Cinema Paradiso

Cinema Paradiso is a film lover’s favorite. Filmed in Sicily in the late 1980s, Giuseppe Tornatore captures the early life of a currently renowned Italian film director.

In the opening scene, the camera pans into a darkened, posh, high rise apartment. Salvatore di Vita has just returned from a long day of filming. As he enters into his bedroom, his girlfriend tells him that his mother recently called. Vita finds out that someone named Alfredo has just passed away. This conjures up intense memories that are centered in childhood. It also invokes thoughts that are centered in possessing a sense of place.

Audiences learn that Vita has not returned to his hometown in Sicily for thirty years. However, the coastal village of Giancaldo, Sicily embodies the true “sense of place” for him. Memories of innocence and wonderment are preserved in Giancaldo. Vita feels compelled to return and pay his respects to Alfredo.

Throughout the film, Tornatore utilizes flashbacks to tell a story about the early beginnings of a gifted artist. Toto (Vita’s nickname), a witty six-year old, is living in a poverty-stricken, war-torn village during the recent years after the Second World War. This young boy finds solace at the village cinema. Here he can forget about his troubles and pretend he’s an Indian while watching a Hollywood Western or laugh all the way through a Charlie Chaplin film. Since Toto spends so much of his time at the cinema, Alfredo, the projectionist, decides to hire him as his helper. While helping to change film reels and editing films to cut out the “inappropriate parts”, Toto earnestly feeds his passion for films and learns the practices and techniques of film-making.

As the years pass by, Toto continues to work at the cinema. One day a young Northern Italian woman catches his eye. Toto is enamored with Elena. They begin a passionate relationship but unfortunately Elena’s family has to move again. Toto tries to write to Elena but all of his letters go unanswered. Toto leaves for military duty and returns to find Alfredo advising him to leave Giancoldo and never to return. Alfredo has always served as Toto’s surrogate father. Always listening to Alfredo’s advice, Toto leaves with the intention never to return. (Alfredo advises him to do this because he knows that his dream of becoming a film maker will never come true if he stays in Sicily).

Vita returns to attend Alfredo’s funeral. His mother hands him a box that Alfredo kept and intended to give him after he passed away. What he finds inside are clippings from thousands of films. Knowing how much Toto wanted to see the entire film without edits, Alfredo assembled a large film reel of the on-screen kiss scenes that were cut out. This is a very emotional scene because we see Vita’s childhood wonderment come alive again. As he watches each scene, his eyes become wide and his face lights as if he was six years old again. He is reminded of the joys of film making.

The musical score to this film is very moving. Ennio Morricone, who also did The Good, the Bad, and the Ugly; The Mission; and Lolita superbly weaves wistful music with a coming-of-age storyline. The ending scene is so powerful that I cry every time.

I will leave you with a clip of the musical theme from the film.

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Aguirre: The Wrath of God

Werner Herzog’s epic 1972 film, chronicles a historical time period in the Peruvian Andes Mountains. Sixteenth century Spanish conquistadors slowly make their way down the treacherous narrow mountain paths to find El Dorado – the City of Gold (the aerial filming is amazing). Although they claim and hold on to the belief that they are only there to “Christianize” the “savages,” it becomes apparent through the ruthless and crazed leadership of Aguirre, that they are out to get as much land and slaves as they can.

Journal reflections that were kept by a Spanish monk, who was on the voyage, are read throughout the film to narrate the events of the expedition and the descent of one man’s psyche. Aguirre kills off the leader of the conquest and appoints another solider as King. No longer is the group heeding to the commands of the Spanish crown; instead they are in search of El Dorado for themselves. As Aguirre’s faculties diminish and his men starve to death, natives kill each member of the expedition by bow and arrow. What happens to Aguirre is worth watching to the end.

Audience members are taken on a journey through lush jungles that are filled with defending natives and quiet, still, Amazonian River waters. Filming in a gripping documentary style Herzog encouraged the actors to improvise and react to their situations. Klaus Kinski who plays Aguirre is very convincing, probably because he was a little off his rocker in actuality. It has been said that during filming, Kinski would shoot bullets into actor’s tents and have continual temper tantrums. Kinski at one point threatened to leave the film but Herzog became so upset with this that he threatened to kill Kinski and then himself.

