Moretti's cinema has never thrilled us but we have always found itintelligent... a sort of Woody Allen of one of the most brutalizingsocial conditions in the history of the left, especially (the right isborn and dies brutalizing, perhaps its highest moment was was joined byMussolini when he was hanged by the feet from the poles of a petrolstation in Milan in 1945). Italian comedy, let's reiterate, is thecontinuation of the cinema of white telephones and black shirts - apartfrom the fractures of denunciation of customs that people like EttoreScola, Mario Monicelli, Luigi Magni, Dino Risi, Pietro Germi, LuigiZampa, Antonio Pietrangeli , Marco Ferreri, Pier Paolo Pasolini - hepracticed with a certain vitriolic lightness.In the vestibule of Italian comedy, however, there have passed in drovesof esteemed intellectuals, masters of autobiography, courtiers of everymarket wave and the education in imbecility has had edifying merits atthe box office... when banality imposes itself, the stupidity isself-explanatory.Moretti's The Sun of the Future is not a masterpiece... you can even dieof masterpieces, said the executioner of London... however it is a filmthat has the courage of wit and frees itself from any flattery. Morettiis right: «Cinema is not made just to delight in telling an uglyreality. Cinema is also made to dream of a beautiful and differentreality. These are the feelings with which this film was born." It'strue... The Sun of the Future is a tragic/comic insight into thestripped-down ardors of the members of the Italian Communist Party...over two million people who believed in what the central committee said,imposed, ordered... mystifiers of the greatest lie of the twentiethcentury, Soviet communism, and concealed the millions of deaths orderedby Stalin. A diabolical filth that was perpetrated with the repressionof dissidents in Budapest in 1956 and in Prague in 1968. The ItalianCommunist Party, it must be said, was the leveling machine of thepopular masses and at the same time one of the most profitable businesssystems ever can imagine. The Sun of the Future tells the story of the construction of a filmabout the militants of a cell-section of the Quarticciolo PCI in Rome,when Soviet tanks suffocated the armed insurrection in Budapest in 1956.Let's remember this. The glorious Red Army fired on the insurgentswithout mercy and in the name of Bolshevism drowned the revolt inblood... the PCI was silent... not too much... the young deputy GiorgioNapolitano praised the intervention of the tanks... politicians,philosophers, men of culture signed the Manifesto of the 101... l'Unitàrefused to publish it... many withdrew their membership... some left theparty... the secretary of the PCI, Palmiro Togliatti, dictated the lineof conduct, thus: «You stand with your side even when you make amistake». Togliatti, together with the major communist leaders of thetime, voted in Moscow for the hanging of the Hungarian Prime MinisterImre Nagy (1958), considered anti-Bolshevik, and in the aftermath of theexecution, Pietro Ingrao (director of L'Unità) confided to Togliatti fornot having slept at night... the response of the putative father of ourcommunism was this: "I instead drank an extra glass of wine". L'Unitàdefined the Hungarian revolutionaries as "thugs", "despicableprovocateurs" and "fascists"... Umberto Terracini said: "Sovietintervention can only find unanimous support and solidarity among alltrue Italian democrats". The CGIL and the general secretary Giuseppe DiVittorio sided with the rebels... L'Unità and L'Avanti published a notefrom the union which said: "...the CGIL regrets that the intervention offoreign troops." Di Vittorio was forced to recant and adhered toTogliatti's authoritarian position.Moretti's utopia unfolds between cinematic fiction and the reality ofthe Soviet invasion in Hungary... Paola (Margherita Buy) is a producer,wife of Giovanni (Nanni Moretti), director of not exactly commercialfilms... she has stopped believing in works of her husband and organizesthe film full of violence of a vain young man... their daughter getsengaged to an elderly man from the Polish embassy (!?)