS aR ee ee Rare eee Daas SS EEE SE: SOLE eit ty PASS as hse AEE OE aoe edhe ead TED EE Seah MRED RS ee ie aE Ee TS CRE See TULSA aaa cra eee pasa ee RRR Rararereetontess BORE a Je RISES A SEE See het aepagel Bons Se Oa Te Rs AE ee Bo READS BOUL AU SEES en SED MEGA Sl 2 VERS es Maen aN ESSE eS: eae Een ES Sa SD Ese eerteeeety Sao ebecsaraes CHEE ST SAEs RNC a a ra SERS ae See ee SUCRE Ee SORA “SEES hia) Mee hoe SESE SE hy Se at ene te APE Pee TRAE oo PRC SSL MI VE Sees CUS E ESE SURES STE NES PETES ERS EES CR ee Rees CSE US

Se ORSOran BE ES CoRR CreaSEER She neSO aces SEES WEEE RELGea OwSLE nth ee ir een Le ene MoeSe Cree tee CIS Se a aSee OST Sendpares NS SS eae Se ES Oe me ESTe SOOKE ao AS SAREE RS OS ees Na SeeaeSEES SSE Reace BESSSESS TSweQt Se CE Se Wee neSONEEIOES SESEEAT Un edthea Be ME EySoS, eaeSats ate oe AY Te TaeS Ble eyyeTL MES BUSES es CSSORCA SS SR NES Sierce po SEE SORE ES ed CURSE aeseothes LPS eae eee SOAS. ateESStaie asSESEILER BO Oo) SASSER SM eg Doe CSE SORE EEE SEEeeSeine Ns eaSati CS SESS eRe Soe aesCRS SE NCO JSS ee SSSRReece SS SET ME ech eae SRT eeeae post CREE SEE SA SEES Popes NS RES See ane SAC ERES UY SE ORI,SLES See fn Seliiie TALIS Te Se PER “hese ir Sane es a naCR ean aS CSE OEE SESS Rerstres Rc eee Soaekeee eee Coe SAE Tiel aes VED ARE penetra PAtyean Igees: EIS EEE HaSaMee DEES DAES parent OSES Oeea _BR oe ee,RS SEAS ape 2 TR Sus Se es Ponpercnrcneeas ee esSUE VERS Asocd Weg ie aCPL aneae2Seta USES DMS iy aay SES (On EE SS USE paneer aes SeRRC Sarena oo— eeORL SESS es FOSaOR OE (EMS SES SEUSS ee CEESUS ES RSS on (SOU See NSIT Se8 sOY URES oaPec a CASTE SSS Ie SESE SE NISEE ES SES eas SSA CSwavne CEUs RS TRSSee UR RRR PES RE SES Seas SUNS SUA a SU a LE ord Shey Pa eR Tee Wa WRT TS So SE US ene ane aS: SEES Rooeeaeanearenentan SS Oana seetheeer Penn RNIRETR Rrenacaseans SOM J EseCees SESSSena ae See SSSR SESS Sehr SEE eee reSEE a TEES DEAE TEESE fod FeeEE SsRS TeeCRIES Se ee eee oe 2 . _FARO eS ee CC CSE agitScie ea tea Se LAE Rte eaeret PEPER Eo oyane wie en! WEEe EteSepa Che eRe eT, SSeS RYTepeA ee oa UNLee peace a pierre aaa SPS A ere Sarees ene eesSaaS IE OR ad tte SUDEE EEden aeYeUSER UES WEE eanhyDOTS DASE te CEE BEAUnSe ShoN eas, es SRR SUES Reena anedcome Se ee ees SESS Sie reeAEROS nee ee ct esSAE Shennan Setneenen renee ets TiesEOS A fn ES LT ape te Sone ET TA EAS mag Aon st me nS SR Raa EN aNe TA aOR eet eee Set “ ES arene eteee EEE

. — Panes ns SE ORES SURE es eS ROE SA SLES UAD SRS GeeBED eran ease ae tah ge DOP TAS SE aE SESSSDS ESS Wet es SEAS EA SSeS SSR 2 SESS SSS Goer ene enn aetna nee ee REEeedE SI ee eTEnneOE aeUE Solva EES ete caer “eA leSy tet EEO SheBy CEES ESSE SRS eeRS een eeRE issn Sn SO a Srr—“‘CSCCOCOCOC SIRES Sea SESS Se Tin baTE Pag SRE WEEP Be SE Ee CREST ES eon ee ST ayRee EOS MS ae Jeon aera ee Se ee ee

SESS #— Mote DSRS SEES SUS : Sieg LaSe,esThe Wet Se Jive ys Se STINTS eerie or a wt EMU ASneSo ee eeeaaret EEERRR SS SRE wieSORE aa ORS Se OSES Ss Oe Rauremnenoraiont SEES eas DEASBeg aee, arewee -ok wl py ne vhs UO Sn EEE Wane y NTE AE ALLE aera PRIM (hae NSE EERE oS aok)ESOL ESSE ||Sean #### #§3&=;©]8®§|Chl Ee ME Saseet SMSC ewes ena DRA HE EES a BA BOA EAS EEaae See ee eeSPEe aneee: pen SUS SReey #&#&3&7&7&=7573~—CC SSE eS CRY OEE eT EeUS erlsSee EE Ee ORES peasants a CRE ORSoecaer een ee eas Peace nee eee OE as TO abel ee? EE DEYSe Doors Se hae i a estSd STsCORES WOR Th SY ahi iky Bae Thay we Shen a AtUe Rae aromice JES et LES wh chs Sipe ao “ada ee oSere : - oas . paler ee SEPeace CC arene SEES SO 2oh A EE LESASIPIMECSD AU TEWSS SPRLUke et SESE SUSernie SSE Ee CORRE a A UE: Seen Sons SES RU LAR St LTSeS een Base ee Se ESSE SeAS a ee eareas eelSree OSES LOL ee Llte aTreg REE Pees rene SUMTER ELS eee Te ELS eea ernment ~=—hEh—h——_ SESE Se ponte oes petaAUS Pes EM Dg WE OlyBt TEES ASRS IN Bh“AEE UE ae MABE AEC ESeee BPera ETeres “MEE eee See Reatronnans OE. OES — #3&=7]X Chef eee PRESTR | DA Ve AEs aeAoSE eae ng UNS Loe ae gi AES SE ee er oo es een PR RRO SN I Se SeaFe HEE Sea Jan oT. Aa es Oy BSE DENSE StES SE fgg nehTE Sec a cogent Hoey hsSO TEEPE Nas Ree pores Lee en Se oeSe ee SEES SSS | rare &#&#&z;z ~~ er manera EE aSoe CPSU Sas DOES Jy Joh Teer ALR ea By RSS Pa RSeg ehoe Maced SEES Wo PURE SEES eseer Sua ee ones Se Raa _a. ee a ES CESS een eh Te PEL SOUL AAR Ee ERED SE LM CES Sree SA ee 2 SE BIN ea IMEI Ramana HASRRRRRS SS EE eens prohennntee oe eects Ee SREY Soars a Se oe ena RE SEIMEI aes af es Ne an Ran a Sey oe ee AEs, ee i a cr Ree OURS taste Se 2, SOS DL Sie Inge Tee ae AE een Pape Snes Jy ShOSRg rose Seen BONES SSS eeee 2 Se 8soe #— Raa pees enenis my. fe zeee OM SES SSRaed SRSSyth, SAE Leoa.cae DOR ee CUE ne SEE: WF 2S CeMeh a “eS SoMen fsausIenent CealES PE hn Wen ne EMA at eee Reece eaePLR ea BRS Re ReeEe SR ES SEAS Peart ti EOS Ses Recep eens ate! pone ene oe Me ae eat . ere, v er wt ERNE I se Dn ot ae we Re Me Sat “leet oar see ea SE SS a, ae “Rey aE eT ene SER eaetnes Revere _ : | #&273 DORE ee Se SES TRE T Ih hale : BO Say Pe Renee oe RE ES Ss SEs CaN tue AE Nas esd SEES EES sees Lo aioe ES Mei SR any wd ecient ane nEa Sa: AAS Rehnaa nes RR NES SEER Re ORES ne CAS CESS Mia Perse Se cr LOIN et ts TE Ge DLS SS FOES EET Ee BOLE eee eh Tee yh Be PO ne OMI SS ES SESE Sythe eee LINE ae PLT RIN Seana ee Ra eae a. GE Rarer rao ae So SORES SE, SURES PL A Beata EEDA os Ae Sith ETSRS ee PEER eS Senc REae et lees SESS. on CES DIS XEOE SS BE SEESoe SRE ae REee Roasiaas : a ee SERS Ed eaters CONE Pea hot a SUE GRE TEM A ile aera Parenter Sea “4 ee oe ce esReSeReopae Se Srey TE oP oOSEE L SO RE LSISBNs LES ee bt SERENE) StARS Seayes RE earners SUE SE Weed STN Sonne TOO SEESS as Bue Soeey eeRoa rere.EES ee OeES WE asa Ee See OS Rae aS eae er EEE Se hh Peg ee EOS EE eaehte RNSR SEES ERE——Crt—“C=CO eae Recon CET SEER | a te eae 2 tsseg WAS Re SRE Mons ia Peat Seeds SEBose lSgiSEES hey AEE ne SORE FB Site oe Sane SEP nanos aernaes ~~

- Doe i Ca a Recon enaree SEES eed Bee ee wo ESTs eee eR Aa ENS Caen kates Uh a eee See Sacra ee erate RSS REE Steerer Sonne

EO ee Mone SRE MS IERSareinnns Stats BAPE IES Sg SORES ae neecameras TLE WL :Rees een. Uap Shan a LA nt ARIUS ekiNs INEBEBE La Ie las “EEE arn Webs Ween 1 Sey Ree ere ‘aCe eeeSEES ae eee a ogensnaes Se ess Rant Speen ae SS Baw Eee These .SS wsOnn AE SIE EAR ae SaaS Ssh LES RS Se ram Se SRnat SSE LS et ESS URS UEhentgreate ds SOS kes SESE Sah ete SNES RRENTS Stee ER Sone ee SEE Receuomecemasencas EE eSBronce See aseeeretnes SOR ees reuees PRUEerBete TEES DS es aesMERLE oar ee ranee at as AES SSSA, SRS, SE, Parana CNSR CootES ens USL EEE eee

ee SSS eeSe SES 1a ae SER CALE A- etER,edBe pee Beet es DegTES REN ence SS I ence See LER Ss ee Rar re es aa [OSS Ce sey _ —SES aSES ee SE aeTOE Se emer oas festa apSSA Soh ooWAITED SOS eSny DERAL SES RARE SRE ARE Seeeee os SERS Rae oe Se IS SEES SER ce POUR SohneEN EnhAT CREatRII Sgva ESE Saree I San eRe aan Se WSJOE STL TP hy eon ry ee Nt STSTER We Ine SE AT a a ROR AORTA EDee Say EE nhs ee

oor SEES wee SSSoar SpeeRRS SenaCASES on straSS Se SEE WLSneASE Sn Sees SOR See SEEN SEES UAuy PeRRee oe taeeet PSA ke CE ES Dies SES aTEE ee SE ae stnSpano TSE Tas Ss Pee MyUAE ee enaias SeeRRR oh See 1gees aaS eeaae aeSeen Sey RR Rae LSE WIENS He Re ga Wey SUL Dn TELESIS Thee 3 CEA ints,WE agDS one ASME SESE rar at EtieORES SES me SoUO ARR ceo WE.ees Se aoe TERR ee DEES Se SASS Ree eeSes ees BASES Bite tet ON OR ela SE he SEES THES RS oS eetfeLA ESS ees PAEEhatte Sa SME Ee Ee ATER RSED arate eas RNRRR nena EERE SES Rome Se a a SN ae Teen eae SS, Sele, neeEe ee One een Se “tone 2) as On SEITE TST Pereaeen feo ES, St tsae Itt vt Whe, eee ne iene EEL So Comers weREN Te ie or fen ras CRN wea Cea retiae SY Pees eA Se Seer EOS ees NO NS ae fee oe a oo. ee SEE SUES ELS geSeSe eetipone can ETRE A Hae eR ae Se pany Ree Sores Z2eE Se ESEORIN HUES EES HURUR SS SOSPSS Ee SS SenSS BESSA DMeer EES UBDean gs fot heBoing igen Wnt TESs RARE. fo ha ESS CRIES EE ES SORE Ss SE SEES ySeo areneACORRES RUE DS ES Ca oo SE Bee SE Mey Sateeet Sean noes wet *StSeRennes TEES ORC psateai)we ieavast ote. anaes eee. WANES TELL PRR ECO ufSn Rae, eearene . SURES Talos: wave ORR Ene we OS Us pone Sa EES Ue es 5eeeeSy EES sete~woe. Ce aan aa west Sears ee ae Seeson weee eSanes eR raae 2 ST as Sree a HOE > ee .| a: ee naeSiegen? eatin oe iet Betas ees oe Mee EY et th ee, Se tteRoney rer reer ara Sats aes he ieShy ee NS SE AMIERL els Soper Se AE ehh. wes aS Reena enn Sayureinmenay eee REE

ee pa BEE ea Ate eS een teed OS ee ee EEE Bog DS LotR Mone ee ee eee Ws RE Es DE gs Soop RRM ae pee eee SEES een ee ee SS oo eee ee ee USS SESS eaeaSBuse SONS SS ES FES E SESS Let SO Sh STIS S TENE sacs A SO Sh SS Line RaSSa ee SES ReaD SS amen eeSe SseSLs e arseens BOOS DESeee Sane tees eee ned Seen eeeSE enue mee oleRE AETE ey SEES SE 2S SS WeIU tages feeee eeee SSSUE pe Puen Se SHEERS eas Sa SEO SEE ee ee OS .

