The second day of Il Cinema Ritrovato 2024 offered a crescendo of emotions, culminating with the magical screening of Wenders’ masterpiece in Piazza Maggiore. In the article we will explore the different nuances of the day, from Kubrick’s three short documentaries to the western Devil’s Doorway, and then immerse ourselves in the unique atmosphere of the evening in the square.
June 23, 2024.
Second day of Il Cinema Ritrovato 2024 to Bologna. Another day full of great cinema titles, of genres and authors distant in time and space. A journey through different eras and styles of the Seventh Art.
Sunday exploration began at Dams Labin Piazzetta Pasolini, with the presentation of three short documentary films by Stanley Kubrick: an unmissable opportunity for rediscover the early works of the master of cinema. Subsequently, the Harlequin Cinema welcomed me for Devil’s Doorway, western which caught the attention of fans of the genre.
In the end, Piazza Maggiore. I’ll be honest – my credit read “Hellraiser, 10.15pm, Cinema Europa“, but the most beautiful cinema in the world attracted me to it with arrogance: the magical atmosphere produced by Paris, Texas in a location like this, it is truly unparalleled. Trust me!
Clive Barker will understand me.
“Day of the Fight”, 1951 (13′), “Flying Padre”, 1951 (9′) and “The Seafarers”, 1953 (29′)
Michael Dawson (Cineindustrial) introduces the vision of the three short films. Fan and friend of the famous filmmaker, spoke about the restoration and upgrade in 4K (occurred last year) as a personal pleasureeven before a I work for the film community.
I am sure that in the 1950s there were no various sources of income as there are today. Day of the Fight shows us one, rather peculiar for the time: Kubrick takes us into the life of a person who makes a living with his fists: Vincent Cartier, boxer middle weights.
Specifically, we live with him and the brother Walter (his agent) the day of April 17, 1950, the date of challenge against Bobby James. The voiceover of Nat Fleischer it’s a waterfall: both from the social point of view of a sector so niche, that from that of felt feelings of the boxerit storytelling projects us entirely on that day.
Direction, editing and photography I am sublime – and what to expect from Stanley! -, so that at the end of the 13 minute screening, the bond with Vinc it’s very narrow. I don’t deny wishing him “good luck” for the future challenges and for the developments in his life.
Like the previous one, too Flying Father has a title that hides nothing: Here you are Father Fred Stadtmulle which, thanks to his monoplanehelps the population of New Mexicoreconciling relationships between children, giving sermons and transporting a mother with her sick child from home to the nearest hospital.
A character who would have been lost in the history of humanitybut which – thanks to Kubrick – it will remain on film forever.
As for propaganda The Seafarersinstead, commissioned by Seafarers International Union, there’s not much to say. On the other hand, even the best of all cannot avoid having one tiny speck on his filmography.
“Devil’s Doorway”, 1950 (84′)
“The strength of his films comes from the fact that they owe nothing to any planned aesthetic”.
As Godard he referred towards Anthony Mann. AND he wasn’t the only one to talk about it in sweet words: a special dedication comes from those present in the room Wim Wendersand to his black “western” overcoat” worn ad hoc.
“Has redefined the genregiving him a new touch, describing the formation of American civilization from a historical point of view; I’ve always appreciated it focus on the marginalized and the rebels, going to take up the figure of the noble noble savage. The values are reversed: i savages are those who call themselves civilized.“
Wenders then recounted the genesis of the relationship with the director, known thanks to the retrospectives offered by the Cinémathèque in Paris – the German filmmaker’s favorite film destination, especially due to the low cost.
“There My first retrospective there was on himand so I entered his Cinema. I know this isn’t the case for many, but it is one of my favorite directors because he managed to bring image and meaning with simplicity, without frills. A architect in making his films“.
And the bond between the two directors it is also strengthened by a grotesque coincidence: Mann died on set in 1967, right at Berlin.
Sincerely, Wenders would have liked to say something about the film, but he didn’t succeed. Or better he didn’t want to. In fact, finding the name of in the opening credits John Alton – director of photography, for whom he has enormous respect -, he has decided to stop watching and enjoy the film in the theater with us.
Devil’s Doorway the investigation started yesterday 22 June continues Piazza Maggiore with The Searchers by John Fordgoing to explore the soul and identity of American culture and addressing strong issues, such as racism.
THE boundless landscapes contrast with the sparse, dreamlike, singular environments. Singular like death on a director’s set.
“A dream or a nightmare?” – questions the audience, to conclude, WW
“Paris, Texas”, 1984 (145′)
Restored in collaboration between Immagine Ritrovata and the Wim Wenders Foundationthe film brought together Italy and Germany in a project that shed even more light on one of the masterpieces of world cinema. Wenders he opened the evening with a touching speech: “For some it will be finding themselves in that archetype of an American family, others will encounter it today for the first time.”.
The legendary director highlighted how i The film’s landscapes were inspired by John Fordtaking up once again The Searchers, already honored the previous day. He then addressed a Big thanks to the cast and crew of the filmpraising the fundamental contribution of each one.
TO Sam Shepard (writer) defining it “The greatest playwright of the 20th centuryespecially from an acting point of view.”. Shepard – that he crossed America dozens of times by car – he knew the country and its stories deeplybringing this knowledge to the heart of the film.
TO Robby Muller, photography directorwith whom Wenders shared a fraternal collaboration: “On the set, after years of distance, we were like two rediscovered twin brothers.“
TO Ry Cooder for the soundtrack of the filmthanks to his enormous talent: “He improvised with the guitar in front of the film, even 50 times until he found the right note“Wenders recalled, underlining the musician’s commitment and dedication.
Also Harry Dean Stanton (which at the age of At the age of 57 he had his first leading role) was remembered with love. Referring to the actor’s insecurity and touching humility: “Every evening he said “Look how beautiful she is, I’m too old“. Instead it was magnificent.“.
Finally, a special thought to – no longer today – little Hunter Carsonwho played Travis’ son. “Of him we don’t talk enough“.
The film
As for the film itself, There’s too much to say and I’ll never be able to review it exhaustively. Thank you Cinema Ritrovato for bringing it to us.
Using “solely” infinite focus on breathtaking landscapes And very deep characters, characterized to the millimeter and with an intricate backgroundWenders composed a 145 minute masterpiece.
Paris, Texas it’s more than one road movie and of a BildungsromanAnd pure anthropology. But she’s also a ‘analysis of the American family of the 80s, which becomes universal: on the one hand we find one destroyed by the events of the pastbut who despite everything loves each other; on the other that of the brother, apparently united but yes crumbles emotionallyshowing the a child’s need to stay strong.
L’last meeting in the cabin between Travis and Jane – so full of emotions – explodes gradually with the man’s third-person narrative. So far, so close (understand me) physically separated by glass, emotionally separated from everything else.
Despite the threat of rainthe public in Piazza Maggiore prepared with waterproof and a great desire for cinema, like Wenders himself. The projection under the stars concluded the evening, bro applause and tears.
Thank you Wim, for how you have touched the hearts of generations of viewers.
See you tomorrow, with more news from Il Cinema Ritrovato 2024.
edited by
Francesco Pasquinelli
