Having reached the seventh day of Il Cinema Ritrovato, great masterpieces continue to be screened in theaters. In this article you will find an account of Friday 28 June, from Paradžanov to De Palma.
Even the day of Friday 28 June has reserved great emotions for all the participants of the Il Cinema Ritrovato. And, after racking my brains for a long time looking for a common theme in the films I have seen, I have sadly come to the conclusion that there is none. At the same time, however, this means that the selection I propose to you today is rather varied, like the Festival’s programming itself!
My day actually began with the viewing of a masterpiece of Ukrainian film director Sergey Paradzhanov, Tina Zabutykh Predkiv. I think – and I don’t think I’m exaggerating – one of the most surprising films selected this year.
After that, I had the pleasure of enjoying it on the big screen Seduced and abandoned of our Peter Germi. In the previous days I had already encountered the director’s filmography with Italian-style divorce, which is why I had rather high expectations for the film. Rest assured, I was not disappointed!
In the late afternoon I made a reservation instead Body Double Of Brian De Palmaand gripping thriller which managed to keep my attention, even though I was coming straight from another screening.
Little confession: in the evening I was supposed to be in Piazza Maggiore to enjoy the restoration of The samurai Of Akira Kurosawa. Unfortunately, I wasn’t able to go, however I have good news for you! My colleague Francesco Pasquinelli provided a detailed account of the work, which you will find in this article!
“Tini Zabutykh Predkiv”, 1966 (96′)
Cinema Modernissimo, 11.00 am.
Having been positively impressed by Peršyj parubok/Pervyi paren’, I decided to book another movie by Paradzhanov. If the first one I saw had intrigued me, this one made me shout “masterpiece!”. So, congratulations to Il Cinema Ritrovato for this selection.
Tini Zabutykh Predkiv (The Shadows of Forgotten Ancestors)is a film of the 1966taken from theeponymous novel by Mykhailo Kocjubyns’kyi. Its restoration (wanted by everyone, including Martin Scorsese) has led to a real international collaboration and, in fact, it has its own relevance also on a symbolic level. Paradžanov was a great Ukrainian director and, considering the war currently underway, this retrospective of his works is particularly relevant. As he reminded us in the introduction Olena Honcharukdirector of the Kiev Cinematheque, the contribution of all parties involved was fundamental. The original negatives of this director’s films are in fact preserved in Moscow and, consequently, inaccessible to Ukrainian restorers.
Tina Zabutykh Predkiv it’s a’visionary work which touches the viewer’s deepest emotional chords. It is also Paradžanov’s last work beforearrest for subversive attitudes and for his homosexuality. I don’t want to tell you too much about the film so as not to ruin the experience of its first viewing, but I would like to leave you with a small reflection on the director.
Paradzhanov he was never a political artist, but rather a person forced to take political positions. At the time of his arrest, many authoritative voices from the art world – including ours Fellini – they made themselves heard in favor of his release. In fact, Paradžanov was released in 1977but – and this detail really shocked me – it was cleared of the charges only in 2024.
“Seduced and Abandoned”, 1964 (123′)
Cinema Europa, 3.15pm. While waiting to enter the theater, I’m thinking about how much I liked it Divorce Italian Style. As I settle into my chair, I keep my fingers crossed in the hope that Seduced and abandoned you reconfirm to me the greatness of Pietro Germi. Spoiler: I left the room smiling!
Filmed three years later Divorce Italian Style, Seduced and abandoned and another one Sicilian comedy. Despite his Genoese origins, Germi has always shown a particular fascination for Sicilymanaging to capture its most contrasting aspects. Or, at least, that’s what the comedians claim Ficarra and Piconewho surprised us with a video message before the screening.
In this film – as in the previous one – the environment in which the events take place appears distant and backward. In this scenario, the reactions of the characters’ bodies, shocked by lust and anger, reach a level of extreme saturation.
Germi’s style could be defined as “comic expressionism”since the directorial choices they dramatize what, essentially, would be a comic-grotesque film. Not surprisingly, a source of inspiration is Goya’s drawings! Of particular importance is also the photographic cut of the shots, with particular attention touse of light. To quote Martin Scorsese, Germi’s films are: “some of the most beautiful photographs in the history of cinema”.
“Body Double”, 1984 (114’)
Cinema Europa, 5.45pm. As you may have guessed by reading the place and time, I did nothing but go out and go back into the theater. I admit I was a little worried about the idea of seeing two movies in a row, but, fortunately, Body Double (Red Light Murder) it managed to captivate me from the first frame. I don’t know what else I could expect from a film Brian DePalma!
The film in fact has as its protagonist claustrophobic actor Jake Scully (Craig Wasson)who finds himself embroiled in a murder in which the line between reality and fiction is totally invisible. The work also features several references to Hitchcock and, in particular, to The woman who lived twice.
The restoration of the film – as he explained to us Grover Crispresponsible for the archives of Columbia Pictures – is due to hundredth anniversary of the production house, that Il Cinema Found again wanted to pay homage. De Palma made two other films for Columbia in addition to this one: Obsession e Casualties of war.
It is also worth mentioning that most of the locations visible in the film have remained completely identical. To put it better, the film shot within the film shows the Warner Bros. Studios., or the Beverly Hills shopping center, where a chase takes place, it still performs the same function today.
“The Samurai”, 1954 (207′)
Piazza Maggiore, 9.45pm. Ok, you got me. As I anticipated, unfortunately I wasn’t able to be present at this screening, but it still seemed right to bring you a couple of facts about this enormous work.
A samurai (I am a samurai) Of Akira Kurosawa (great admirer of John Fordalready screened in the square at the opening of the Festival) is a film very influential for cinema and photography in Europe and around the world. The film made its debut in 1954a big year for Japanese cinema since it also released Godzilla. For its production, Kurosawa asked an exorbitant fee from That one who, despite his hesitations, decided to accept. Never has a decision proved to be more correct.
The restoration of the film, by Toho Archivescelebrate i seventy years since its first release. Evidently emotions must have been running high because, apparently, the director Pietro Marcello he had a little faint during the introduction!
See you tomorrow with more news from Il Cinema Ritrovato.
edited by
Claudia Camarda