Seoe enea Bnet Wass SOURS oncSis TEDone OEE EAT OU TWveh SUS Die Se age SoreI aaan STS LE HEE neStes! oe EELS SOE SNES: ee SSNS eee APR: Se Oe eneSe SNReneS = ee eeSSE ee ear SUES Pirarest EES Sete Stet a aa ok ne ae meoe aenee Sei we te fae DLfet ay iwee DN,TP weySESE Lee ESSoS VON Se woeESS ee Rena SOS Ramey SR TSEee MSare fueTa SoeRerpaennoninon SoS = es c . . Ss OES Renee eae SOAS SSeS fend TSAIEES PEE EES Soe TSoSSUS ASSRane 2 EEE SEES Bee Tet aeeannee ee Uiasts int anany CAM ee US PI ane erarnen SSE OEyan a AEST Syhay SESS EES SEES =eet CSRS SOE ES RN ieee eee ead

es eee Serene eens EEWee SBEES SeaLES Seer JESS pt US eeSri, TES te nee SSNS Bats SURES SOE eeeePa rear Sete SESS BASSES een aeons SAR ESS SES BRSTS Lee nena aaa So SSSecainaees (OEE seitERG SU ERTS yeERE SED RRaNS nea aSg Ome esBede Po ee TRESTLE ERA ea Bie AEN SoSe Be eiSA Aag ENOES, eA SRS Men, ae Myer En,eet Pee G2niieiey 1Dy SA SRS nt RE ces oeSEES SRN RR RRSaoe te See eSBe Sean EE SES Sree ancemennn eaeESeR et Lh)Ion SPRUE CE 2S, “ER poy Le Le REN eee Wah tees SAT CER ee Bee Renee . aSeneca Eas ESEe EERE SEIEE VES SUR ghSA EeEE i BOOTS esOE TUSeT ALS A, DEAE SEDeae Sees aE AES Ee AIS EN RRR giOSE eReSESE CASES Ca . es CoM BSS Pesce esSUSE ines Seog: re ees PETALS Sek aay oeDa BoE SE ee Ooh CSUR RP a DESAI? neath NEES ne wesseeGOT ES aSES OSES ORR Se Uae _ 7ean oe cs cen ROSE a 2So PL foe ra es areen flee MEA SIND Rs scale Uetingetes Reeenereraaes SUPERS JS DES Se Pee SERESSN pe THeee IR BOA ener SOLUS PEERS LEIS VEE Spear ere ee Ee SUSE SSS USED CES CS Ae MER et TSE eae ONiS2S RSs. oa ee ees Roane SMa ar ees EE ES TR Ee Soar Sec aes Hane De Sedat tae eean one A SE vy nT SEeeas ieee 2SnesOE LL OER SESAS SoS: PAIS ee oe oe | _SNS _Sey - -I _ EES gs RSA SRanneSOE SeTASS: DES SUSE rate cemmectenera EePaes Se SEs esertEL CRE STS ERIS Re ess aaa ee nn ESS DEES Pare ereRS Bathe SES PEEE aaaeee on we SSE ee srt LED oy, eRe why Se oa eS SS tienes ee NES ee ee a TS Pea Let Soa ig fits rte Lee wast a aoos Yr peSoa ened Recon See,SG SOR Sten SE oe aa Pepin Per SRR wee ie oS SOMES Rosen. ALEK PEee - 7 _. _

ae SEE aoe .Set ee sRoa eratReBePcoeranaein Raion apears Ratnera paken ShearSereatinaeeare aoe SEES SSEES ta WEEE SALAS ATER SeaJes Sacer CSE I OSERSESEES See Se Sn YSee SESS SERS Week ty eee Ce ee SORES ey DISA ER BE Ceeaned ecceeniriae Ca aesTES ee enSELEY ee Hi ee eS WEEsai Ae Sen EE! Roe an SO ate penne ARES ansSua ee PS BATE SEES BATES EEene geeUR ESSE aPisoni’ PRESS Le ES Wet cat Tn HESS SSO Sos aa HES ee reece Saete snob Sh SESS ey SOIR CEN ee AMIE aeSetSES SESS DOSES Ms ENED STEER HRS alaSS heeHAO SAREE! a apnea» iy, ceeSUS SseASSES pants SSE eae eeELSES Tae ESSERE CEE Ee! aaee SORES, JA Se ° Spee RES Nee eeSAEs eatage BEERS: LES Eee parateres Se.areWEEE BENS -pene ~=—s=s EOE SESS a SEES Sa eee SC NOLS ES SE Se ng SL SRE So Set ea ire Sn StU SIS Wate SEA Be eS 2 eee POE ER ee ae TEs EMS ES ia ee Se SATE ME SARS ts AES Sey Ses CAE EERIE SERIES Hig SOE RN A URES Te ed Sa Sos BEER, OR os She SES A coe SES BS Sees SRO RTE SUSE peers TE eee aa OR ee SEE SiS Er SAR Se CESS SS See Seo ah Be Se oceania SCRUM TUT Soy) at he CE Le Ee OS ae Be Se eae SSN DEE Me ee SMe ce iar Se es SER SS SEN GR a SOoeeeen

Re SECON COESOR SS eS EEL 2 Paccaaariomnenere SR EO [SEE COEISIean ees of BeCES ELDPR EE ae arn SSS SUon CELANE eg ~ ERNE S ne ESE SUSAES An nar cceteases iptite SESpair WOES SESE OS- Sere Sean SSCET poorer SPORE Aaa eyUe SeWe gs Ee eee EES OeRene OT esSUS ee ooRe— —SEES /Sat JCes SS So Inte SEE Srnneeageee LL Es Ce EEE Ee SLASE SeSSS Rowing SRE ORES ASeaMEE awe “on BSR St, SERS OO EISSA She BSS ne RN oeARS eT,SLSS DAS BEES Sey7 Re eRe EE SS osPR SOOS,Raa eRe SO aH SMA SOE SSSeeREE EA Sess SER Tek Se borornccoaanes feel DERAED RRSaree ORSeaeOSS Soe SERED ace eenA ane ASWy 2 eS Sonata BEosEGU eosesas SRE See an a wnLee aes Sane Pee ace SO one SSA Snes: DER ean oan aS neeSOs T Pe ORS ME ae Reno Se Ite wadLe ee ws SootNL CE oe e Ot NS ern Sn Ete Cones We necapac ee) SE WOME, Na Ae aS Se HEE SAE See

Es eee asco aa erates2Stans SOnenn DNs es ey Shay aes SSIS WLS CESSES Soe Tit Sen onsght Bae ata re Site entnnaes Sy, SeeSeep SS 2 ae caer nai NoeSe srs SSS Ei AROWEE Sey Sr SUES SE oh oss fetAEE Pi ESSN a AEE See INRe ne Seee SEESee AE oaeies ae es ee eee RESSSS SESS DOP SER IER AS Se So URS SPO Sea Sra oA MES MEE ee ea Sy MOY SSE SI a DAS RADAR ARRSEES U AER SSS. BAe fe SE TEES Ss SS a hes Be NSimma eR eee TY RE ESSe fo Se EA SEES oR Rtcere UE ps oe Bo SO en ERE Sean RR Sec es toes OTR

ReonUs EES Siok Senet2Re eRe SUE Es SORES FeO Tae Ee edwe en Se So Pena ane CR Sa aera ae oie SSR SoBoreas inet PEER arene RORee ENE. cer UA REO oY RNSUSE Re Seo SotaSRS BEN SR Soa FP RE Repeeraser: ann SEES SH eeee DACRE SUI Be PR Sees SOS. SEN Raaenne wade vith SRST See teeSee TESTS Din Ren es - SSN .morons - - ate] 7 _ Shorr -. ES ORSee EO es eer Shes PRES Renee * CEE cnaras es SoS aga Pe ESS ee OSES CE INSES ee HSE TEa!VE RRS SORES EE! Se eee MEL Se can ees SOL eno eS Ve: peraan FORDE Eaoe eeneeeas

Deanncnrmannrreeneaet BittySee wey wnt: ane eya MESUEy Me eeienrnts nentsRiana: SO VT enotek at meteMace ORE eRReam. cnet oS Pere mie nL,we Se I ae ae ae a eniS heen AEE UE EI oe SENET, eet SN See COR SS 2 yeSEIS aL eae ae See oeRee eo MES yh eeLE iat tate! ae “s Le Rane ee oe pean ma EEEPe Se SOSnaes fee JOE ESE Se eeOSs SEES aOD TASS SSSSayk oeSee Seen Seaepliner Seance ohi, ES SthERA ae wghetls Sa ena Rees Reaieeee TieoeAPaseet SEs SASS oe

aes Seana Ue Se ee a Sete SS eee: "ee eas eee Sareea SES ee JONES ER Sse Ret a ADS = SPREE ee eee “gee: SURES Poe SEARS ee oo Re SS a EO eee se Se! SQ Rice aaa ae Pra eene SOE: Eee Ee eo te 2 ESE ee pasa ane eae STs ah Se EOS LS ae Coe ae SA ESS CER yee Rea TNE SS SOREN SRS Ses See Ts we se Sees ee CSE enn eS)

Scene ae DE Sona Ee REED ea Vere Rae ns Rnern hora RCT é ae 27 Ee ma ay Wet Reo eS Cn Ee Beceem ene es eS RS As oe oe . / a : _

Ratton Pacem anrente a Sey “ey te porte Ce “nee es mate eee eae REE, Se HY “i See SOE ne eneaneni sl she eee poses Bee, ES west wy nit ee te cae aren ee aa ey BERS ee Rees Sey IIRL gai ie SSE ne Pee Ber ae oS nos ae : — . 7 _ / / oO

Reet SEE Sn TEE SS See Neer pono SeSAE ieetet oeSEs eee epeee nS oTeee DEAE altete Se ans a ‘yoyae ‘ap?Re Oe SR Se ee Rae aeCORE SEEDS AEs ae Oars SEE ASE DNAS SEAS Wat SOS anes whys cE aren Wage Mt ae Rei my SES te eee oeEN Sot Sa ae. BAUS Ws a SO eSSee See oH Roeeeae SAS SeSaLe Sanaa RS REOnkangen Catan eeeae uVE agSeLo eeneeS RSS CESS SM esAtEs Caras

rr Sees SAaaeeseorreennntanees my SE Nee Fe. + ee SEN PSEMMR Ee SEAR ee JSS oH SUES a SER ea ces pennant Se CSIERS ESRae Perera ae EES aahSee paeemena Ea! | ~~ PARLOR nRRRS SE ~SURES RensSSS “ ics EES SSRIS Pe NEES ee SstESS aesPanera Bee Ss ERE Perera Sees Sey eae: rome Eee eeens: |Sabena ieeaaeee SSanes dre eee Ses tosedSeg a he, hrs See Papen Bee UM SEO Se Pn Ie DS Se SESE eS Se SOI See nee SERRE TS SEY Pear eer Re NO egSenPetrone Bs Dette UE SRE SS SSUES SASS eaSSSESS “dah Bawee po enDeano Spree eeeepee eee Tous Rovnanenenne uwSoe Ses eaa cia naSAS, DEE - PR Soe meme, See, rer terns S, Ratan Tee” a ee 0ae ee eee thee SRE aaa od oe. ER Serene COSA PN SOLE ERS Ce a estatnigene ete Dane Oia _ eee_ ae ES Reape 7 — esSeeSERS SESONES Cece? SEES Eg eRe , tee Tenee wets BSSOE EES See oy SS TASS SEES Pasa Renae SROs Sees “SINS See CanSS SEs RR EE SUE SEES ets poetiont JOSS oe SOS SERS ee aceasta SRE ETRae eaeIeee US SAE 2g caren Shee nals eas Seen ae 3 araR ATE Sa ae SAS Pau Aon SR WESSEL TkJSES OeESS) toner a TESEASE SS SSRaa eae ete RE SAE:eS SEES eo Ses OREO pers SEs Pra RSSESE Renee SOSSS aos SEER ReneSDR JES SSpeace aac are pee . oSpe, SeCOP nee OE SES[Svea eae eR ENS eo LS: ae Bees eee34" SUAS Rosia Roe Sele Seeley SourNySA Pee eterna Rarer FOSS SSesCES Beoenctee ERS eccrine cana ranie RnR SORE SE es SETcoat Se ae SRE SS BRR eS Boar. * TREES Be oct eton eet wD SRS Ses “aaa ae ON ase yh eh Set SERRE Soc aISSN Sean Sennen ern aiSSeS SAE ECR Racenereans SoneASE aaa SoSey CE SRLSSe eae SASeee aren) po ener Ne SeSES RS Seaeernente, FgaeSaoBe tSReese £30Ns:ee SR Se SESS ee - AUS Ses ETE, OR es se SESE REESE Soares x aS ee sb te “hN 3 Soe SFa7 PRON ERS TN EG oe eteee vaaes FER OREO EOSrrCas BEES eerie aiarinaneas EE MST teeSESS SESS myene SESEeRSE SEER BsSe acer ennaSo te =

