2) Bari – Wertmuller

12 REGISTI PER 12 CITTA’ is fast becoming like a roll call of the dead. On the day I posted Antonioni’s episode, his window, Monica Vitti, died, after a long illness. Next installment is by the recently deceased Lina Wertmuller, and deals with Bari, on the Adriatic.

Immediately we get people talking, women, having a laugh. This distinguishes the film from Antonioni’s beautiful but somewhat frigid entry. In fact, scratch the “but”, that makes it seem like Antonioni’s iciness is a flaw. What I mean is that Wertmuller’s earthy humanity here comes as a pleasing contrast.

Though she could certainly use tracks and crane to powerful effect (see TWELVE BEAUTIES, if you can bear it), she doesn’t bother with them here, which makes for still more contrast with her illustrious predecessor: instead, she has helicopter shots and handheld shots, and quick cuts, and people turning to look at the camera in clearly staged ways — DRAMA enters the movie. Although Antonioni has his own kind of drama without actors.

Folk music as score — again, making it more a film of the people, though whether the folk listen to folk music is open to question. But it’s the music of this place.

Wertmuller’s film seems less pre-structured, but sequences of fast cutting or roving camera do give it form, and the city feels like somewhere I’d love to go.