... Ennio (SilvioOrlando) is editor of L'Unità and head of the Quarticciolo PCI section ,loyal to the party, who invites a Hungarian circus to perform in thevillage... Vera (Barbora Bobulova) is the companion who supports thecause of the Hungarian dissidents... Giovanni is forced to interrupt thefilm because the French producer Pierre (Mathieu Amalric) has gone tobankruptcy... Giovanni and Paola seek support from Netflix but theconversation with the company representatives turns out to beunseemly... the script, however, is accepted by young Korean producerswho really like that the film ends with the secretary of the communistsection hanging himself. Paola tells her husband that she wants toseparate... Giovanni falls into a state of depressive melancholy anddecides to change the ending of the film... Ennio marries Vera andtogether with a small crowd they go to protest in front of the PCIheadquarters in via delle Botteghe Oscure... Take them away he peersfrom behind a window and accepts the "communist turn"... the next dayL'Unità comes out with the title: Goodbye Soviet Union!. The Sun of theFuture ends with a sort of joyful march along the Via dei ForiImperiali... the actors of some of Moretti's previous films (thereference to Krzysztof Kieslowski is obvious) parade among a mass of redflags and a blow-up of Lev Trotsky ... before the closing credits a signwarns that thanks to the abandonment of the pro-Soviet line by the PCI,"the communist utopia so dear to Marx and Engels which makes us sohappy" has been achieved in Italy. The irony is salacious! It followsthat the communist reason, for which millions of people fought and died(not only in the days of the Resistance), the PCI nomenclatureconsidered within the reach of a poodle!Moretti is a cinephile of good caliber... his film is crossed by notablequotes... La dolce vita and 8 1/2 by Federico Fellini, Lola by JacquesDemy, A Man Naked by Frank Perry, San Michele had a rooster of brothersTaviani, Short film about killing by Krzysztof Kieslowski and fragmentsof his other works (Sogni d'oro, Bianca, Palombella rossa, Io sono unautarchico, Ecce bombo, Caro Diario). There are also references to MaxOphüls, John Landis, John Cassavetes, more than anything there is WoodyAllen in this film... not only for the interventions of Renzo Piano,Chiara Valerio, Corrado Augias who play themselves and interact with theviewer (a narrative device dear to Allen)... as much as for Moretti'sincredible acting ability which reaches truly high levels of irony,leading to the amazement of the truth with the libertarian lightness ofthe smile or the game. A masterful interpretation that refers to thecommedia dell'arte comedy of the great actor Vittorio De Sica... bothMoretti and De Sica understood that the drama of life is also comic, itall depends on the way in which the accent is placed, the gesture , thebody... they knew that only drunkards, like Shakespeare's buffoons, aretotally sincere.The screenplay by Moretti, Francesca Marciano, Federica Pontremoli,Valia Santella is dry, with abrasive dialogues, situations constructedwith considerable visual strength. The photography by MicheleD'Attanasi, the music by Franco Piersanti and the editing by ClelioBenevento intertwine in an architectural range that transcends both thecomedy and the terribleness of historical events... Moretti also doesnot miss the opportunity to play with the mounting silliness of acertain action cinema which again has nothing but stupidity.The Sun of the Future is also a false musical... the songs scatteredthroughout the film work on different emotional and scenographiclevels... each refers to a sense of incompleteness that is reflected inthe daily experience that goes beyond the screen and pours into thespectator's emotions... Far, far away by Luigi Tengo, 1966, Sono soloparole by Noemi, 2012, The song of lost love by Fabrizio De André, 1966,I want to see you dance by Franco Battiato, 1982 or Think by ArethaFranklin (taken from the film The Blues Brothers (1980),Et si tu n'existai pas by Joe Dassin (1975), compose a choralperformance of the director's lost and rediscovered depths, they are theheart-mirror of the subversive imagination of man and of all theinterpreters of the cinema-flute of dreams of he. Beauty and sin are oneand the same thing. Good vision.Pino Bertellihttps://www.sicilialibertaria.it/_________________________________________A - I N F O S N E W S S E R V I C EBy, For, and About AnarchistsSend news reports to A-infos-en mailing listA-infos-en@ainfos.ca
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