Panerai heated a SERO ee eeSatara ee Sens SERS DEO Ne Saar TT Tad ‘Rey EOFO TRE afSng et asae Ss Bee nay enisg” hig’ of SSS oes fen SS ee TAI SAIS SEL SEES MESES ia ee ee aSeca : | Soe Ee ear SOE SSRs SS SESE Bone Bet onpea oa SS PSESeSSeS, BO ay ola mean sane ae RE RRR ESES SEstkSE RNa Serene Sere WOES Saat SeenON Sopa EsSee Soameesnnas ennai SetSGT Be ee Reeceecenat ae eg OSS. RSS BScae AILSS enSe eae sania Jane Se See pene aSe RtPLS SeMe! 2 SAE eee ee Dp eae SEES HEAR pectinaSete EE Se aa a Pa SERRane Apee ee ENS aor RON ait EE RRSE LkASRS Brie oo oisON | ee ee REARS. eesSg" Staaten yeTe ndbas oe BO OSS ce oO 2SEER SAO Fh SS 2Ra a SR SOE SATIS rs SES SESS RO SAUNA SENSES onaSens SeLAER Saunas oss Sramintos BS, 6,RE ooeeRR BBY RRR a see oe sretite oc.{CESS SoyFREE Re SaTre ee oe TESS oe ae 8 |8-ER oe ASSES ROR ERR De HOSE Sa ERRRaa ORs Pes Sag Re sreeSTE RON SI Se aeee PE +niee Ra RosRn: tt SASS Be Stays Say a RRare, mare.SERS See Seess RSS SSS SSC eRe San ES RRA SELES STUERPIR Sy SSPE S22 ane SOR RES SEES ee ES Se EUS SESS eg eRe Re ate RRoeenmooeuannnny NDE SES: aenaas Sa SESee SE NT ERR SOR ee +SeSR ay So Psara SRE pst.See PET eres LS? eeeASS OneSoD Se: SES MeeePearse OR See SU em apeate?RETNSES Teen VEEEe Se ee w eS ee Soest ON Reena aeSeer eS Ke Se Se ie ae LonSaeS BOR. ERS LeRSS eae ee BS STRN BAe SSC direct ae ROE) Po nnoeeean ee esEOS SEER ae oct PSE: chee BER ee oma. one sore > 2CESS ERS cae aRae j=tS=ener ERRReebeisoseen US EOS Oe Ss SES See Woh “eae! SEEEE ete SS Romances ens ROE TOD ORR Rae oe eeaeeD ee E05 RSE CERRO ean oy Reena SRR BRS Se Lies OCR eceSRCS OTRAAA RR RST he ONT ORC OESe ORRoS ea”, Parone =ee 2° ee 2h RRR OER EASE RNR RC RS RC ESCCORR RU RR SRNR SDRERTN SINC CULAR MMOs =F, Sait tS” __ee ERR ER RRS SS OOO RS SOS OSCOO RICA ESR OREN ETE See ee eR OU ree er Roa Rae ENESCO SR eRe eR RTRs RS” SR RE RAO oO SRR RAI OURS ARRON RE DOESN ORANG cn «S05 ect i Se gee,” RRR RSC SES RSC SS RSC RCO RR 3a Fe ey acl rained te aah RR Re RM Le RI Re aa tal Nae a ae ROS RIE OTE RE AME et ie ie en es i RES SE Ne EN OO OS BOSC ate ncn ceca neetetedarn eect inte A ate at ETE NOTE NOE EEE REG SANE ES BROT ESTEEM EE RUNGE TS DEEN AL EAE SEDER AN SRT I AIOE NE AOE IN EEE OM SO EE GEE OO NN RRB Ge fe NN EE EAE REPO ET REEL A NE AEN OS EERO TEE TRAE OTR EIE SEE SLE OP DOTNET pe BEL IC OEE NO EEE, Eo oft HEN EEE EEN GEILE EID oe OA SDS GEE LPL BE GEN MELEE RA OEE ET EME EEE LEE EA ETE EEA LEENA EE NED Ge LCE EEE TEE iE OE ON OE as

‘Rianne aeSein te URS SSS aaaee PRE RS oe eee Lp OR EE rtEREISS: Ee ee See eee De ERO DRIER RESON RIKEN EUS NA DT RRR se fp ana LUN! 3 A RORiS RDN oe EON re,Oe OM RURNE NEEL PREIL! ELE ROTO RRR DE i aRey RRR) 20a .eee — TEE ENS SOReet SE IE Sea: asaree Ss See =eaMog Be tees Es 2DEES He SOS SS Se Gee aS a8 . ES ESE SS ERE eR SS eee Mae ot Sears Se Sees prone nares Raa LESS RNaoe eS Sees SL Reconecenany SOSA ERLe cans SES ieTRE fol aaa ASSES SSE Ss SRR ERIS SLES See oe peso RS _AO _SENSES -Sear —>Sea EE ERSpee SE oR ies eeeSR onan one eee Woe oreS ; ae ae USERS SSE Tynes Soe UE EES Bae if Soe caer oswe RE RISE DSU eee RN FAS SSERR ee Reena ean Aes SS INS SSD nas eeNON — 7RRR & .SS 3 EY, eeSes RE See ea antHe SEsUS eee See SERN ee SLE CSC Ri RS se RS a eaSRS a Loh Sa SIS RRR ERS SEE sees Sen Seon ets wen Eh DSSS _ | oe ae Reereeranaa ae FEELS PRES FF a ages meets, oe ESS eee SOE RSTS St SADR DRE YS oan Best PSS BeerEER RUSIES SESteSee SE ARencnaeoscaaes SES LAs eetety EEOE Se Le eee aaa eee He — 7ASS . . “ ESS oa :. - _ERS a oeSon es Seen EO ES IESEES ee Ras SESS ERreWS — 8 pe See tera eee PSUR DERE A Oe es ERO EOS eee PRS oo ergo SESS Ea ener ec een BREE SNS aES en es SEES TESA eeSerena Se PRbee Ee nePASE Sears Sanches ESEaS SSG SESS —SOAR CESey Se Se ORR ERA CASES oSES See eeeRSS Sse Be ORY ee Dats Sn anes Some RareSoaenan eee Le DENA RD eeStreet ie aN esTES es te eee ee es :Iaeeee a8 ete -[OES S 7ee- aS ooeeya) . ..— eRe ESR ACESS 1ORE SS eee Scones Sareea ra"POR Ta vig

Ceara Sa eR aa See Re ee ASt SSE Shspees TSSigh SUES Ts! RaeES eaa SES ee re Barreto sue eee oo Soe ee oe 7 USS oe S Sotho eS Oe SEES SES Oa ROSNER Seana ey oS re SSR peta ee Sen 4ss .CG 4Se -eee oe ee — ees SAL eeSaas iaYaRennes rear eS ORR RRR ER7we SM Sea, Se77pee Re AaEe CERES oS Be SSeS SR Sea DLE Seceeian Peae RRS: wer SES SoSORTS aSO abae SRS ates .ae . oe oe gos weeRee LEME Seas Segate: iBe

PR BI RASS te TAHT: ertSE iySoe Po SES easRe. oe S24 OEanaes Seen 6h po OS faery s SSNp PRES OL TesRR SES SON Sea ores eS.Seana Ee ve: Berges So _ EE oe eeSees: STS aast EES kN ge RITE SS ee. Se 2s Res, oo 6,re,Bee Oe Se SEAR SE AN eRae RS Sea See eames Pee ORR eSSanat eae ~~ prerenens ection Serre ate eg ee: cay TSS ee Geer an ee eS No Rca ES reacts VES etn Ste, aSc Seee Se ee oe

eg Suerte ES ee ORS —i.:‘cy . 4a ee ; _ EF, 7; |tf- _|mes) oxa‘ See are aERE a Sassen _oe eS {: .‘”. .: g. | ee ee CESS ees ee - oFa :pees S .4 :5s | _ . . ae Re we 4 SOR ae RE Senay S255 SERS Ss ase pe ee Bo ts aay Paes Ey SEES Sax SS See SS RN eo es EES SEES, ane

Seen Rass. SU Sn Renee rieSe OSS PSS SOR a oh vet P88, ees Ree. 2asaa Sonne Sree Ko SRR GN SSSR Se eS eS Sets Rarereasns ReNene See 2 ea RRP eres TE “Sar A wee ne opeoR e°3 RN 2Sen aSect perenne CRE pane | |— fae eas SUE Saree AP A BUES “yey on ERS Ss Be: a24! Bee Re a oedt FSos eeEES ws SRE REN Res BRSEES Sart oo . _ene . Lees SAPS 4 oe eS. Bee teeePRR PRES RS Ser aeeee Sree ee Fe aeSen oe SR Se epronnne SeSRC NoeSS pesee eae aeeer Seana Reacts ees Se a Ba aR Sa eek Beets. HSE Se coe: Seana es spentagenes Rea aaa ee . Pee ie ee SNe. pee Reo EES aa. RS See os ce :

in | enaesaeSerr Leecae eS rane RRReee ee IRAE SESSNESE, pare as RAS miieoiay Rioenaainy OE aes *aceeenetes epg MTR ines: eRe Ren: » SOT E aS Ras SA SEs Bee Ber oe Se sen SES ee aea Sees SatePISS aos ee heeconta ee MEET. Renin eee oS oeRERR IARI eete pee aeee ang eee en aS Seer RNs Es “ PESOS REISS SSN oe ‘lei: aaaOS 6: OS, Se aeee eats BSED So aea RR Savane. See oeSOS SeneeonTese Raa ESE aeSNS Ree Seears Sees Sas Bene ROSS ES. eeSES a SE“ ee Ps CCarea os eee nae teiaee TEESE rene ROT. Ree sete rps gee fee SESS es“SUSE igcieees BOP RS? oS Pe Es, See Bea BsSe RRS> ss eSSee See -ee, ee 8—res—se ARRAN ee aera 4ee ee oes renee EER Bee eos Se RSE BERT eaters. eS nS Gee SEE =INS eeEB eg an teeny ra] ee ee ame CEE SENS a ey ee pes SS _ate :See -SRS — 4De|sits :SRG ‘Sonat ; Sa :- 2SAS ony Eee SS “Ste Bsee. ERS Set area ae Soe WES ae: cee pean Braue eee gee: seat BESS preceee RRS oeORS SONS eS SA Se Ee . eo i -SES EEAO eee Ss SS. ae SrOat ete SERS eens aes Sa ees Eeeae aes eSRe, SOS eneaee Se eSSUR eae BROS ~=~—EeeseE 2OE Reena SSL CReg ay, Seen eyess Bes ntRoemer a Joong May rohan ee SREY ne ee ge eee YS iyeea8 Se oe 2 Ge 7 . ace ‘ersnaen .eee | - Sense a-/a |~=—eres—e ras ERROR a SE BRR Nh Pee Ese eae SSIES See oneeta Vee POOR SR Sees 3SERERS SNe Rae ee Dageae ee

Rta Se ESpete oe Oe oa Sharon SRRsaa Dore BES Peete ROSS one fae BaSroptaonaras SenPerera cans BEETS ES ESSer Pee ieoaoe a SS > :eeae a .aeee : : ,Seek : SG ms =cae etyRR eee!ee FaeSSNS a8 oe ron re eee Sete.RL SaoOS aaa SAE Leet SE CESSES SASo an SERS Met Le SERS aoe wet:AS se Ses SS PNG YL Soetee ote .SSO Se PEN Rees PENIS Se ie ee RSE a BOReee i SIP ES EI as ES ad EE, oeieee at TE SRS Se: SY SEES Bi so FSRSeSees TEESE SE SERRE tetINS pe DORE ERR eR

eee beet. MtSneitas Sass_stCdsaitiai‘a i oo ReneeoeSR poate taaoe eae? wee BEERS a ane Sees SyoeSEE eeene eeeaeSe “8 ol wisiee’ eR SOS CEES Se HeEe Seana ER Sey RRS Een SRE SEsSE SEERa PCE OS REET SR SAoes ae See Ree ee dareaeene et See o earaenenees

