Archive for Riccardo Fellini

4th of July

Posted in FILM with tags , , , , , , , , , , , , on September 12, 2014 by dcairns

On the 4th of July I was in Bologna — this is what I saw.

For once I managed to struggle out of bed early enough to see the 9 am show, something I always INTENDED to do, and which I convinced myself I was achieving more often than not. It’s only looking back from this angle that I realise what a fantastic slugabed I really was. But on this occasion it meant I got in to see the gloriously restored FANTOMAS CONTRE FANTOMAS, featuring my fave of all the master-crim’s disguises —

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Wonderful. It makes you realise that, for all their national pride and aloofness, the French not-so-secretly still regard American is the mainspring of all modernity and the source of all coolness. The doubly-casual Tom Bob easily trumps our intrepid plodder Juve of the Sûreté, just by virtue of that insouciant prefix Americain. Juve is honest, fearless and dogged, but he is inescapably, gallic and therefor mundane. A fantastic inversion of the way we look towards France as a source of glamour and genius.

Neil Brand, who provided the piano accompaniment, confessed afterwards that he had initially regarded FANTOMAS and its serial kin as “meaningless running about,” which is indeed the trap a lot of serials fall into. Surrealism, elegance, and a blatant admiration for his evil characters helps Fieulliade escape this.

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I should have crossed to the next auditorium and seen the ten-minute fragment of Sternberg’s THE CASE OF LENA SMITH but I think I craved sunshine and coffee and conversation, so my next show was at 11.30, a discussion of Pathe’s restoration of WOODEN CROSSES, which I felt duty-bound to attend since I’d collaborated on a film about the movie’s producer, after all. It was interesting stuff, including as it did the revelation that the new version Pathe are releasing is mostly derived from a whole other negative, shot by a camera standing next to the one that filmed the previous release. It’s the same action and mostly the same takes, but technically speaking it’s a different film… Fans of the previous release need not worry, though, it carries the same authority and charge, as I confirmed later the same day.

After lunch, I enjoyed an episode of Riccardo Fellini’s STORIE SULLA SABBIA, already covered here. The real hot ticket was WHY BE GOOD?, a newly-restored Vitaphone soundie which I’m fairly sure I’ll get a chance to see again when Warners release it on DVD, but it would certainly have been fun to experience it on the big screen with such an audience as Bologna gathers…

Staying in my seat, I was blown away by WOODEN CROSSES all over again, which packs a severe wallop. The final barrages, and the protracted bleeding away of life at the end, left the audience drained, which is the only explanation I can think of for the fact that rather than staggering outside to inhale the evening air, I stayed where I was and saw MARRIAGE: ITALIAN STYLE, which was the perfect tonic. No falling asleep possible in this one (shouty Italians; genius choreography of actors and camera). Having revelled in De Sica’s acting the day before, I was favourably inclined to see more of his directing. That title had always put me off seeing the film before, which is silly — it’s perfect, and rather ironic. Maybe it’s the various movies that riffed on it that cheapened it. After all, GHOSTS, ITALIAN STYLE is a stupid name for a film.

Marriage Italian Style

You’ll laugh, you’ll cry, you’ll wonder at the opening out of the source play with extensive flashbacks, and you’ll marvel at how Marcello Mastroianni manages to make a character who does such loathsome things seem somehow attractive enough to spend time with and laugh at and even feel sorry for. Loren, of course, is magnificent, even in a series of sometimes unfortunate wigs. De Sica’s daughter introduced the movie, and she has her father’s smile.

“Marcello Mastroianni was a very handsome man, but he liked very much the vodka and the grappa, so that some mornings he would come in with his face looking like an unmade bed. My father’s main direction to him on such days was, ‘Marcello, tomorrow, try to be younger.'”

I think I must have had a really good dinner after than, because I don’t seem to have seen anything else that day. It would have been hard to top De Sica at the height of his international entertainer period anyhow. I do wince a little at what I missed, but realistically I wouldn’t have made it through CABIRIA, in the opera house with live score, which didn’t finish until nearly midnight. That was one of the extra shows you have to pay for outwith the price of a pass, but get this, it was five euros. Proving my contention that Bologna offers the best value film festival on the planet.

Antipasto

Posted in FILM with tags , , , , , , , , , , , on July 10, 2014 by dcairns

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Il Cinema Ritrovato presented a season of Italian shorts, culled from the compendium films that were so popular in the fifties and sixties. I kept hearing that Alexander Payne had declared one of these to be the find of the festival, but nobody who told me this could remember which one he was talking about. Could be Scola, Rosi, Rossellini & Greco, or De Filippo. I also heard that Giorgio Simonelli’s episode from 1954’s ACCADE AL COMMISARIATO was a standout, with an endless array of outrageous plot twists, beginning with the best-prepared “pull back to reveal no trousers” gag in Italian history.

I saw a few.

Alessandro Blasetti, recently undergoing a renaissance thanks to Scorsese’s campaigning, inaugurated the whole anthology movement in 1952 with ALTRI TEMPI (OTHER TIMES, screened at Bologna last year), which collected stories from different historical periods. He followed it up with TEMPI NOSTRI (OUR TIMES), an episode of which was introduced by his 90-year-old daughter, who talked up a blue streak and nearly exhausted her poor interpreter. But she provided vital background to this story of an amorous Neapolitan bus driver played by Vittorio De Sica — the piece was originally intended to co-star Gina Lollobrigida, who had successfully paired with VDS in the previous film, but she declined the chance to play a deceived wife, arguing that it was not plausible that any husband would cheat on her. (She has a point, though one could point to the case of Gardner Vs. Rooney as precedent.)

Blasetti recast, but for some reason also rewrote to make the woman not De Sica’s wife, but a foundling raised as is sister, which very nearly wrecks the story. However, thanks to De Sica’s ebullience and charm, and some very funny lines, he gets away with it. British attendees were amused by the set-up of a randy bus driver and a sour, long-faced supervisor who hates him — the exact set-up of 70s sitcom On the Buses, adapted for the cinema for Hammer films and best avoided in both televisual and film form. Blasetti shows what that premise could be like with appealing characters and a sexiness that eschews seaside postcard grotesquerie. And it’s nice to see De Sica in a working-joe role.

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STORIA SULLA SABBIA was directed by Riccardo Fellini in 1963. Ahah! I thought, another Idiot Brother to add to my collection. But perhaps not — R. Fellini, who acted in several of his brothers, most notably as one of I VITELLONI, creates a touching, funny mood piece out of a working class wedding on the beach at Rimini. He can’t match his sibling for visual flair, but the less artful style allows a more naturalistic humour to emerge. The film was poorly received and Riccardo turned to documentary in the end — he also fell out decisively with F.F., who demanded that he change his name if he was going to be a director. There could be only one Fellini! What a dick. I am almost ready to declare Fellini the idiot brother.

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TOBY DAMMIT screened in its correct multilingual version, but without English subs for the Italian parts — the only movie offered without translation, so I have to assume it was an oversight. Still, it freshened the experience, and made me realize that Tim Lucas’s suggestion that the film evokes the strangeness of being in Italy without speaking the lingo is not quite right. Terence Stamp as Toby is able to reply to questions asked in Italian, even if he answers in English. So the film is really about how strange Italy is even if you DO speak the lingo.

A clue to the nature of Italy — Chaplin’s EASY STREET, in Italy, was called LA STRADA DELLA PAURA — THE STREET OF TERROR! If we could understand this, we would know many things, like the fox of legend.