Aguirre: The Wrath of God is a cult classic. Herzog’s definitive dream-like imagery is utilized beautifully throughout the film. Francis Ford Coppola was very much inspired by Herzog’s work when he created Apocalypse Now. When viewing both films one will recognize right away similar filming and story-line comparisons. Furthermore, one will find a comparison between two brilliant actors (Brando and Kinski) who happened to be very demanding.

Another cult classic that is German produced and stars another Kinski is the film Paris, Texas. Klaus Kinski’s daughter Nastassja Kinski stars in this powerfully haunting film. Expansive scenes of desolate deserts coupled with a poignant musical score by Ry Cooder makes for an excellent movie event!

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“Simplicity, Simplicity, Simplicity!”

Have you ever had the experience where a film, a novel, a piece of music, or a painting triggered a momentous effect in your life? Did it change the way you think? Did it change you? For Robert Kennedy, the existential literary works of Albert Camus changed his viewpoints on capital punishment. For Jackson Pollock, the psychoanalytical writings of Carl Jung influenced the painter to create a new style later termed abstract expressionism. For me, Walden, by Henry David Thoreau opened up a world guided in the ideas of simplicity and spirituality found in nature. “Let us first be as simple and well as Nature ourselves, dispel the clouds which hang over our brows, and take up a little life into our pores. Do not stay to be an overseer of the poor, but endeavor to become one of the worthies of the world.” – Walden, Henry David Thoreau

As a child, I always loved playing in the woods and going for hikes, but until I read Walden, I did not truly appreciate and see the beauty of nature and what it has to offer. A forest, a pond, a meadow serve as places of refuge. Here in these natural spaces, one can slow down and listen to their inner self. One can gather thoughts, meditate, or simply just take in the sights and sounds that surround them. For me, the natural world is a place where I can rejuvenate, heal, pray, and find answers. Ironically in the reclusive act of a solitary hike, I find myself loving humanity more through the discovery of the natural world.

Walden has left a strong, indescribable presence which lingers in the depths of my subconscious. It surfaces from time to time and when it does, it consciously and subconsciously leads me to my Walden Pond.

So how does this reflection relate to films? Well, it doesn’t. But I did this for a reason. After quietly observing the sun rise and cast its rays between tall Sycamores and flowering Oak trees, I felt a need to voice my appreciation and concern. Across the world societies are forgetting that there is nothing more beautiful and wondrous than nature. Children are becoming isolated from the natural world and are lacking exposure to its wonders. Yes, one can see a film where there is a gorgeous scene of a waterfall in a South American jungle or a distant snow capped mountain in Nepal but that hardly compares to the real thing.

However, films can inspire us to actively seek that place of beauty. Last week, Angela discussed how the film A Month by the Lake inspired her to see the luminous views of Lake Como. Although Walden will always serve as my guide and source of inspiration, I have found some foreign films that capture exquisite and stunning scenes of natural spaces that encourage me to go and visit.

La Belle Noiseuse, Claire’s Knee, Four Adventures of Reinette and Mirabelle, and To Be and To Have – Four films that portray the whimsical French countryside.

The Seventh Seal, Wild Strawberries, and The Passion Anna – Three Ingmar Bergman films, where scenes of high coastal cliffs and flat desolate landscapes reflect the character’s personas.

Aguirre: The Wraith of God – Werner Herzog’s odyssey through the ancient Peruvian mountains.

This week, instead of suggesting a film to see, I suggest you go out and visit some natural places that inspire you!
“You only need sit still long enough in some attractive spot in the woods that all its inhabitants may exhibit themselves to you by turns.”- Walden, Henry David Thoreau

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Film Dayton Festival

Since I discussed The Neon Cinema in one of my recent reflections, I wanted to mention that this weekend is the third annual Film Dayton Festival. The theme for this festival is From Dayton/For Dayton. Some of the films that will be shown are produced and directed by filmmakers who have lived and worked in the local community. Here is the web address for the festival: http://www.filmdaytonfestival.com/
Sorry I tried to put a link into the post but for some reason it would not work.

Another film event in the area that is taking place is a three-part film series highlighting the work and career of the internationally acclaimed director Zhang Yimou. I wrote about this director's wonderful film Ju Duo early in the quarter. I sincerely recommend any of Yimou's early films. Conveniently the film series is taking place at Wright State but two of Yimou's films have already been shown earlier in the month. Tomorrow night at 7:00 in room 135 Allyn Hall students and faculty can watch the third sequel to this three part series. Afterward, audience members have the opportunity to discuss the film with Dr. Lisa Morrisette, who is an assistant art and art history professor and the Chinese Studies Committee.