— ee Bee Sars Se BS SRSESS See nrneens a SETS SV SEES SH etsBEE Soren EESee RS BS :een SO *. Beas LPSES ae BOLUS Se aes RAEN SESS utes inet SOILS eaten EeSSeS SRS RO RS Seger: Lae 2See ee? oF — ERs eRe Sater eset OE Cs ee ie SEES RS aeSitar Sai eee =.=SOR SoS SRE Se sober: SOIREE CSU Serres REE BERENS ae CoN Se Ra SERN SA Samii ST -anne . | . Ey aS SESS 3Sone SS RRERS PREM. ee SSUES Peonncaate foeertoees EEE ae OE SSeS SR AES oeCiRaises SRS Ss2 BUS OES ier aSe *ee }— RY RN ae os Ree SERENE Les “yee UEP HSS SSee Saas RES: me SeRe — 7 RE .aay , eoee -.CC _— aoat oo. BSS es SN RSE CaN _ See Ee Fen ON ary Saale ne raeASE See Se Sat SERS rect oe SSeS See SaReo BR eee =SES eee RN Sees atc CC pares SES ES wee EEA are ee Sasa Re See S Sas ee Se SE) — : _— le eee ae Sree aere See Se Serene. segs Be Co Se See Resi Bs UE .FL- SORES 7 7 _ SES _ : a. aps Enon on MER SS ee Bae Fete Bre aeSeas RS Nata ROS RIN Ree See Soa _ _eg_eee 2 eS eeeookerones SET oeaShee eters Les Phe NEES eeRS Bae SRST SSSR RESTO SSoeee : mone BBS oes ESS ee ro ERESees SES eons SGU ae ft Be ae CES APS areca BROS Rag=" SSS estersES eet Sechon ei SEAN = sae Be ervey No are

_ - _ ee SESS Soe _ OM CEU ess oe ESS — ESS . . ao |

Rogaine 3 SN PES ES a oSSR ee Soeeee ooSE SgWHOS See ene SeERS EAN SS TAS SESARS Saree SSeS Seer SRS sRButarie Rarari a orn CD eestein SEOER oe EEA ee ERT a ore cSes Rae es pease heSORENESS beets RGN Reese x Rea Seon SS SS SENS Ss ee Siete = SR aeparame es: wee EG SSES Sa Baines eae Br BOARS VERSES SEES SRRSS =BSS Se a Meme SSS ae Sree ea Soo SeSa SAR OUee) et- es Berenennes eae SS BES > 7 eaBRERA ere ee eat ee eecece cert SEU ae eae SOSE emer oR Ses SOS SESS SEES Ss RA Se RE SN SEO sree Srsts Sarena Sekseee oF Clpas BNR Be see SS Say Setar SSeu SS nee Se Sear EeSas eaTONS Pes eens DE Re=Sere ERRORS See iS SS A WR eeRES “ache eSERR Se SSeS SRR Ea Soe EES Rea Sees eae ee ee —SNS NRens EEE aS HSE Say oe BREEN ER SSAC ae SS ERR REAR Sa ieeres eesee aed Sea eeeseats Te ee Co SN % Soh eeaee Sea ee are ES SES Se Sera Stesen SRS pone RRR Se Rete Seer sues |a=_oe CC Sueteas pinnae Se emT Ne PES I Ee Snes Se eae EI CHAS ESTES eee See =BEES BERS RS RRUR oeoe.

ee SesRGR So ee eer es SNe Ses ECR Se een CAE Peis Sa GRRE SR Spee NRE SES AN ROR ERR, _OO RS Bas SS Sa A oe PEE ee RRR ASR So NCS NS =raRiseSia . sSa xSopa ee -- — _— a ee RR See ae Soe ERE BE EE Pee SORE SN :LES Ree Seas :te—ane aaa ee Ree SSS Soe ae eae RS ate Se Ran SOSA SR IeSeee: RSS Saree SNS NC eeeS Pe Rena Bes oe = woe oe:SNE ee SAGER SOS See SS SERN BeSe SOUS MiriCOP LOVEE TREES, Bers NN aosRee Soe Satoe Sager Se33 ER ~=~=—he pen eeeeSEE SS eae SOS asa eee SERS SAN ae SESS — —i =~ SS es Sa Seen SLE 2See Sa pennants TESe Se. ROO Se SERS SOR EEN as ~=—Or—O—C—C—C gee ace Se SUE ee Ee VERE eS Been Betgecteee ee 3 RE Se Se Seni SERS SSS ue Sty ie Ee ee es nS RR SA ore San See oe ree SIN EE Ee S CRE EN ES pee Sea rate Se Dae REN PEE NGS Ne ee ~~ ~C EES oo SSS So EARS SS Se Ha nN, ORE COURT atts oe SAN SRS ae RS Sey SRS SA SS Cee SO _ _ a PROS Se ete Die Se Ce SRN NS RR OCR Ce See Gs ir Rae ee : eee Re ASPENS ey SRS RE Saran ennas pearenness enh: RRS SEES: ee ee Se SSeS RS IN SSN ee RSS i Saree — r—™ CT anes pee SSN < SNS Saree WE SRR StS Bae EES WAS RSS PERSE Reet eRe sees RSS Rae Semen Se pron Sena ~=—S—seeLC Ce ooSNS aeSes SEE ae oar ie(AEE PEETE has Ses eeSreeET Se ee Mea Sh POR aes ee oe Ce Re ooien SENS PENS ee SoS: ER So aN.See ces RRS So ae Sees, SO RES RS See No Se Re ER Spneene, BEES is Seee CC ee POO, SeofRRS Sa Sere SRaeoe CASED SatTEE ceaSES eeeeane EDnae CESS pas Re aeSoot ae Ree Sane Set arORM Ve Sait otereaeeten oO Co

Ue 7 ee .: : : : : a : = a . Bi RSS RRS. We ne Bee ESSN RR el RESSRS eee ES eee == SANE SR4| ._es - | ea cs 7 on egies| Soe RNaSerags ESReeesSRS ee io ie ”:

ks eee BS Raney, LSSNe CERIN: US, : SS RES TEI Rye OE JOA CER EA eel nas RRR RS rearORS Soares :Sag CAE = Soeunaces SRN sere ReeSeek ELE SSAER aeRO _ ee =Sore omOREN eee SR SeBSCS: BeRE a SNCS GEER BeaBes SST es wsScho CE SERA BRS SeaSonie zSHES SoeneBo CC ee egies RENE CONN SRNR SETS Ce TORE TR SES Bes Ree ae BoSerre RASA TSSe Soe oe nee ads SE SNe RES aseeSe Soy aN SSE eras TA CC STaaees aeee aoe |SS _SS /Roses :SERS := Z z :So a _Oe Lees a ie See ER SSSR HOON PS ARERR PEL eS eee ER Se EeRes RSSRE SSS Seen Bee, aSR SCS ASN Ges ee SEEN % eee eee SE ae Oa See pees 7 AES ea aR: CEP S pa EERE SEN Se — Cis. See eae SaaS ERE ae PoP MES SERB UAE Ree Ae See Pe SANS oes See BC ee oF —ri—“‘_O_ ER Bs OS AEST Seen SSE he AS Reena Ls See FAAS Ree RS SERN ~=—eL_C :se _ ns_ See ee aS SS RS ER pio Batre See eR eSaaeee SES eS ERY SEN Sais ER eSSoe zy CP ReIRSNe Sees ene RAINS pee on Nsee LeiSeoreenree eS ey oo SON EROS Reece Sa. ES eas MARE hee Se SS SeSaree SR Ra RSSOE SOAS Ses SESS Sete OCC BE GREIS oe xs Cee oo Ses SEERA = pin Ee yo AS oo fa ets A a SOR ne oN aN RON aN REN CEO ORC: eee ot”. See ecco —.. . ERNE POSE ORES. Dee Le hae SS Sins “ESS SERS PR eA Ox sae SEY PENS SRR nae genie EE Soe ea. ce Se Co CC eae ne Series Se Lh ER UNAM AISNE. S88See SSEenineers Doers RN See 5ORES See meSRO ses eae _ 2ee aRSASS eaeeeae aa was, ELIE 2eRSS Se ERD ERS ai ee eR PRR eeUGE ee eeSees aR OER OE POST SRR CERES RRR So 2ROSEN. RRS Sa PRE CSIR Se|PS EE EEE Eg] Oe SONS Waren SEES SERS SLRS ney ieSS ee Boe REO EeCSA oe .pees a ERS / 2Sees . oe =Wes .pO aee3oF :- 4See S — Cs ENR eee | SU nA SE alae SE IRR SN 3 Se ane ee BS SERGE Seats eS Se He huge eee et tle: Le Seon RES Seas ie _ s ~~ Se Tar Ee BA ie os ae cece ney Seen Sapo Se oe Soe Sa Piacente ee PISS _ se ~=—ers—_e Oe I TEES Cease ES SSE Bos Pe aaa SRO: TREES SS SS SERS RT EIS SRG ee | ~Cl :See o / — ee EE ISS ee EER BOOS een aa aa TES eee Rea sc See z SES SS ae Sek cer Be ea EU ee ee OU as Sales ee ee ooree wg Oh Ros yet, VES rae ECR eee ee Soe Sees SER OR oo . —r—i—_—_ =~=—ds s Le Lee pees | RR: ee renee Oe as San Se ROR aS oe BES >. ~~ ~EOEe ey Se a a POs SE a — UA OSHC ee ens een tas Poe cen aoe “ Bors RY Speen re sot SS Fea EES ee ee So eee Sats ae POOR ame a Coe Sn SP SACS SES heen ES Soe Ree ee on

epee eeoo RoeeS ReaeeoCees :a: oe -2-| -: ,S: .a: :coe

pie ee NPA Re SE Se RRR aGaeta Rae Peo een {ae |... ee SES eae Ne 2 iceman Se ceceerreese peers eS SF EERE Se — ah NR PU Ga ener aeRs oF TLS PaneLASSER aoehes SRR Soy ES SUI ire eR Soh ScBe eevee PIRES pacer ROTEE Oa _f‘os fe OS Es ee Pie Oa aa SE os irae, See oe enter ee eas TRE ey ee eae 4%EEPO LI ES OIL, ~—Cse Se es aPIRI, cette, TENS Rebates Be SE ee.re.ieer r— .ee. _RaeaiLSRR - asa— See ee | aoe essa Mane -RsMRE ~C . RRRare

nena Us eee eee: eae nS oo. .Ba ]see4eeee a SR eee ee ae | Cs. CC . se - ee arene Pepiyed Ss SE. : = | . . _ / - : : | . . : : x : : Rsoo - eeey SELS Reseaa| ::: -| :é2 .i — es ; 3‘ |:7: ;4: .)‘ ; : x : : : Secor ~=~—Eemh a oe : , 7 [ a : :‘ ;SS SSRI: ore C2:rene —.Sees -ae— ~«-«C . | aee:SCS | oo: |“=: *:— ’: ,: Ree ie ae irene RRR. EE SAE, Bier oc Been SRA ena ORO aa xe a Ce

eeeeeieee RE Ss Rae NH RR acm DEO SS _ =CsCdsiCia‘ BRC RRR. SES a Bee STS) eenesneeaen ee = RCo Ras se Safin cnna ER erate EE eae CN

:7oo : Ieee a SS eee — ee esPEARS One he ERR wees wee oo genet Bene RS aes eS PENNE :zRAN oosenha. tS Ge SER ee ote ke PRT SR LE RESO Sens Beg caine Renee anne pete RESO RR Sar On — ES See EE 2ag See PRES ene RS SRA PosSEN SOEs Bee, SES eee Bi Sasarene BeesRRPe RRR wepeenons Shy LR Ser Rena enact ee EO Pte ee ES renee oat eames EO coos -ENS .RSS :Re :CORRE .ie .ee :Be "CERRO :7BO : -3 2 Ce 2ween Le Sig es. Re ve .US See RNS ae ee IRENE SS -.SeSiete =eR eeIR Sig asiccess ete aTaRae — SOU STtrees EN TE ans Rees ES LTRS Aeexe, RSS See SEER GES Far ree oes ie POPRIRS TS Satoh Race SSS eatin etanas een Seo nteany oh oo . : . _ ] _ ‘ : 7 : -:oe as-ee Sear SNC eane, Lr See SEAS: eee ares a ee fs See = oe SS | 7 . . _ sate SS CO oe sees Barnes Pie! ee Spe: SESS ee eterna Reta NS mere i. | 28 . : , ’ : : . "SO : --wre =—me LORS SE Seeeeanes PARE Se Es“She POEs Bn ea TUN es Rey NS aeeteR ARRRNS SS TeeS Sea es MeN RES BROS ae Sena SES BORER ee See SRE, ASS SASS ee erieLee Rabon: Behe BES ERS Seen Soe See See Ros SRSN ee SOS Ae ad oe Cl ee EES RE es eee coe EE BES SNe SEE SER SSS SES SESS eee ee Enos : EOS FF = ee eee sti eames a ES eens zi OEE ERR SS g a ROS See ee Se ERE Sets Bees Seay oo i,pe-:SEO -_ — oe eas . eae Eee Le aS eS SEERESS ERS SOR SRN NS See a SASS EES -— ees Ce es eee CC SEE Bee AG ae NES oe RON SEEN SSS Se SESE Sues Sy pea deaas Seegeen oe ESS eeSSee antes Rene paint SS SS sete SNBees SarSVR Lee ROR Ree SNERE an Pee : a | ]-ern _. .See 8VES Hsee ee eoee anne spaces SS AG SAS Sake ls Bees Pee See meat SSR oer SENS ee oeSR % eect IRSea RoC SeeRe RRO BN Been stem eee ee ee alee CSgSeren aed TeeS Iae=NUE Se SRS NRSSS Raeenr roa SESS Reeshoe a= eee RoeSRY Re a Sie eRe Sr etna r—SS Bee Ree a Be DSS ae BE ea Se Eee Soa Se ec ee . ee See ee Sonera Bees BRE See es REN Ce Ses. Se a Seis Seas RARE epee SOS RT SS ext ENS pe sana eee ss arenes RSE area eee Soe SSeS Seine SEEN ERR SARS SNS Be Ree ee Ret Se BERENS Boa See ie ek gat RIES eee ws EE EOE een aorST SEs ioe eeSNe oe oe oe a'See 4: :7Sees | eixicuonnestioe >SEN : ?=es :Sed _~—r—SO . ee “SES ee eeSs Sone a TE Ross omLIS Le eee AS oe eer Se Neeser RRR Sates a7os oe Re gS EEESESES oe |aSERRA ft: ae .-SE— :: :: :: :4SS ;: :Sees 43 :, EGE ~~ -— SU eae Pe Sis epee SRR SN Se Fe 2 aaa ies Reo Hed RNS Pa POSSE ES SOE RES RO a eee ROS oe LE eee SOR Sey ae WIENS eee WBN Tee PR OE te yt! oR Renee ARs CLs AR on aa nee CONE ND RY RRS SROCe Nias LEP IOAY Pee 7 eR Ses SR et corer ce Reed

Senses ETE PRET BRN Ree . a res Ae ee : oe See SOONERS eeeceee es SRE Te See Sea ERS S ECS Be Seen Se ts _fc ieee ene ee ee~Cn RShe. ARERR 27oe- 7 eh Sapa _RRS wee Ce aaeORE D2 |Ge — ise ): CS Cl CC Sahin ~~ .ake ee ;PER Ce .ee -oe aSSeS :nsRS :SS -*ees :EERE : .?*Se ,Tes SoPate ie AeBFS aSe Se dsesOtero ty OOS TS Anyet 8We he Se TIT SE. aePee a Maltese SNE a a . RoR ERO OS RR PR es ae ECR SAN AN a,ReSe ea ae RRR. SRE AS See OeTO. ogRERRARN. Beg ERE arya agERE MEF Ce PeaaBEN OE PAD SOREL RE NEiL StOL eee RR ER eaSI Dae RENEE MERION. A Sy oh SS tennis ane SUPERS UNSN No dee OE REDS Te, ave eeeTG BT Be PE RT eeEe a UePee Sn eeBee a te DO Gad ade eae My Ahe a

aor LOS RR ESC RO aU CIDP IS at eae TE RARER Sc israel! een we Mace alr oe a uit tp Foe POE ee EI SIO BOO LEE IR ay ON SER SS By et

SAOene ENRE RTS SNAO NOE ROR RRR NTRS. Le Pe EES iranON SeeRRR 75 £1a Reema SRR ae«SM ee RARER eeos eeny, Raton BE gphen, eet:ee wee “5 ete LTRS OES. SatET ee ae ES Pa, Ea See aR Ee nepennant Ree ee OPER ee pee Sa ce Sane Re a ore eesans eeie, a Et TnaEea eeSSte aR SeMee etek PEP Be, iene tl tted ERE ae peteRRS, heatingSP eterna nnnSIN ton wee SEAL OSIS recipe MIXIng fiction with nonficti making Corpses hissin best es his best film : | film si ) 3 ceExquisite Hands Above the City.

Rosi w of fiction and ° ntifascist literature nonficti | ie | ! ) ) on Cristo si é fermato a as less lucky with the legendary book of Italian antifasci Carlo Levi’s almost perfect blend of ficti d

Eboul, 19 e film fell victim rist 79). Stopped at Eboli, 197 Th to ictithe attem

O Square

; of a television series and of a

the circle: to serverequirements th 1 i : e aesthetic both of levisi

eo we fl ajor denciencies of

wide-screen film.. Th The use of color has always been one of the major deficienc1

Rosi’s films. In Christ Stopped Lucan ’ ia, one of at the Eboli, poorest parts of Italy.

cation resort. photographed byasqualino P: li Santis, comes out looking like a vacati

The Changing Image of the Movies 259 Freddy Buache called Christ Stopped at Eboli“an excellent exercise by a first-class technician, but not a return to Salvatore Giuliano, which Levi’s book might have made possible.”'? In the more intimate Tre fratelli (Three Brothers, 1981), Rosi used the framework of a novella by the Russian twentieth-century writer Andrei Platonov about

the homecoming of three brothers for the funeral of their mother. Through the brothers’ stories, dreams, and obsessions, he once again presented some of Italy’s poignant problems, such as terrorism and juvenile delinquency. Despite some good performances and an excellent beginning, the film remained literary and contrived, only rarely attaining the emotional impact of Rosi’s best movies.

WHERE HAVE ALL THE PRODUCERS GONE? The expansion of the Italian cinema in the sixties was facilitated by a handful of producers who were not afraid to undertake ambitious projects. People such as _ Franco Cristaldi (the man behind Rosi, Maselli, Germi, Bellocchio, and others), Alfredo Bini (who produced all Pasolini’s films from Accattone to Oedipus Rex), and Giuliani G. De Negri, producer of all the Taviani films, played important roles in the overall artistic rise of Italian cinema. Dino De Laurentiis and Carlo Ponti were primarily responsible for furthering its international impact. In the seventies, the producer began increasingly to play the role of a mere intermediary between the moneylenders and the exhibitors, and the element of speculation became stronger. The film critic Otello Angeli analyzed the changing role of the producers

in Cinemasessanta: |

The producer has become an executor of the demands of the industrial complex and the financial powers. He has lost a large part of his autonomy, a fact that influences the entire production of a film, as well as the creative process as such. _ The division of the producer’s role between financing and distribution-——typical of

the recent oligarchic evolution of capitalism—brought to an end the dialectical — relationship that used to exist between different stages of production. The rigidity of today’s film market has resulted in the absorption of the figure of the producer and the transformation of his role into a managerial and bureaucratic function.'4

During this period, Titanus (one of the biggest Italian production companies) fell under the control of FIAT, De Laurentiis moved his office to the United States, and Carlo Ponti became more and more involved in extracinematic transactions. The era of billionlire productions such as The Leopard, La dolce vita, and the historical blockbusters was definitely over. Small companies were disappearing and with them went the ordinary entertainment films. There was nothing to equal the quality of the “spaghetti westerns,” and the level of the 1970s popular entertainment genres hit rock bottom. Exploiting the 1974 success of Cavani’s The Night Porter, so-called Nazi-porno films were turned out by the dozen: Long Nights of the Gestapo, Camp of Love, The Last Days of the Storm Troopers, The Last Orgy of the Third Reich, A Private House for Storm Troopers, Women’s Hell, Women of the Special Station, etc. Similarly, the good

260 The Changing Image of the Movies box-office results of Pasolini’s The Decameron and The Canterbury Tales helped to , pave the way for pure pornography: Decameron Number 2, The Prohibited Deca-

meron, The Last Decameron, Decameroticus, Hot Nights of Decameron, The Other Canterbury Tales, Canterbury Number 2, etc. In 1972, the state, under pressure from all sides to counter the decline of the film industry, launched a program to subsidize new directors’ first feature films. Through Italnoleggio—a state agency created in the sixties to distribute films with limited release possibilities—the government cofunded over a dozen first fiction films between 1973 and 1977 (among them Holiday Making, On the Road from Damascus, Irene, Irene, and Just for One Night). Subsidies were also available for films by established directors, such as Maselli’s The Suspect, Cavani’s Beyond Good and Evil, the Tavianis’ St. Michael Had a Rooster, Bellocchio’s In the Name of

the Father, Olmi’s The Circumstance and The Tree of the Wooden Clogs, and Zurlini’s The Tartar Desert. Such ambitious, mostly low-budget films would otherwise have been unable to obtain financial credit and investment money in the face of competition from American blockbusters, which were invading the European market with increasing aggressiveness. Without public funding, the image of the

Italian cinema of the seventies would have been even grimmer. In addition to Italnoleggio, the government supported films through the state Television Com- _ | mission. Whereas in the sixties, the commission had funded mostly television plays and television documentaries, in the seventies it began cofinancing the production of films intended for theatrical release, such as Bertolucci’s The Spider's | Stratagem, Gagliardo’s Maternale, the Tavianis’ Padre Padrone, Rosi’s Christ Stopped at Eboli, Cavani’s Milarepa, etc.

Three of the government financed “first films” stand out as attempts to break away from the prevailing narrative patterns, and all three show the influence of Michelangelo Antonioni in this regard. Whereas Visconti founded a true “school” (including, among others, Cavani and Rosi) and Rossellini influenced practically everybody, Antonioni’s antinarrative modus seemed too “non-Italian” to have more than a few followers. Peter Del Monte’s Irene, Irene (1975), Giovanna Gagliardo’s

: La maternale (1976), and Carlo Di Carlo’s Per questa notte (Just for One Night, 1977) sought to avoid plot in the traditional sense and to present instead certain significant—often seemingly dissociated—-symptoms of deeper emotional struc-

tures and changes.

Gagliardo (b. 1941) was successful with this technique, capturing the relationship between a mother and daughter by examining small details of daily life in a middle-class northern Italian family. “My film’s characters do nothing but eat,

prepare meals, remember a good cake that was served with tea and music by Chopin while another tea party was being recalled,” said Gagliardo.'© La maternale is a string of “forgotten memories,” as she put it, whose disclosure eventually expresses the essence of acomplex interdependence: the mother and the daughter are viewed as mutual victims and oppressors. In the same way, Irene, Irene exposes hidden aspects of human relationships by

concentrating on the visible effects of situations that no longer exist. In a style

ee ee ee ee ee CO °7:ee°°e e:” ‘* *ee . ? «er nim,.’ |},;ere1

The Changing Image of the Movi 261

\ PDO E SEA SEs AUS Es ae ONeetoena EARS GEL GE A RSOn teesgeeaoees mith SL SESS RR SR ar Rae ac GE ee ee eeLT fFois eAOs SeRRO pe pec SoI ee gs eh — re ato Re Se Cee cE SE a WE I SE ee A Sd Bacooae SE AS eR2ae aa

Ras eC ae eee SE Se Us SeSESE Rn eerEUS eee Ss ae ee Samana en ee2SRR eS woe Be ARN EE Se GS aes Gee aeeeargmnen, AP Rawle TEU UR a on CRE es 2 eee ec ee ae vain toy Oe ah on PE ET Cet a SOS ea PRBS BE ey Se Va Poorest ee 4 Ws UT SRR eo Mea F ores, SRE aOR REE RAT RRO «1, RR a ea Soe SO a a ST EO SERY.

Se . OR UPR Pere Bae genie 2 eeAAP Sa SERe Po aSe eete SyTD. Sealepara Me Recgcreed Berle. rareSk ee, PSE OEE AE EEE IE I So ES iSERR 5IR oe Gat et,Ee Sein FEE Teens IRN ee edo OREN RR aS DPSIPC spROL ROIS OO SSCS eR 1 ooSR SEEEo ES TENS SS SRE

eS UES AL Oe oe esTeits SPS CRO rt aan Seon cok SaERR eeSON SEARO ASCE ARMM TE eR RR ei aRR Pee ae, eedeaon Se eeRSS ceSapee a Merb ees Ae ec een YT See BSaOR OD. FRPP aeeee RR esl ee Peet toes ORF e Reve! Nace naan ana Ly GRIN N's, oC RSS BESS oN Go REL STR APE a rae OePane eet ee ESS SE: UL S08nee ie EMS hsEA a Seed RRL Dates Sie, aes ORRO ROC eSCOZ eR CSOT heeos Capay edeSO COOGEE SeeBREET eNO DE SRS aes oS Sey attacks 7iape” Roveearn “Vhs SAE 2 ea a SS LE«OR PR aeT aapcon SERS eRREDE nae SOT RRO © EE ERREe ETtian PSRiaCs one Vt nr ene Neen HORS

eo RE pe ee foes ee Ge oe a See a. a. a. i a .