I unfortunately have a class during the screening of Yimou's film but I'm hoping to find some time this weekend to check out one or two Dayton based films. What can be more exciting then to view a professional award winning film that was created, directed, or produced by a fellow Daytonian!

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Camille Claudel

This 1988 French Academy Award Winning Foreign Film documents the rise and fall of a determined yet forgotten artist.

Camille Claudel was not only an exceptionally gifted sculptor but was Auguste Rodin’s muse and lover. Audiences get a rare glimpse into the secretive life of a woman who was intelligent, strong, complex, and passionate. We learn about her early years struggling as a young artist rummaging for materials and creating sculpture casts of half naked men. This was a very novel and brave practice during this time, considering she was a woman living during the nineteenth century.

Auguste Rodin recognizes her unique talent and hires her to work in his workshop. The two fall in love and Rodin sets up a place for Claudel. Unfortunately, the relationship is doomed from the start considering Rodin will not leave Rose Beuret. Claudel begins to become disenchanted with Rodin not only because he is unwilling to leave his partner but also because he will not construct some of his own work. Although he would come up with the ideas, he made his many hired hands do the actual work. At times he would simply put a signature on the finished product, sort of like Salvador Dali, and she despised how he would wine and dine with the wealthy social elites.

Claudel was the true bohemian artist. Living a meager existence, what kept her going was the inspiration and need to create. Although she hates Rodin, she cannot let him go. Her thoughts are constantly centered on him and it comes out through her sculptures. Scenes of heartache, longing, and despair are produced. What is evoked is energy, passion, simplicity, purity, and gracefulness. Because of the break-up, Claudel begins to unravel emotionally, physically, and psychologically. Living in squalor with several dozen cats, she spends her days drinking and neglecting her art work. Fortunately, an art dealer still has faith in her and her artistic abilities and sets up a solo exhibit. Attendees of the exhibit are not ready to handle the beautifully emotional sculptures, nor can they accept such an eccentric woman. They begin to mercilessly gossip about her personal life and critique her pieces. At the end of the night no piece is sold. They are not ready for Camille Claudel.

Having to always justify her way of life and love for creating, Claudel’s mother can never accept this idea. Seeing that her mental faculties are deteriorating and her assets are dwindling Claudel’s mother takes the initiative and has her daughter committed. Sadly, Claudel spends the rest of her thirty years of existence in a mental asylum.

This is a very powerful film not only because audience members visually have the chance to see a woman who defied all odds but also because of the great emotional impact it has. Isabelle Adjani’s performance is incredible. She brings to life a mythical woman who’s genius unfortunately is under appreciated and at times forgotten. It makes one wonder if it was Claudel who influenced Rodin or if Rodin influenced Claudel?

Rodin (Left)
Claudel (Right)

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Z

This 1969 French film captures a revolutionary time in history. Based on true events that happened in Greece in the 1960s, Z portrays the dueling worlds of politically left minded students and laborers who are against the Vietnam War and the power of the ruling class and the ruling class, right-wing traditionalists.

As new ideas and beliefs are starting to develop across the United States and Europe new political figures began to emerge. During this time in Greece a leftist pacifist was gaining popularity and the ruling figures in the military dictatorship did not care for his non-traditional positions and views.

After giving a political speech in a hall in the center of town, the leftist senator is hit over the head by a bigoted thug. As his family and friends fear for his life, the government, police, and military worry that if he dies we will be turned into a martyr. As the film progresses it becomes apparent that the members of the powerful ruling class are not interested in finding the culprits. Instead of investigating into the crime, they spend their time examining all of the senator’s campaign workers and manipulating witnesses to make the assassination look like a drunk driving accident. Cover-ups, lies, violence, and persuasion are all utilized by several different departments of the ruling class to cover up a murder. <

As the magistrate begins to investigate into the incident it becomes evident that the senator was not killed by a drunk driver but was hit over the head with a weapon. The magistrate and a photojournalist uncover enough evidence to charge the right-wing aggressors who committed the crime and four high-ranking military officers.

However it is up to you to see what happened in the end. Will justice be served or will the militaristic government prevail?

What I love about this film and The French Connection is the documentary style that both films exhibit. In a gritty, realistic approach this makes the film truly authentic and honest. The compelling elements of flashbacks and close-ups help to maturely develop the film into an intriguing experience for the viewer.

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