RESO ERNEen BNNNene SORE R URN > 2S tea Rae Re hoe BNBE eee ae Se ae eeLe AC eeER Pe eadeeet gt SNPE RRR BR Ce eee NIE IA Reoh, Ra RED ers So,co RE ORO ORR NSIS DORR aa te eto ee es BP SUDA oat EOSa See eenEeee So. 2 CreeC heRn etree i ne TE ER OES AA ENE 7 RREE alte Sia SNe ais eee OR diag AP PTE RLS RE ct = Oo Re ci RR RSA a ERR eS EEE ae RR RO SR ER Bion cae nae el

Eee nen aac RE mEao NOVERSES RRO eo, T+ aeSr Et REA SS a ee BMS BR eRAS aceck dothoo SeeDe, Sees Un He geSE ERSTE: SBI ie RR SURE See RRR LCR SRR ATOE ee akeOREN oe os PSESr Sates SAR ERRESO SR DREN OREO EL aeeSL RN GA OT oe PE a Risener NMR CUETO ID Na Fie eeee c/o RRTRBIS Beer agi ernie heeySRE atone Sere Bee SeeHIS, OO SR ageaeea20 OPO SEES Pe, TS peed. ee eon en apn SiO Se re one i seo NS eR RESORT 3 3% eRe So sceOe ure Scie eaee pee Ly: By go Pe Cee rea en Bae Be Ses SRT Ano RS ee eaoe ORR ee Seat ie ac llC~ Nhs ORR Cate Seed Ror aBRIE aarr “hgPOPS Ea yaly SOT BST oy Seats SeAa See OL RAT OE ITSRRS ~ 0SA RRRN YS ARO ERSR CERRO ilsh ee RRR ERR EI er ORES RS Re ee eeee Bi EeTsPoo oe ee SRSieSR BOSC kta IA iE ARENSON SERRERE i,ote She OR Bes iyeee haa CRC RR ER ORR os,eeSsae eR OE SOE ene oSeee a LS Snes Pn PE EEA SIR LAN ORR ROLE RRRARON Ce SRLS ROR SERARR S Be AO ” SST LTISTR ORES ee, aerate arene eat nar RSE SAKATA SST te, "8 wee Dee TEE SE eel, Ce Tee Sade SESS Be FEES AE ae RDN D RRR Se ee ieee pe LS i RR PRP NGO EON RO wee Re SS ED Bee eat. YS sean STN oo Sadan oO ORR ERE ROR RS

eaeHPA en eteas eeees 8 AWER Se ee ees foe ORs 2 ES aPe SNES SCSoe I 1PSE NCE EG EROS ee [oi Be i . .... EEG i | eeaygM TEekeeeeee

Poe GE SRR ee eee SS yee paresis Rin a Oe RseeRe st nat ee ABe LATE BRD BiSRE ie SE na aS peRR a SN otOREN 3 UNeeeSERB ERE NRBS OE Oe a er wig OSES SE EN et RE COSSo RRat RRR SER IRR OSS SOSA RR ES DS oORR. ie ROR 85. ISRe3oy) Shite eetanner Ss enedSS PIMOS eI RGR Tepe ereSRO RU eTRaemeaerKe PRS NPIL O DT Se ioe ics ee wen pesr EE Sa Rak Ec

_ .vin eos: ee ne RES UEbssiy(it)SEES eythpoe ERaSaeSern es ons arene a SRS, Se ee a

es eeaiiesunaelne a a oeRheSOS i Eeaeee PLEeee ee a.eects eS CC : Se

ee SRR EE, EEE i BEN Soe ey LOS ee ue eas WALA: Choad Sr es oe vas Hee Pee ie fe a enreaate pa ee Z Ss Ee Pace ~~

ReenaBe Z Baa Ree poecees (EE See, SERA at wetae Ee See etree EAS SRS LO Sena tne BSE the pe MahiRa ss CoRea re 5 EEE oer Sao eras Paarcage penitence precas Whee:Se eee eres ee CSE Ree eon eee So eres EEL! wat “octal aTIS, a Wes ee a Ly Se SEES SEM Se SASS SiaBE et: ‘ee ghtmere” WOEMTIS ES Ba pelWek Seeee as“ee }eee 2 He “ee BS Be =gia Rees EEE enepera ae ean eesLES SeMe EES SE: SEES ERS as ee Se i CSS pes Se BB: Beans ES eemet ot : oe aoe Buje ng eye vray Lee aes oe waDey eetodERS epee eee Cee. Te Se eae Been ats mage iratSenses Sn..etic acoe LL. ek SE, ea ana! apees eee wet LE sy oe eee ann "hog ee eS LIES Shit nts ey aes pears EE SU eae ELS ay ees aes CC SC eae ca Arthas 2 Renee ones mee we sie Se ee: ae ee ee ee th ren SfCR ERE Se PET Se” aie ee eats Spee ee ESEE esTne: IETS Dee eealias Ss nese Ree oe ,ah Gee SE Secon eee ny ek ee eer: ae ‘ghee Oe Sees Soon naa SeEEE ee ad °eSLaeB 8DRS weet one Pe fet ee ose ry ee 4. ee Ch an ae a OLE EES oo EOS agate ae eres vet .:Pee Se ) =e EES Beoeenenre: eae ee ee Berar Cn -eeesTay 5S eg Myc re are “ wee eres See — = CCl ES Hie oD one mS ae Bateceen See Race ee DES AS ee 1ash CER ee oe iq EERE aenseeeae RE Con ei BRS ES ae ears ogy Sire ee oe EyasLEE eT tie Pee yates PRR Ses Sere SSE: OReeSeer. os SS PeaAES ee eae Pees Se LS SST Benoa TARE Rae. wee SS Sy ane eesen BeADP ES BES SeSeeeee

iS pect [1D

The Changing Image of the Movies 271 ster and a handsome, womanizing officer. The film’s main concern, however, is the confrontation between “beautiful” and “ugly,” reminiscent of fantastic stories by romantics like E. T. A. Hoffmann.

In his best films, Scola makes good use of his two primary skills: his writing ability, which enables him to endow his characters with psychological credibility,

and his ability to create a believable sociohistorical background. A similartalent | for combining writing and directing has also been the strength of Franco Brusati. Brusati’s Bread and Chocolate and To Forget Venice go beyond formulas of Italianstyle comedy, relying instead on a system of motifs with symbolic overtones. Bread and Chocolate, set in Switzerland, chronicles the vain efforts of an Italian emigrant worker to adapt to a foreign way of life. Jo Forget Venice, paraphrasing Bergman, Chekhov, and Mann, attempts to elucidate the relationships among the

members of a family by depicting a series of events that occur in the space of | several days: the older sister, who has been the head of the family, dies, and the family home loses its appeal as a refuge. In an elegant, polished style Brusati evokes the twilig:1i of an old bourgeois milieu in a manner reminiscent of Chekhov's plays. Yet the end brings neither Bergmanian self-castigation nor Chekhovian sadness over “a life that has slipped by, and one would say it had hardly begun.” In-

stead, the film’s protagonist ponders the future over a cold meal and a bottle of wine, ready to forget the family trips to Venice and, along with them, the past. But it was neither Scola nor Brusati who authored the greatest box-office hits of the 1970s Italian comedy of manners. That distinction again went to Dino Risi and Mario Monicelli, with Risi’s Profumo di donna (Sweet Smell of Woman, 1975) and Monicelli’s Un borghese piccolo piccolo (That Little Man, 1976), grossing over 1 billion lire in Italy in their respective years of production. Both films are exceptions in their directors’ oeuvres in that they are based on novels. Sweet Smell of Woman transcribes Giovanni Arpino’s successful novel Obscurity and Honey, and That Little Man is an adaptation of the bestseller of the same title by Vincenzo Cerami.”4 The appeal of Monicelli’s That Little Man lay mainly in its subject matter, which struck a responsive chord with many Italians: when the son of a petty clerk is killed

| during a hold-up, the father sets out to find the murderer and takes justice into his own hands, becoming a killer himself. In the role of the father, Alberto Sordi personified to perfection the average Italian, stressing his basic mistrust of all government authority and his obsession with the idea that he is a helpless victim in some far-reaching political frame-up. Vittorio Gassman, who played the leading role in Sweet Smell of Woman, embodies the opposite of Sordi’s “little man.” In this and other roles, Gassman personifies the Italian yearning for grandeur and concern with “savoir vivre.” The protag-

| onist of Sweet Smell of Woman is a blind middle-aged man, endowed with great serenity, common sense and an epicurean knowledge of the pleasures of life. Lonely and exploited by his young boy friend, he undertakes a journey whose destination is unknown: death or love, solitude or the sweet smell of woman. Risi charges his films with a strong touch of real life, guided by an unerring instinct for the significant topics of the moment. Thus, in 1979, when terrorism in

272 The Ch | Image of the Movies . °

yeti Tg ea et, Se ate tet, a See «EE

°

;PU BASES Sa ee SetaeBete Late teeth, Se PON ee OS DUE BkSee etd ee eee las baled aaESE SISgdEg bee Pg stake vBSear ind Se Sia heSTRING e eR cake PRES oS Tee RS seyTEs ath DHEape eres tg tt 3 eee lt nce hae ee POS ae RAF See TEES ie tan GREE sre Be Se SES SySER Seat eed ee aS iis ey eei ety Oepened Pee ee See oe Li FRESE ee Fe ee how Se pa Sai Perr Sok Sent BARE RSS Ss SERS TS ERR shPi oSeeeRAP AMES tiaras OG SSD sll BSst Say ak Sh PROO CoRR eT Bet eee REAR, Phi RRR SEE SE Se Seeeet hte WE ESR AERE a 2nNSaNe BRS OR OE SOR TE Shalee Se a OO i ae neta, Seis ASo tyTS athe ae ene Ee SR LaSete oe Oea EEE oeSi Sod ay Le eAAS RRR Te, OORRIE ye Se ORS SO MicBEA RE See een Bo nSSP OR ROGIER Reiee SUS Se aE Eeaaa TE ee BOE in SOLIS A SEE re Sin ee SETS RA Ee TE ah PeeOr RRWE os ES ENS hieth ce ee yeems eee,ieeeMae ee enn RSs Ea a Annan tins eeeRRR sc MS SERS tern, PS SPST SEAS SE mame gs aeES ; aeeEA ay ES TS eeLop SS Se Oe ai,ee Nai Sone 2 TES See honda Sa Gee CDS SFPa See, TOE SERENE OR ace ng §a Sees Hee zSaayeA ROR Lee i Res AS Ee Supt eeeSg SS PonROAR 8 hairy den a ae PERRET BeBaCee Oe SO RONSN TE aR argaNi ennSe Wiis siete de ooTSEP Be Rae PURER

Peete, Ce PEGE RRRD ee Sia intheLR FakeES BoE oe aSeeSEAL ee rRNA eaeEU eterCRS crates foUae Se ee aoe AOS SE Se RCS ORR a aT se ae eateceeer e nnee RASee a STE ees RU Gute tat RENIN ahSree SE test Grote aoC RaoBie St UAC CeatLorton ee Sent Sates Ty inden SR RR RR Sr Gn. ghBuy Ss Pa Se aCeOES giatORR ES 0 BIDS Reeeee ENcateie SarSe.eee SOUR NE eSRRO oe,Or SR OOS Sie PEE sc See SaiCe aostae

PN ett a ie aes ee eee sag e 6S REE OS, a eR ER SOROS Ctr aioe nan SNe = as et ere Sg”) ee —

GEES Pe ers LEDER L I Rt Shi LIRA RBI fe TS ROR RRR Se TCR N 7 0, Ra Or in, en Sa Sees SCE taal hae ek Le TESS Brae Gen A ee Nee RRS Ce ee ae EES Sy eS Be SASRCRTE pees fee aie Leis Se koh, Ee aa Se ee er Ee enatnescaanNan names F sh Cera cnieuinar cep eae BEES ODER * Se eee oc ala ee os, SeeSS PERCE 0 Sie, Sete a MER, Ce ee See ae oF per OD SakePE Be Ro AS See SRRR eR ERGO peer PURO NS Lies nape ie Rae IRRSete A Rae Soe Seo, Ee See SES SE BR emai nan Sera ELST a eat eee SOE eeSE Mag orsSRA OS eatenRS ROT DRO Se NS a, Vas nateSon BE NEOO) ps [Sspe aeae VOM SRSIE SooLO SEE OEP RRR IoeR SS a Se RRO IS Bee Basted ren eens: OEY See POE oe ac a Bede he Bae a Re Pe TE SeeT Ee aEEE RO Be 2 ho oS.eee. OES SaBo RRR SRR 7 ea RR EES RSsc, IRR OR TSRES RR RENE SEO ig Be ReSe taees Oe boar ea iaSRT oiePROS CERRae RRC SORE a a7 ee pe SaaeNe een aEOO 7. 3i Cae, 250Pant BR SR SS RROD ER RRR REY OEM BENS HS aeAfos aS ERS SRG gO a OEE Ee nn, ORR PLLA A SEER AEP ee aa SBS SEM CERRO LA ged ine vagina RRR oF eyorc Otihte RRR Tiae RUE OS San URtag Me CeTE ROR GORY oe Fes ee Bees Oe ap sone ant, Sea ted Ade ae SNe ERR NG POT EAU SRR GAO ER BOR EL Si a co Tee aee Berets eps pe ee bain, ict a CR RR 0 Be sae ERROR Ck 7 Pilg GaP ete SRE paid MRS we a eT ae SR aR a +eae Se SE, SEE ES ea et aay Ob A ae SERRA TEES ERIN Rg a a SESE IE AROS IRS a RR SEROUS Cor REM SRR gS TaN Vee Ca ERNE LEME SEN Le ane EE tna ens OTR S/O a DLE RE I i Na es SIRES eon ae vais eine Seca eerie Ee REE RA Re ENERO apenas SER SR 2 REE EeUS eras gh nae cs ee PTT TE Be Re sh ae aa SRO eS RNC BSR eR Cr Seana Bee aon Se SRaintattg nae op ada,ye raneanpe tienFR aneSA Mateee ee eee enn esSPP Os ee iyeDERE Fee RR Sere rete DRONE nentaeannamencnnten eRe7-7 antpate ceeceiNemeee supped need So RE WEE SEES OO ROSRR Taeae ooOeSRS eaPenecan ROS a RR ae EERE ANCcette Se ARE RR ROO Reine RRR Be ey dep Geedrages tiaaes areSine ORE eaten BE See ASte SL OE: RO Se

a Eth et AR. SS ea PS -—..—r—eC—C—*“‘(‘(CWNWONOCCO oe ee Ee Bg te

Pe ee re eaeeegEe RR is RM eeie oea SEER Ee aOSG ee OR is PAE snesRee one HERS ARatte ESL SEE bods aeae iE, RRS RR cPee eeer etaEES eee SeSr A ORR SLO a ERO BERS A rakes oe Ape eeeGG cic ee tet aeOR Gpiiepes ieee2S tee SUBERIAS oO Se “TR 0occur ea aaE NEES Oe,ies ne aieEE GOR EER (RIES, SURE DOR AR RRBree Sy Pre ReeRa oePRR eete PRR 8NEE OER Bays RR ecient nore Se tn TERN sogtaiene PR Rie teRR PARR TS, SY BEER RE BIE Se oe iSes Setiia ritRR camer carer athSsse fiee RL SIRO eR REENRR SR IRRR eo oN WERE TSUR (ho, PSS Se Seyii7,EER pics a AS Se a2a2SRN RRrR Nc USES ERE aaa MR Ueone EONAR ae BRON OER SO A see SOBRE Gasn EX Ba Re AC SSE 3Sews RRR orPee eee SA SEN eth oy Santi ene eer aRARER Seu MR piad ee PE Sage, eas SYoR STEER SEE RR Ra Ss ees tite SR OeBCR seule as Se eases HeEROS REIS RES ROR POR cn eS Soe egg SA esi Bk SRS RSs Uae Soe Se ESRR Sa ESSERE) De aRee REE eae LBne RRS ORS Sr RHEL SE Se SI ROS Laat on,Fe SET a Re ERR RRR

PosBRA Se aeSe oene OR OEE RRR SO fede ant DRE Le SE UE aya aeURC RES oe Ta REE PEt RAS es Be aeNO PeC1 eee eae FO aR arse SeRR iets aiLE Per Bis paNE, ca Rect RI SO tt regTERR SORHE ESES aa Be Re ae RRR aS ed De eae RAG Rama Ns PO Br SERIE RERr RE BeSESS Re aSLEER Uecnet Rea SE atin Ort8aoc SER WSAS ES SLES ERC RRee EEoe naa Se ie EES seeeeSR SN Lin at Tee a aES eS

“A De SE Se ae a Lada ee Pe: Ly ee ge

“ATES RE ORR SA Eee BB En a ILE aE Lap MT Tey ieSER ee Mn eaEE SNes REIMER ERE Ry 8 cee eaTe pees PAE EgEAU osoeSp PS ESE ON ER RN SORRR oR ie IeiBree eeSR eeieROR vy, tiesORR Sher re BROS Re i SE ME io ASS Ue SESS eGR ANRE RR i IBerean PSS ENsie See RS pilaiindse SME SELLS AM Bn RRR page ELS Sieecerees wat PRES SR a Ee Ae ee See BSAA a es eee eR Gem tc He Wa hina RRO RB ON REY i ces ie fees ee, AT Go OS ee eR REE Le BUPA BeESS See Bh ist, OS Sapam UpPR RRRRep i Seer oe ATCT URPoh tT: aa eS a RRR 07eeLeeG: BRi ne eso LSEN SESES ES ee a ek ESET ageceae” eacaTA SeSR neeeAeee ane Re ge SA es Hie ee ee ae Lee Ne aRON ar eg os itER Se Se I RSS RASS CCE aesoe a ee EERE Been Ne eT a CR PO eB a aE aS ee lagen! Pe SD ed Sac de SS SRfor CAPS SPRRR a AeLer Be SRR Cr ROR RRR REIS SE, ieIES ReaD ee RDLis Wty RRSRS AR oe ates a ae gia oe Sithee:Scene eS a I ae Les bt AA ERRee SRT ee ee ee Soa eS PEEeaetBese Soea Lee es SSIES ES SRE i a aeERR pi ie baeee en5osi a te ORE So RS ee rae FS ee Ra RR ee Geren ec ercanes ee Baten tea eneBERL aps TaeSSeS ee Pa EERIE 70iRRO RR) waa Lg Se SEARS RS ER Fe oheee“Rae .Raia! Pe EES parse Oy ye oe yo PS ao EE aRRS ge — ae os eegente Le anOO Sag OES wt SIS ESR *ee wee LER SeeSa SRS raeEe SOI SEIS Bere Pe Na SRE aSehr te ST CO USS SRR RN RRR eo, as ey5 REID ce RI Re ities OS Et REEL OS SE RR RLSOREN a Sa eae wee PSBEREAN eee £5 SEP ee Se Seatone, aeSS ceed seat ELE oe ORCI es eeET Bie fe se SSE LE SEES an eT ne eee LieSARE Be Se a HEE aa Gage:

VERY SSA SS TR Es FR a eeLS ESR TOES ne:yWee yee LeCae SESLe 2s NEES See oe RReee goEC. a LR aePe peBRO oe Be ee Le Le YES

PS Ut SSBRRSE Fe TSA Ts 0 EE EE YE SEES ee ME os

SRE is SESS SG SS SHES ee 1 SCAR SEU a FR LR RO ROLE 7

REE Sgos Sgn? ae on oe ZS SRE eee » RSE Ea aeSuey a aEe ee BOs ‘ eeBOB BR iscaPO aeoRe RI Be es Ro RE esRet Peer a RB RR Rc SS ee: he hE ee Te noe a Bp 2sear Pet. Seeee Ee aearey ee iaaes pe eeSTE 1 einkEEE LEBSSeS a Rie,Sak eee eee ee2h oeaaa Bee2, sree, Shee, EERE eRON ES sie ee CU SieSO ea ESLER BRE ahadfees Pipa 2 SRS, + BV SS RP 8 err COPE TLE: SRR T ERR ea See cae, Be aR RIE SN Ct aR Sree ee ere oe d os Ce Ee 8 a

ee Seae sy yeSee Reeth, to «| =i:a aer 55 RRS OR Bae cS. Omer “Fok OS Bi Ban MO I ES fs EEA SE SOSERE g fs Bs tenisi ye ce feaceite we i ey ee | ieeCs ee eeOEE, ee re 1a SS RR ERIS SUE SS MIN ie ean: Gi Sea ee a SR scat 8 ei aexsteRc ee te geOE el eens an aedeaRei ee eeneeeer eexZG pace ealord SAPe eedolar TET 2! wl¥) Steee STR SieHa PEE SARIS RONAN Eenee Re Ee JESesea ae cas ee 2. ee Bea ese Paes i ie ae aa re SSRN oO Sie Cae SOAs FERRERS i MT ae LR Se Rene abe tata EUS EE SE, ORR eh a Baesn pe ie pee Lae ag Bae Cg

ro OS Sy ee eas ; a. See pe ee ee Be a Ba

aes a veRRO ” ES Ca a PeRRR Es Be ae y . eeea heses Bers ee SENee EES eS) VE ae i RRO ie oes Tee f RRR SSIES . Oi ee ooaeae eeepeee 8 FR EREeEOL epee NTSYRR is OR epithe wcroaiener die ar sie OS ps eae Bee nh SS TER aaa pe Be BR A eB SS te ta RCO RS ROTOR RC CROSS RLE OTEE ZNO Re SS RRE ERC RRR RE ROR SE SR RRC Sn ie BR RR se

. Co

Oe RYaoaryuaer se i re oa HE Pine ta EFi“ERR esate rs Tate ae tee :eeSoe es eee “EE ee oe RC RROe SRS MR SRE : eeHee a eeeeisee : ey ee Pre See eeAeee * eee “BONS esAe gee Fe 2 LsSa, eeBe LAE En 2 PR fee Rae He ee aoae i ee FR ere Rone is ion 7 Es NSE aOPT aeeaiaee BeAoE So wen eee: SRR na gn SSnec Beean ve ee fieseES Pa Fe gEae cs,Sag, SR EaUe eekoi UE CR ae"aE gaeRo 78SRA OMNI AR RNREAR che ine MeOe aeRamana aaa RCEOS eeLick RSa CERI) oeee ae es eeeSS 7)ee: SOL 2.agate I 3S Sg Sa“hE EE SRD TE ean aseaGee Bs Sh Ram Se _Boe : Se -S ey Hs ee 8 ee ne ce BS 3 ae Ce BGG EU eee ae ee ; a ie . Tes NS Ss Sit OS Bes he UT eae aie nye TREY SSBa Pade Re eS SRR eR ee pe Sas Fae ae s+ FO TLE RastSB ii, oeTRE SA *Ps SRR PeRR. SR SS, +S | aes OE aas ee ae Bees EMS EP PR oea OD ek os ES 2RR IEE, BIE eh, See OT SEER t 2 23 SO I SS | LET A Cee RRR ee Sees SRR eSetES eS SES chen 2 RRR oeRR Rc ne 2 AB yy”. 2AIA SOR RDROR RISert RE SE OASaas SSReha Deen court taeELAS Se feeeR earns BRST ht JEPR Raine SRA oesBSS hot OD PRMD ee cee teee telRRR Sn Te5Pe Fe VOSS enerEe RRR ine ore SRS OR ene LES ee ae

BEES SEEN art cea I RO epee cc ee 1S a ri IRR St RUE SRE cg SE SR Sa Eee ise cee LY CE Berra’ eeee.Vo Pe athe Preeee — CEE — BRE AleST EE Fa Oaae ae ate 7 RRiiNRA AGere RRec Pentima acne, 6 7 WN ATE ER oana BE, “5. SRR SReR Lowis OSES esrane BOG EESSie geeTa SR Raeens aRSPR FR ERR okTSE peg Sa SEEDS So ©oeSEconn Sa a SR EE aReena aRESeFE aEe eS AE Sea RR RS OS aFNC OR ee 1SoSaeMae. RR 3SRR SRP? 2oPaoR OR RR EE Ro said SIS Bee ROkeTe I ROIS iteERROR SoOER NORIO eRe ORR BeaeSALIT Soy MES ee "iy SU Raa aa20 9ennaeienitanin LEE, We ea eens eR aE SUBLET 7peers SEI SIS ig RRR RRR eh see SE RRS ESes SRR aa USES EL oo cate oe Bev Seeder Oe antag ten Serta TROLOSI Ca eeRR eo mee ree _. ee : j es Pen. os Pan. Raptaes a SEER ON es 2g ee CSEEEES ESS SSP EEG NR CN Raa oR I IIIS RL, SS AROSE See a Re oes age oe Se Ok Ne DeROSIER ae eR CNR SSEMMNR RMR Ieieacy Ce tote A AY A NER ER SeCee 82,ee aR Ro anaeRR RS eeOSE ae eyUESSSES : OE EehsSe ERRiORNS Rae gS PRRRERE S rie fe ASu E, T DaaeeeeS Bae. Peas Lae a at ReSaks eee Re"SSSR AR IR RR SAA OuScare 1 oR 7 aGR SEE POLS USS GS RNR CNSR GNRRR 7 oo PARR Ser oes SSS GRE Sete eetant, arma Pree Saaeee » ‘ie ceney aBs Se SiRee i aeRg if yeas .ee cae ihmoos - Re wet ws

NN . Soe RP Se+RR ER ES TS . iHow ee OE 222 ee $3 € Soe nis =s8 ol,eet "' -ae 3wats ae AE ng SOU anee PAR ee BeJed eek ee whe gtSeen ae:anSees, My Seek BRR SS eeeBB. _Re asRR “igOE ene 2ad fe ’POG aaiauuit tated 47Shy los ea. ee .,Soy oe9cane oa uke ane Fe Rear aaaos NTPa etaSee Se ReSa LS eee hh See" Be eSee ot8Fa ag . ..ee. ee: of SS 2.nt A RE AE nl FB oe . tee aS 3h oo ie ees er . 5—.ae Sterna See ee ee aRR 2OM reeo zz .. OTS He Ee eo .:aie aU, . . Seer Seem: Se ae Ne eerste ieRRR Se SEER SUS SME iMW a Lo: ee a eee a}-- ..oe aoa oe: 42 oeot Te, rh) fae a eee es: BOG, eBBee Lee Be ee aeee Ss an.PRET, Be ee eee vee eer aan -. Bese

|4a cogh Lee ol oe ao ee, - =Ey oe ee ee:eeaeBAO ers: SS ohNS AeSBE Be A8 ee feeHR RSBe IRmot, Bo aoo) eaepai ) aget ne FP TSORR . sot ..Coes . : Mee, _ -: es SaaS ABE a wee ee paws IEOR ES Lg heheBB * nage eas 5. SeerRa a wed ie Soa yee BR gees os eaeNR “Ree ela 4g OEE of BM Bi, - ce. | AB Saree LAR. . Hee Yann a? we Uw DE - Seer- on tah Se OES BO RR Paes aaa UNS CRG eT em oe is fs 7 pos a| ioes aORE oe A Rie GS Se So, RRR RRR oSPE+Riera emer - haa BALD A een Se0,«anne aie ee a RSSON, ae ’=..Roe. yeca sf. ic. aES sSeaRRR a ae Pee rk Fee 0Gs: Seeing etesepa SR A OR aC ae S.. Ceram aa or|Fs eat . we -3e iSeeee Pea Be NA aefhe. Si ee REee OR Re CER Sere irReSth ee,Sa.EO SENN. aE Len Ree Rie. Ree , aeao Be iBe ogore Se Sesnoasteme -~ ety : ._ ee 7 _oy «, —;7*| . aS aee SE as Fe aBP One3, Renee etPererereennnn SSSR a”ee oe, Sante te seNae inteRR hcton eR. Pr SEN. FRSn Oe aN .CES oR: ieee SOR eee oe. “oe Pie es Cie a 3 TRUE RAR Siu”. SOR eRe A RR SORA a oN eee Geetha a RES a7. See — oe: ; ) Pt a SY Pe ae age eRe oreo aes EE eR ae hE FE tae SARE RN. Rae DARE IRRAIIK SEARED Rae waka Seen oe Ronee aneS 1 MRE ae CEE Oe ae Rene else ee 2407 ° + Mey ee Re ie pe ne, ees eee Seo, RRR RE aaa aE Se RS ORM LS DeSean RECS ESSER TE Ree cari a ER hy RR SR Bn ete To on ea ee SAU A a . ct ~ ese ih oeeeSoa RR aR ageR SSAC” _SERED SaeeeSee, *ER 7 EE ES “See sae” 1d PERE. as rrree hetie ek ae ee PersSRR ° ROLL: Fe a Se Rama Rs Ric RTT

5 RR ORR RR Re aaa ante NS Oo oS ee ee ee ae we ae aa — ok. ee 3s Se atl ee ER So 2RSet |, aeaeeeeas Sane ARSED RE,ORR EsepyCRC PO ABE Nn eee BeORR BRSFR ie 3ian 9 OS RC Oe SES Ee SEOER RS DEES SiS EEE eee eR SSeS yoae re aree! > Et PES a ee aa RRR Pen + Whe = 7% Geen es : eS ot re ct eeepc ROR OR SRE HEE a Lae eS ORE eet te ge eet vo Ee EERO eeRe rrERT eSaaaereeecene c..: Seeman searing ncn CNT PES. RRS rae fies eeateas eee a era Re enc: TEN ys ee RRgs Ra ee eR EG mekyorir *gt RSE RCE SE ee IE . »Ee Maes 1. Stee teers ae ero ENitise a| SRR OER eyOSAEs RS Re Sree eect aeea BEL ee gnROR ey OO Pees SPAT NAR Seoo_Re eee RRR we Fasae, i. ME” Ore iCARER ODRO ooae BeRS i esBo SER IS Nees En aaAe Bene SOS os ahd eteBuen ayy eee ete ES CeRE ty et agp Rageennens BRR KDA ERY Boia ODa,SN Ta SO Re eo ROR RARR reEo Soe, eo iAMe ee ——=C“CE 2 RE fe RR. tateeRe, Shy ouTy ees e eee aes totus te | ONS RE See em ele a yaa ee i: ae El Te ere Bre see oN TER eee AE Ba fis Hore ee Se “ sa fh ie Se eeSeeePERE. SEO RESPE oss * OY TTS TEP Ss. enSO OER RCESDSg SaOSRoR aigRRR i ee aeRE Bi SR aRaSES NS RRS epee: RRR a eae wh SONS LB SE SO atTEmS EEE EES RE CEeeeee reoOT REO anes pares OEE aEvere EN eOeTeStRR ae ARE RL2Ler ene 2 otac LOROR ato RARN ana IOS ee SR aaa TR BSSena Re ea IAh oe RES) Pe eR SE SEER LLESS oy OULU TE IIS Ree og

Pe eeSES CURLER EeaCe cope ee Oe RayosYo eseRpec SPPRN SE oeisESS TEESE Snes ete a a Bee eeeGUeeEU ETA DR POMS ME no tek OSL ee TE nsSG Cage EUS ES ECON. NOT, SRT iLO EESg Oe NG. Ses BES EE SS oe eeRS ee eS Fa.

eee ee eee Eeaea nar ee Cee ee a eR aaSoe Se PRO iACER Sco ee Pe ee oe ae Pee aeG ateSee Se Sarma EA Rai aee NOR ve! eedSate ROR oN aoe eager ROR Johoe Mie aseage CE a. : PUG es ea Rac eaeee LEyeaan eeEEE is A OT Bases Ce sia ASH mae ee oesREN CE Recs LBSa oaOe SER NRE esee ace OBe EE

Pago ssanieA ate areas Se SEE ESASaR on Re Seis aaa SDR i atta RE SEoeeR Oe ta i eS Rg BEBag SAE TRSS ONE Se ——hL,rt~ti—“s™*™CSCsCSCSC*CiC*C*iéC:iéws pen eg is.Cree woente. 3cBe ooyd uae oeeePaes Fs EePR RRR BeOEE recente Be Bh Re Oe PE eee Roa Seon he are UE Poetsrn Se EDR PIR AAR Se Ratan ee 2S Se CRE sete Plgethode g!Sik SSSR ROBie ann a enOR teSS ates EeTRA Rigs Dees wk Was no ee NE RRCRRE Ra aEESS SOUYRE eS

cenceOo nee ES RESOD RS aR i ee ee RRS i a enPe a, SU Ee Worere °G a ogee eee Ppreg Bn OR Bee See ieee oss Le AOR BR cas nN Suna anttreenenne TANSSS SS LSEEE SE Se Sota OI Bape eT cneenatas aSiigRg a at Se sie oeRRS BreRsuth Bee EE ~ PPA eee. GaBRMRE rer eReORE. eeomes [EELS ~~ Aonan peer Ait HE gee PO ASU Ra Rae seta ieaoees okES Ree eee See ees Pee ee see eee (Ee eR ROR arr nN Paps os wre RS SR Sith 8 eoSh Rit, Matancera OSoa ee me Agn Seeae Sea OTnee: on GR ey ey ee May oe RT Ss ie eee RN Lae an,a Mae Rese eae eae Reena ean ORR IR Re So LARSSRE OM ieiOe - #§3=&;=3§—ChhhCCl. EsRSERIE ER ee eae Lenk ee ewe wae Se wot, Beas aae ge SASS USS teseace SOUS OS a arene et poate nie SSE TE SEE eae ROUEN ERTS ne Serene aR ROD RONEN nen ee 2 eSB tet ERE ane e Seg SARE ES oo ON RNG Phe tee SP RP ai steed oe EERE one at Ee a a aa See ree SEE aE a SOR Ne Sa nae iy Rt TEs RRINAS SR ean wuederieee ad

aa ee =RES CCl Peacne Hig Ta 5aoe ae eeROAR Sie CS TERR a eeEES Sai eseeoeTeas OS hoe, PES RS hed ence cae ip ae ST POS aaa eee eae Es Se Ser Rene A1ete OR SN arege 2S atsTR Barca 1 ER REcrichan eaegReccoree: ne et OS Re “SSG eae “ee “OR RROR ar eR i Bok, RSE EER ay :RT RRere eC aa Sea eeRE ere SESS Ra ROTO LeTERE eepied gl SOFTEE et ee Oe anwee -Spee aeote +2 Ce RE esST pre gaisk OR iae See STE CeORS os ORS Ren nC aR RRL EoRee eal RRR i cd17 aeRN tiRSS ate aR ec 1358 esSS EL 2Se CO AERO NOS Rswee eefe OF earls SE ne"St They ee3.tt ee frae tte BN, RS,apa 7‘eat ROO RRS SRO eed |a lh es EE EE ee ERS SiER ae Bee sige ssnn TS Beka AE Np, yssat gopyoe as Ree ee pea ne Eehe, PRPRON igshaca sions ee ee ee poe Fe arreeel CaS Mee Raabe tennant ey=Pee RRR REN Aobeiey ERRNO mete doi a a aLot aFo aS Poe eee AT REE NESE OSE eneDiet ae DS Up‘py eeteese tn” aSR TSS BS Renee OO ORRIN ID SeDee Seeae SEES Sefer meetres ee Ss SEE as ee ee ee st TS ESA Se vey Wee ee Oe TOE . aes oS ESR: “hg ee eae ised Bh. Goto ae Re ORE Es ZO US Se eee I ARTS RCO So. Sen OME LS SINE i SU Rice See shin ates. TS eae eS See SIRS be LFae BE Bie RAE Ee, Bg Pibahy tr ss.BRE: se ERIERe RorRO Ghee Se Lc, ee EEEAOS eSOE eee Pe coCS eR ae Sa SE oeEB ee SEES peeBS SeSnPR? SBR svret Fyeeeeee Br PBS, ee aest,ee sigeEREv GaaRete ERS EE esRRR EGE Ee SS EEE EEE ES op EE ETeeeeS cerae“ge eden che: acre ekeR RT oe Ce s

PESge eeRR SESE EP IRAN EAD EN eee ee ISeegee BRS, «8 Eo “Bigst a See ee:eeesak -Bey ares earns 2 SAIS LIS oy nyCSE Sree RENTS EN DAESRRO SR ULE Neaen aes StPREC Se eee RE Tie eat ates E3yee FONe STRE VE,. See ME eas, BR ae Sane Se aao EE Segain ESE SeEE Rar eRe jeSEshyt, 1sRae Sete aeds tS Sener scene aes, PeSRagag lese ene wad eee=Ser “iaeSF - ie cae

2€ * |y Oil

|OA ~=—hrt—“—T.DUC) ” SoS XCUN“~sSOsri‘ihéh#?h#PWRhDhnnhnCnC CU UC gs ee oe eegerd ee ee PETS ee oe op scat Bob og a*sea ger a a. posed te heGS cae (SEES An Nee Te Des WE SesSRRNR EROS ERS SRSA Her Rega whe ot ana * nee Be ptEe ee EB oo. ©a7os, oe

ertmullers American success was tri ggzere yY Swept Awa 974). The film’s

t int is it licit thr gh hich Wertmiiller pt res the relati nship bet d t and hi t ho find th ]

°*«°

.

deserted island and gradually reverse their roles: the woman, a high-society la becomes a slave to her own servant, relis ing ner total submissiveness and eventuli inIn|10ve ith wil herer “master. ter.” aily failing ®

‘

t

i Pe OR Hes. Tee ee Pepe ra aR yt se he ES EE EE TS oe RC eg Mis A ,

Soe, KEELES RRS EL ARATE LEAL LBA Sora ALOE DE a ITE SELLE OEE SIIO IRE EASED TINS SEIS ESS ESO ADDS REE AITO GS REREAD SED ATSIC ORES IATA SRLOSLEC alates CER ALES Bttant ce isiat bint Cot inbiitalatnetr etic nt ane A oEM Ro So tlie esr: