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Double DVD: "The Eschnapur tiger "and" tomb "Indian Fritz Lang

video library has been released in a box set that brings together two of the diptych Indian film directed by Fritz Lang at the end of his career. Courtesy of the publisher given below the text that I wrote for the booklet attached.

The path that a director must take to transform a project into a film itself is almost always a minefield fraught with difficulties which may require dedication and persistence well beyond what you think. Ma anche con questa premessa, il fatto che Fritz Lang ci abbia messo 39 anni a portare sullo schermo La tigre di Eschnapur costituisce, se non un record assoluto, quantomeno un caso limite. Quella che avrebbe dovuto essere una delle primissime opere del regista viennese ne è diventata praticamente il canto del cigno, di modo che l’inizio e la fine del progetto appaiono delimitano l’alfa e l’omega di una brillante carriera - determinata in gran parte, come si vedrà, da una combinazione di audacia e di coincidenze più o meno fortunate.

Nato a Vienna alla fine del 1890, dall’architetto Anton Lang e da Paula Schlesinger, il giovane Lang accetta inizialmente di frequentare studiare engineering, but in reality is determined to become a painter. As it starts to get busy with paintbrushes, drawing mainly Egon Schiele and Gustav Klimt, Lang uncovers a passionate womanizer, "I was early and I started very early," he recalled in an autobiographical sketch written by Lotte Eisner, "The Viennese women were the most beautiful and most generous in the world. It was common custom to meet secretly in some cafe in Vienna during the interval of a play or, by chance, after 11, in a cabaret or a nightclub. "

Maybe even easier to indulge in these pleasures, Lang found a job as master of ceremonies in a couple of cabaret (The Femina and Holle, or "hell"), even if he has to stop immediately when the father is informed. Following his father's reaction, the young man escapes the house and certainly went first to Belgium and then get to travel around the world: North Africa, Turkey, Asia Minor and even Bali. At the end happened to be in Paris. I earned a living by selling hand-painted postcards, my drawings and, occasionally, some cartoon for newspapers. " In the French capital, Lang attended the day school of painting by Maurice Denis, and at night he went to study at the Academie Julien drawing the nude. But it is at this time begins to receive regular movie theaters, with a growing interest in the potential of the moving image.

"I lived in Paris until August 1914. I remember that in those days no one really believed in a war between France and Germany. I was sitting in a small cafe in Montmartre with some friends when someone came running in, 'Jaures a murderess par camelot du roi'. It was the beginning of the end ". On August 5, Lang runs back to Vienna and opened his own studio, but was soon enlisted in the army for a year. During the war, is an officer, wounded several times and get some medaglia. Durante le sue degenza negli ospedali militari comincia a scrivere per il cinema: “Un film di lupi mannari che non riuscii a vendere e poi due sceneggiature, Die Hochzeit im Excentricclub e Hilde Warren und der Tod , che vendetti entrambe a Joe May, all’epoca un noto produttore e regista berlinese”. Quando il film tratto dalla prima viene finalmente distribuito, Lang resta molto deluso dal fatto di non essere citato fra gli autori - e giudica per giunta che la realizzazione della storia da lui concepita sia molto lontana da quella che aveva immaginato: “Penso di aver deciso allora, nel subconscio, che sarei diventato un regista cinematografico”.

But there are still some way to go. In 1918, after an injury that occurred on the Italian front, Lang is now declared unfit for further duties on the frontline and discharged. After two months in hospital, he was allowed to spend their days around Vienna, provided that fits within eight in the evening. One afternoon in a cafe, someone comes up to him and offer him the hand of a lieutenant in a play entitled Der Hias . Lang accepts (1000 Crown alleged that instead of the 800 they gave me ") and the choice is particularly lucky in one of the representations is noticed by producer Erich Pommer, who offered him a contract with the Decla (the production company he founded Just two years earlier) and invited him to Berlin.

For Lang, the experience is exciting despite the gains are very scarce. Pommer to work first as a player and then as a writer of screenplays on his own, but to supplement the revenue participation as an actor in three films written by him (her roles are, respectively, "a German courier, an old priest and Death" ) until the day he gets the job of shooting his first film as director, Halbblut , a drama of love shot in just five days, followed immediately from the analogous Der Herr der Liebe , the first the thriller Die Spinnen (the episode was entitled Der Goldene See ) and finally Hara Kiri, a reduction of the classic Madama Butterfly.

Pommer is at this point that suggests the young director a person entitled des Doktor Caligari, Das kabineta . Lang reads it carefully and then feel a producer: "Erich, the public will not understand anything about a film such expressions, with distorted perspectives, etc, unless you put a scene at the beginning of the film with two people talking in the normal way in setting realistic so that the public is aware from the outset that the story is told by a madman. " Although the author's original screenplay is absolutely contrary opinion, the manufacturer accepts the idea with enthusiasm, only that Lang is a victim of its own success: "The owners of the rooms had a lot of money with the first episode of Die Spinnen who immediately wanted a second. So Caligari Pommer was forced to take off so I could finish the series. " Thus the title of German parent is directed by Robert Wiene, while Lang is dedicated to Das Schiff Brillanten - and despite the commercial success of this second and final part of series Die Spinnen , it's no wonder that at the end of his contract with Pommer the director decides not to renew it. Accepts, however, an offer from Joe May - with whom he worked for some time a popular writer named Thea von Harbou.

In 1918, the year Lang was discharged from the army, the Von Harbou had with the publisher Ullstein Verlag published a novel called Das Indische Grabmal that quickly turned out to be a great success - and instructs May Lang work with you to bring out a screenplay. A convict labor: the encounter with the writer of the thirties film is a stroke of lightning whose effects are manifested simultaneously on an artistic and personal. Married since 1914 to actor Rudolf Klein-Rogge, the Von Harbou it will separate very early and, after divorcing in 1921, will become a year after Mrs. Lang Not before, however, that Joe May has, for the second time , dealt with the director a new and even more bitterly disappointed.

"Me and Mrs. Von Harbou worked on the script and the theme was extended to become a two-part film (...). When we finished the script - I'll never forget - I and Mrs. Von Harbou we went to Joe May, who began to read it. Gave it to his wife, Mia May, and her daughter read it and rilessero everyone. E lui disse: "È fantastica, magnifica - magnifica". Mi chiamava Fritzska - perché, non lo so. Così io e la signora Von Harbou tornammo a casa molto contenti. Tre giorni più tardi lei venne da me e mi disse: "Fritz, ho delle notizie molto brutte per te". Io chiesi quali fossero e lei rispose: "Per venire subito al sodo: non puoi girare questo film". "Perché no?", dissi io. E lei: "Joe May mi ha detto che la banca non gli darebbe i soldi se lo dirigessi tu, perché sei un regista troppo giovane per un film così costoso". Era una bugia. Perché in realtà il signor Joe May era convinto che questo film sarebbe stato un grande successo e voleva dirigerlo lui stesso. Non potevo fare niente - il film was finished for me. " As you can imagine, the partnership with Joe Lang May runs out very soon and the director back to work for Erich Pommer directing Destiny (Der Tod Müde, 1921) Von Harbou screenplay, a film that became his first great personal success. "But not right away," Lang recalled, "When it was first shown in Berlin critics, for reasons that have never been able to understand, tried to kill the film. One of them said that the film makes the viewer to look tired, "an obvious reference to the film's title, literally translated as Death tired. To save the career of the director with decades of advance on the rediscovery del periodo americano di Lang da parte dei Cahiers du Cinéma , è la critica francese: “Dopo due settimane fu ritirato dalle sale di Berlino: ma uscì poi a Parigi e altrove ricevendo le recensioni più incredibili. Uno dei critici francesi scrisse: "Questa è la Germania che un tempo amavamo" - tutto questo subito dopo la Prima Guerra Mondiale, ricordate. Poi il film fu ridistribuito in Germania e divenne un successo mondiale”.

Nella versione originale diretta da Joe May, il Maharaja di Eschnapur è interpretato da Conrad Veidt, uno dei divi più celebri del cinema tedesco di allora (oggi ricordato soprattutto per aver interpretato in Casablanca il nazista maggiore Strasser - destino ironico per un attore che si era trasferito negli Stati Uniti proprio in segno di rifiuto per l’avvento di Adolf Hitler). Un architetto europeo viene da lui convocato in India per fabbricare un tempio più grande del Taj Mahal - ma ben presto scopre che questo ambizioso monumento dovrà servire a seppellire viva l’amante infedele del committente. Girato interamente in Germania, il film viene distribuito in due parti per via della lunghezza (i titoli degli episodi sono Die Sendung des Yoghi , “la missione dello yogi”, e Das Indische Grabmal ) e sembra ispirarsi a modelli decisamente alti, come spiegano Meenakshi Shedde e Vinzenz Hediger nel saggio Come On, Baby, Be My Tiger - Inventing India on the German Screen in Der Tiger von Eschnapur and Das indische Grabmal . Il film, a loro dire, “fa pensare in modo inquietante a un’opera di Richard Wagner in termini di ritmo e dell’accento che pone sui tormenti emotivi dei personaggi piuttosto che sull’azione fisica – per non dire della fidanzata dell’architetto che ha l’aspetto di un’eroina wagneriana, una Valchiria bionda e tarchiata”.

Non che si tratti di un salto interpretativo rivoluzionario, soprattutto se si pensa che nemmeno tre anni più tardi il duo Lang/Von Harbou dichiara, in buona sostanza, i propri modelli realizzando il dittico I Nibelunghi (Die Nibelungen, 1924; i due episodi si intitolano Siegfried e Kriemhilds Rache , “Sigfrido” e “La vendetta di Crimilde”). Ma quello wagneriano è un modello che si perde in gran parte in un primo remake del Sepolcro indiano realizzato già nel 1938 da Richard Eichberg e che, a differenza della versione precedente, si gira in India a Udaipur, nel Rajasthan. La trama si complica notevolmente con maggior attenzione alle scene spettacolari, l’aggiunta di personaggi russi, di una scimmia bevitrice di whisky e qualche notevole modifica negli snodi narrativi. Se nel primo film l’architetto veniva convocato in India da uno yogi specifically raised by the maharaja (hence the title of the first of two episodes), here we meet the more prosaically, the plane that is bringing it to your destination and it is clear that the message was delivered with the traditional media of the era of telecommunications. The task for which the maharaja has called, among other things, is no longer the erection of a temple of love lost but a model city. As for the final, lover sentenced to a premature burial does not end as a suicide in the previous version, but manages to escape with her lover.

The choice to shoot on location did not appear impressed cast members. In interviews of the time you read statements to this effect: "It was terribly difficult to work with the people there (...) They work like snails and some of the natives were so stupid that we would first train a dog." In addition, some members of the crew complained about the fact that it was impossible to shoot scenes with women who were bathing because the director did not allow the touch. Comments where you feel the item too racist ideology that has been launched by Germany towards a future disaster and trigger, predictably, a controversy that begins with an article about India's Film Baburao Patel: "In total arrogance national pride and power of a newly conquered, the modern German has become blind to the subtlety of the feelings that distinguishes the best of human beings ... The Tiger of Eschnapur , is simply a despicable film that at this moment does the dirty work in European countries defaming and ridiculing the Indians before the world ... In the spirit and essence is anti-Indian. "


almost unnecessary to note that, as far as we know, Eichberg of the film was never distributed in the Indian market. What should be stressed however is that when the movie comes out in Germany, Lang's life has a long way. It's the same director to tell, in his autobiographical notes, the episode that made him decide to leave the country, and that occurs some time after the banning of his The Testament of Dr. Mabuse (Das Testament des Dr, Mabuse, 1932) , in which the director and his screenwriter had put in his mouth to proclaim Nazis eponymous supervillain: "I was summoned by Goebbels, as I feared, to be called to account for the film, but to my surprise to hear that the Reich Minister of Propaganda asking me to accept the position of Supreme Director German film industry. " Lang, who on his mother knows he does not belong to the pure Aryan race courted, he points to Goebbels to be part jew, but it freezes the answer: "Herr Lang: but we we decide who is jew." The reaction of the director, not just laid off from his powerful host, it was almost instantaneous: "I left Germany that night. With Goebbels The interview lasted from noon to 14.30 and hour banks had closed and I could not withdraw money. I had just enough to buy a ticket to Paris and arrived at the Gare du Nord virtually penniless. "

In Paris, Erich Pommer and Lang found, obtained a work permit, he realizes with Liliom for Fox before accepting a contract with MGM and moved United States. But unlike her husband, Thea von Harbou decided to stay in Germany instead of embracing the cause of National Socialism - which can only put an end to marriage which is the artistic collaboration. Space does not permit here to dwell on the parallel development of their careers. In a sort of fast forward on Von Harbou, is worth to note that once separated from her husband, the writer will go in person to the director (finding, inter alia, to direct her first husband, Rudolf Klein-Rogge, however, already starred in several films of the same face and Lang, among other things, his aforementioned Dr. Mabuse). Participation in a personal capacity production of various film propaganda, does not facilitate the career after the war, without bringing it to a real professional marginalization. For tragic fatality, the indirect cause of the untimely death of the writer will be that first hit film Lang made after the betrayal of Joe May: in 1954, attending a screening in honor of Destiny , the Von Harbou accidentally falls and suffers a trauma that leads quickly to death.

As for Lang, although none of his American films have titles such as the scope of Metropolis (1926) or M, il mostro di Düsseldorf (M, 1931) , riesce nonostante le immaginabili avversità ad affermarsi anche a Hollywood come regista di prodotti di serie A, procurandosi rapidamente una fama di perfezionista incontentabile e, per qualcuno, addirittura temibile. In vent’anni, il regista realizza importanti titoli di impegno sociale come Furia (Fury, 1936) , noir memorabili quali La donna del ritratto (The Woman in the Window, 1944) , western, film polizieschi e spy-stories. Per due decenni, Lang mantiene all’interno dell’industria americana una voce quasi sempre personale, riuscendo spesso ad aggirare o addirittura ribaltare le convenzioni e stereotypes of gender in which they ventured. Until, after a couple of work made difficult by his relationship with RKO, said she'd had enough and be willing to explore new avenues.

is one of them to bring it back to the East. Lotte Eisner recalls that "in 1956, Lang urged the Indian government in India to make a movie. The project was centered on the maharaja of the 17th century who built the Taj Mahal in memory of his beloved. Lang abandoned the project when it became clear that the Indian ideal of beauty was completely different from Europe, so the casting became a big problem. This stay of several weeks, However, it was a great help later for his German films set in India. " The occasion does not hesitate for long: the German producer Arthur Brauner, director of CCC Films has acquired the rights to the original script Das Indische Grabmal and propose to the director complete creative freedom, a more than decent budget and the possibility to shoot on location . Lang agrees with some enthusiasm, perhaps attracted by the idea to take finally revenge on the theft of Joe May, perhaps to return at the end of his career, a story that brings him back to the years of her invincible youth.


Just as the original directed by May, this third version of the story comes on the screen divided into two parts - and the perceived desire for Lang to make up almost naive adventure of many years ago, the concept of serial and taste for the return of narrative conclusion the next episode, all but means much more substantial benefit of color, mostly real locations and four decades of experience. Operation, to think of it, which anticipates more than twenty films like Raiders of the Lost (Raiders of the Lost Ark, 1981) but that most critics are not willing to endorse. Overall, the film is judged by German press of the time anachronistic and without interest - completely ignoring the fact that the reference to the nostalgic past is the main essence. But beyond the nostalgia for the sentiments perhaps naive film before the war, evasion of taste end in itself, the evergreen appeal of exoticism, the connoisseurs of cinema in the film by Lang were able to appreciate the taste for set design, the reference to issues already appeared in the past (the scene in the cave of lepers, creatures that closely resemble the workers reduced to automatons Metropolis and, curiously, also anticipate a decade of the Living Dead George A. Romero ) which, to quote Robin Wood, are "implemented with a purity of line and an economy of means learned in Hollywood. "

the negative reaction of the reviewers of the time, Lang somehow had to be prepared if, in an interview in 1959 in Jacques Rivette and Jean Domarchi for Cahiers du Cinéma (the magazine in which for the first American cinema of the time Lang had been a bit 'of serious critical attention) said: "Critics are too sophisticated now and prefer to ignore the fact that we really love a woman and she is fighting for something important and necessary. While preparing for Eschnapur The tiger, I had a discussion with my dialogue because I wanted to say al Maharaja: "Se mi date la vostra parola d’onore, vi lascerò libero nel mio palazzo". E lui mi ha risposto: "Stammi a sentire, il pubblico si metterà a ridere. Al giorno d’oggi, la parola di un uomo non vale niente". È triste, bisogna ammetterlo”. Ma se questa consapevolezza non poteva certo bastare per guadagnare al film l’approvazione della critica, almeno il pubblico reagì favorevolmente, tanto che Brauner convinse Lang a un altro revival, producendogli Il diabolico dottor Mabuse (Die tausend Augen des Dr. Mabuse, 1960) . Per Lang, questi ritorni al passato avevano, fra l’altro, motivazioni di strategia professionale che sulla carta appaiono validissime ma which, unfortunately, would prove futile: "I did those films because they were important but because I hoped that if I made a big commercial success for someone I had the opportunity again - as I had had with M - to work without restrictions. It was my mistake. " In fact, the last return of Dr. Mabuse also marked the final conclusion of Lang's career as a director.


Around 1960, recalls Lotte Eisner, "in Lang was offered the opportunity to shoot two more films set in India. However, projects were eventually abandoned when the Italian manufacturer insisted on certain changes to the script despite the contract with Lang guaranteed the director complete artistic control "*. But apparently fate had decided otherwise and Lang would not return behind the camera. It would instead appear in the part of himself in the film Contempt (Contempt, 1963) Jean-Luc Godard, filming a bizarre version of the Odyssey.

Outside of Germany, Eschnapur of The Tiger and The tomb Indian fared pretty well at the box office despite some accident of course. In the U.S., the diptych suffered the same fate at the time the two parts of the version Joe May: two films lasting about one hour and forty each, the distributor American International I get one from a little over an hour and a half, redubbed and summarily dealt with under Journey to the Lost City (Journey to the Lost City). In Italy, things went a bit 'better, even if the complaint Democrat lightened here and there the more daring scenes depriving the spectators, among other things, much of the spectacular dance sexy Debra Paget in front of the cobra. The restored edition that you are holding the movie back to its original splendor, restoring the deleted scenes and offering adventurous film a real missing link between the Classical and the Postmodern.

Alberto Farina



* "The film would Kaly Yung covered the largest criminal conspiracy of Indian history, the brotherhood of the Thugs. Over ten million innocent travelers had been strangled with rumal , a curiously knotted handkerchief on the corners, presumably in honor of the bloodthirsty goddess Kali, to rob them of valuables. The fact that also belonged to this secret organization Mahradschahs and other high-level authorities made English even more difficult to eradicate the evil cult. Set in 1875, the film centers on a young doctor who runs a clinic to treat cholera. When his Sikh disappear during a mission to provide supplies, ask a guest to investigate but this, a sick old man who does not want trouble, he refuses. The matter is further complicated when the doctor discovers that the girl he loved in England was already old wife. Is guilty of murder at the hands of thug and suspicions are directed to the doctor. In an attempt to exculpate these starts to investigate himself with an Indian friend (a dancer leads by Thug) and ends up involved in various adventures. Her love and understanding for India prevail, the thug is murdered and his name rehabilitated. "(Eisner)


Bibliography:

AA.VV., Filmlexicon of authors and works , Experimental Center of Cinematography, 1957-1971
AA. VV., The politics of the authors , Minimum Fax, 2000
Peter Bogdanovich, Fritz Lang's second film The , Practices, 1988
Alfonso Canziani (Editor), Cinema worldwide , Mondadori, 1978
M. Dutta, A. Fitz, M. Krogh, A. Schneider & D. Wenner (editors), Import / Export: Cultural Transfer Between India and Germany , Parthas, 2005
Lotte Eisner, Fritz Lang , Da Capo, 1976
Barry Keith Grant, Fritz Lang: Interviews (Conversations With Filmmakers) , University Press of Mississippi, 2003
Christopher Lyon (curatore), Directors/Filmmakers , MacMillan, 1984
Tom Gunning, The Films of Fritz Lang: Allegories of Vision and Modernity , British Film Institute, 2008
John Wakeman (curatore), World Film Directors Volume I - 1890-1945 , Wilson, 1987

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Call for" The Dark Screen "(2008) and Pezzin Franco Angelica Tintori

Chi abita a Milano, o ci può capitare nel fine settimana, è invitato venerdì 21 novembre alla presentazione di THE DARK SCREEN, which I wrote the preface. The event will be held at Atelier Gluck (Via Gluck, 45), 20.30. The authors will intervene and Angelica Tintori Franco Pezzini, the writer Ben Pastor Gargoyle Books publisher Paolo De Crescenzo - and, of course, to the undersigned. If you're ever nearby, come and say hello.

Here, courtesy of the publisher, my preface.


They changed the face? Historically, sales to the Social Summit of the myths of the empyrean horror, Dracula and his descendants have always distinguished themselves as particularly adept at shape-shifting creatures. But their ability to transform into wolves, bats or even in the night breeze is insignificant compared to redefine its role in maintaining social ladder always dominant. As we in Europe are also disrupted the memory of the privileges granted by the titles, the vampires have been able to change, if not the face, at least in uniform, never miss the reins of power in decades.

It is, in all probability, a fundamental question of vocation: characters such as Baron Frankenstein and Professor Griffin dedicate their lives to their scientific projects (the creation of life and invisibility), and rarely is venture outside of their laboratory. Figures like Frankenstein's creature, Creature from the Black Lagoon wolf or man (and, for that matter, even Mr. Hyde, the result of experiments of another eminent scholar like Dr. Jekyll) are in fact victims of their own feral nature or extent of their intellectual . Not to mention the zombie, the proletariat of the world horror, that only in the strength of their numbers are actually a desperate power. Instead, Dracula and his successors are the result of an environment, the feud between management and challenging campaigns, has always preferred the role of the strategy: they are, by nature, planners, instructors in the seduction and manipulation of weak minds . And when you link, without hesitation, often for no less than food than those of other monstrous creatures perhaps equally famous, but behave with the coolness of the consumed elegant chess player, typically using force only when things start to go wrong.

Before a murderess, and an almost irresistible seducer, Dracula is basically a political element and this is explained, since the title of a film on the whole misunderstood as They changed the face of Corrado Farina in this film, as well as in the following Innocent Blood, American John Landis (published more than twenty years later) it is evident that the progeny of Dracula has learned to wear double-breasted of economic and political power or the cast of the mafia bosses - a category, the latter, which, as we know, was able in turn to change the face and uniform, mixing irreversibly to the first - and has been able to carve out new space, consolidating his power and actually increases the flow dramatically.

Already in the early seventies, the protagonist of They changed the face is a powerful businessman who has almost absolute control over key sectors of industry, which has long spread its tentacles over banks and insurance , which owns newspapers and television and, while not exposing first person is the owner of certain political parties. Almost four decades later, the paradox proposed by the film was largely achieved by the reality, in our and other countries, as they develop global logics of profit and allow a relentless oppression concentration of the wires that move the lives of nations in the hands of an increasingly small number of powerful puppeteers.

Farina's film ends with the final triumph of John supervampiro Nosferatu, sealed by a quote Marcusian, while the vampire mafia Innocent Blood John Landis seem to end up defeated by the alliance between a vampira dotata di un’etica rigirosa e un poliziotto infiltrato nel clan: nel finale pirotecnico, dopo che tutta la sua banda è stata sterminata, anche il boss Sal Macelli viene fermato da una pallottola ben piazzata. Eppure il lunghissimo discorso che il capoclan pronuncia nel finale, mentre il suo corpo arde senza consumarsi, non sembra affatto un congedo: “Io sono il Potere, e tu non sei che una cacatina di mosca”, ruggisce verso il poliziotto che lo tiene sotto tiro, e l’impressione che dà non è quella di un essere in preda a un insensato delirio di onnipotenza. Il tono, invece, è quello di qualcuno che sa bene di aver perduto solo una battaglia. E che la guerra proseguirà con un esito scontato, perché the propagation of the vampire race is part of their nature, neither more nor less than their willingness to rise from the ashes each time.

If there are exceptions (but merely satirical film: for all the interesting and include Zora the vampire, 2000, in which Dracula Conte by Toni Bertorelli is a very deprived and low - seven years before 'admission of Romania into the European Union - the humiliation of having to enter Italy as an illegal non-EU), many more are confirmations of the general rule. Even when talking about vampires apparently marginalized by society as Lost Boys by Joel Schumacher, where the real leader of a group of young bloodsucker turns out to be a much respected member of the local community. The only form of power difficult to reconcile with nature seems to be vampire, for reasons easy to understand, the religious - but it can sometimes be tempted to an uneasy alliance. I think the cardinal played by Maximilian Schell in John Carpenter's Vampires (but inspiration is a novel by John Steakley) which, doubted and the long wait for an eternal life-style Christian, likes (and ill him incoglie) safety non-tangible and immediate death.

But notice the ramblings: If the vampire filmography is ocean, teeming with changes sometimes heretical (in the good The darkness approaches using a blood transfusion to restore a victim of the fatal bite his human nature!), approaches that give up the element fantastic (and we quote for all the Wampyr Romero) or on the contrary, taking the path of science fiction (the three films inspired by unfaithfully I Am Legend by Richard Matheson - originally released in Italy under the title The vampires in the same year in which went out the 'self-titled film by Riccardo Freda , and go to know whether it was the publisher of the book to steal the title of the film to distributors or vice versa), is no doubt that, pace of Le Fanu and Polidori and other more or less illustrious predecessors, the central work of the whole vampire mythology is the Dracula of Bram Stoker's novel that most cited actually read (as it happens from time to vast majority of the true classics), but also a reference point for all the mythology, despite the betrayals, both literal and substantial, committed almost all its film versions. Curiously enough, therefore, that no one had yet taken the initiative to start from there to read in an analytical groped everything from Stoker was born in over one hundred and ten years of film history (an age that, look look, overlaps quasi perfettamente a quella del libro, che fu pubblicato la prima volta pochi mesi dopo la prima, storica, manifestazione pubblica dell’invenione dei Lumiére).

Ci hanno pensato, finalmente, Franco Pezzini, Angelica Tintori e Paolo De Crescenzo con il libro che tenete nelle mani. In questo lavoro davvero monumentale, l’opera di Stoker non è solo la pietra di paragone di tutti i film che ne sono stati tratti: diventa invece il filtro attraverso cui ciascuno di quei titoli può essere analizzato in modo approfondito. Perché è evidente che ogni deviazione o modifica rispetto alla fonte originale ha avuto una sua ragione precisa nel contesto storico in cui è stata decisa - e proprio per this can be, in a careful, extremely significant. Not only that since every new adaptation of Dracula becomes, somehow, part of a single charge, the same variations tend to become a source to turn to a more complex overlay of references, inspiration and plagiarism, influence each other.

For the authors of The Dark Screen , Stoker's novel has become the guiding star in the exploration of an impressive amount of evidence: dozens and dozens of plots minutely described, dissected to collate and compare them with the original . Coming at the end, to steal a term used more frequently in geologia, un appassionante carotaggio che sonda in profondità la ormai secolare stratificazione delle versioni, rivelando costanti e variazioni di una produzione cinematografica sterminata.

Il risultato è uno strumento inestimabile e davvero unico per inseguire il mito del vampiro attraverso le sue mille trasformazioni. Se Dracula e i suoi accoliti hanno cambiato faccia e, oggi più che mai, continuano a succhiarci il sangue, The Dark Screen è il manuale fondamentale per aiutarci a riconoscerli. E, se in noi alberga ancora un po’ della grinta di combattenti valorosi come il professor Van Helsing, tentare di riorganizzare la resistenza.

Alberto Farina

Country Songs About Beach

" Animal Stories "(2008) The discovery of slowness

Non avrei never thought it would happen, but I wrote a book for children.

In fact, it all started almost ten years ago. I finished translating a book for The Beaver on the processing of "Psycho" Alfred Hitchcock , published in Italy in the wake of the output remake by Gus Van Sant (entitled, without the small provincial censuretta was touched at the time the Sir Alfred's masterpiece, "Psycho") and I had found in a couple of macabre rhyme that I had fun making, in Italian, trying to reinvent the rhymes, to maintain, rather than the literal concept, playfulness. There was a nice limerick, for example, written by an unknown author in 1957:

Un certo Ed, bizzarro giovanetto,
una ragazza non la portava a letto:
se gli pungea vaghezza
ne tagliava via mezza
e conservava il resto in un cassetto.

Ma c'erano anche filastrocche più articolate e narrative come questa:

La vigilia di Natale
tutto tace nella scuola
vuote e buie son le scale
né una mosca più ci vola.
Gli insegnanti sono appesi
per benino dal soffitto:
Eddie e Gus, da loro attesi,
si avvicinano al convitto.

A quanto pare, queste piccole traduzioni piacquero abbastanza da suggerire al Castoro che potevo essere la persona adatta a tradurre in italiano una divertente serie inglese di libri per bambini. Nacquero così sei librini tutti in rima: Storia di ragno, Storia di plancton, Storia di lumacone, Storia di gatto, Storia di cane e Storia di pipistrello . Libricini coloratissimi e paradossali, in cui la personalità di alcuni animali veniva raccontata con un umorismo spesso davvero surreale e quasi sempre (almeno per me) irresistibile.

Poi gli anni sono passati, io ho continuato a occuparmi soprattutto di cinema - per il Castoro e per altri editori - fino all'estate scorsa, quando Renata Gorgani mi ha fatto vedere un libro francese che aveva deciso di acquistare. Era una raccolta di bellissimi disegni di animali di vario genere, only that the texts were very modest - written, probably with his left hand by a French writer who, I suspect, thought he had better things to do. The proposal was to just throw down some alternative short story ... a bit 'thicker pair of lines of micragnoso bestowed from the original, but less content in a folder, and dedicated to telling how the animal that had received one of its most typical characteristics. But the times were very close so I was encouraged to draw "inspiration" from folk tales and traditional, classical or even out rights.

Two of the stories (the one on the toucan, and zebra) had already been written and should serve as a model. Because of the I had to portray the animals were leopard, the rhinoceros el ' elephant, for starters, I turned to Kipling and his "Just So Stories " that as a child I was fascinated. The first three stories are, therefore, admittedly, an adaptation of his brilliant inventions - and I was surprised to find that I needed to come back: I was still a memory vividissimo despite the book not to read it at least thirty years.


Only after adjusting in the three short stories that I remembered I realized that if I had to start looking, reading, and choose to rewrite dozens of stories of animals I would not have never be able to deliver on time. It was the first to invent from scratch, looking - as it was in my ability - to follow in the footsteps of Kipling. Not knowing if the stories were working, I tried to tell my nephew to six years. I was surprised when, telling him to break the ice history of the elephant (one of those adapted from "Just So Stories , actually) has quickly jumped up, saying," This I know! " It's not that I had boasted that it was my bag of flour, but managed to make me feel caught in the act - so I carefully avoided to tell the other not original and I shot all those who had invented just me.

It seemed very interested. Not only when, a couple of months later, I told him that the book was about to leave, he immediately jumped up and said, "Ah, those stories in which" ... and began to stone the plots that I had told him - remembering the details that I myself had already completely forgotten. Of course, it only proves that my head is more rusty than that of my nephew, but I prefer to think that the stories are liked.

The link for Ibs: http://www.ibs.it/code/9788880334682/hess-paul/storie-animali.html
A link to the website of the Beaver: http://www.castoro-on -line.it/libri/schedadellibro.aspx? IDCollana = 2 & id = 544
Anobii The link of the book: http://www.anobii.com/books/Storie_di_animali/9788880334682/01703c43d2343fa941/

Added December 9, 2008: I find that the book Psycho was recently republished with a new cover is a bit 'prettier the previous one. Here it is. In the meantime, I am pleased to be able to bully the fact that most books free, fair Roman small publishers that ended yesterday at the Palazzo dei Congressi, Stories animal is sold out!

How To Make Popcorn Holder

XV National Championship - Rossano Calabro 7 / 14 June 2008

Team: Silvio Bonometti, Alessandro Coffetti, Leonardo Lauri, Massimo Musolino, Massimiliano Giacomin, Modestino Savoie, Stephen Zoccarato, Egidio Marchina, Massimo Fiorillo, Michele Quarantelli.

Bruising With The Chicken Pox

and film or photograph? Seeing an exhibition of Bill Viola may happen to have some doubts on the label da attribuire a questa o a quell'opera. E lasciamo stare la scappatoia di dichiarare che anche il cinema è, a tutti gli effetti, fotografia 24 volte al secondo. Fin dall'etimologia, "cinema" evoca il senso del movimento - mentre molte delle creazioni di Viola, se viste distrattamente, possono essere registrate istintivamente come immagini statiche.

Non è proprio così, naturalmente, o il dubbio non avrebbe senso. Gran parte delle sue opere sono, a tutti gli effetti, film, ripresi però con telecamere ad altissima velocità di modo che, in fase di proiezione, appaiano rallentati al punto da assomigliare a fotografie tradizionali. Se ci si ferma abbastanza a lungo ad osservarle - o anche se si distoglie lo sguardo per un moment and then return to it again - you realize that you are facing a perpetual becoming.

The feeling of displacement occurs mainly by a series of portraits of faces saddened that now date back to several years ago works like Dolorosa, or Soul The Locked Garden , all of 2000, give the impression of being spied on by the disturbing photos that appear in a frame. The effect is similar to what you would feel if we discovered that a statue, a dummy object is not anthropomorphic, but also a drastic change in position and do not see them. A little 'how animals carved in the hedges of the novel Shining by Stephen King (absent in Kubrick's film, but I am told, in the TV version Mick Garris). The instinct and habit reassured that it is stationary objects, and the discovery that this is not because you suddenly remember all be changing ends up living his continuum of becoming that is only felt by those who live one close enough. So, for example, the growth of a tree is too slow to be noticed by the naked eye, but perhaps a bullet (but also a tree seen through the window of a moving train) can touch them without being able to register it with the ' eye. These are cases in which the film rediscovers his original vocation to investigate the reality over time, special eye is able to catch what the human eye can not perceive with the methods of time-lapse, slow motion, or of any change in the recovery phase of the rate of capture of information - change that leads , since the speed of projection is a substantially non-variable data in a different display rates.


Bill Viola's paintings are like photographs, unlike traditional ones, require the viewer to a rhythm all their own vision. The images, transmitted by plasma screens, with the eyes as you browse the traditional portraits, without being driven, as would happen in a movie at natural speed, the choices of mounting, framing or exchange of stock, but the perception of their elusive nature makes hypnotic. The mention of, the initiation of a blink of an eye, the squint of the lips, the vague feel of a facial muscle stretch - all eventually attract the attention in a whole new way, so that we can discover Five minutes later, still staring at the same face, whose expression is altered in a way that barely perceptible.

And then there are jobs, so to speak, for action: that is when, or where the film runs slower recovery phase (and thus the effect of slowdown minore), vuoi perché la scena ripresa contiene un maggior movimento, la confusione con la fotografia non si dà e, semplicemente, si ha modo di apprezzare i gesti e i cambiamenti di espressione con la percezione amplificata che il rallentatore sempre produce, sia che si tratti di immagini documentarie, mirate a scomporre in un maggior numero di unità temporali, un'azione determinata, sia che si parli di una delle celeberrime sequenze super-montate di Brian De Palma come quella da Gli Intoccabili .



A parlarne così sembra una fesseria - e qualcuno potrebbe sostenerlo con ragionevoli speranze di non essere smentito. C'è anche chi ha provveduto, su YouTube, a pubblicare qualche parodia - e conosco cineasti che ritengono Viola poco al di sopra di un bluff che si limita a produrre, dandosi arie da sperimentatore e senza tentare di raccontare storie, lo stesso tipo di lavoro che qualsiasi filmmaker realizza più o meno consapevolmente quando produce immagini in movimento. Io so che da quando avevo avuto modo di visitare una sua mostra al Paul Getty Museum di Los Angeles nel marzo 2003, le sue foto viventi mi sono rimaste impresse nella mente, superando la mia pregiudiziale diffidenza nei confronti della videoarte e, in generale, di gran parte dell'arte contemporanea.

For those who are or may be in Rome, the exhibition Viola is at the Palazzo delle Esposizioni Via Nazionale. In addition to portraits, to report the work on five screens Catherine's Room (2001) that weakens the slow in articulating a kind of split-screen five times at the same time offering five phases of the day a hermit writer (inspired, apparently, in Santa Caterina), called the quadruple Four Hands (2001, four pairs of hands of people of different ages, creating images that wrap almost abstract) and the beautiful Observance (2002), which shows a procession of people lined up to visit something out of range che potrebbe essere il feretro di una persona amata. Date un'occhiata aglio estratti dei filmati che si vedono sul sito della mostra e poi stanziate un paio d'ore fra qui e gennaio. Una visita la merita.

Cranial Sacral Therapy Hydrocephalus

" Into the Wild "(2007) Sean Penn

AVVERTENZA: chi non ha visto il film e non ha letto il libro (e non si è fatto spoilerare uno o l'altro) sappia che a partire dal prossimo paragrafo potrebbe trovare elementi rivelatori del finale della storia: non si appresti dunque a rompere e smetta di leggere ora, subito.

Anche se penso che, forse, il finale di questa storia uno dovrebbe conoscerlo prima: il libro uscì dopo che la storia aveva avuto una certa eco sui quotidiani, la conclusione era evidente fin dalla cover and, if I remember correctly, the author says Jon Kracauer from the earliest pages of the first chapter.

That said, I go.

In the book "The Day of the Owl " is a phrase that I really like and bring it to memory, surely paraphrasing. The truth is like the moon at the bottom of a well. You look down and you look out and see the moon. But if you fall in, one at the bottom is not the moon, is the truth.

It is a truth of this kind that is at the end of the film and the beginning of the book that inspired it, the twenty-four Chris McCandless: just released, with excellent grades, the university is realizes it has no intention of following the path that is traced by their parents. Only, unlike Benjamin Braddock (Dustin Hoffman in "The Graduate ") of its Badlands takes a more radical way: a waiver of almost all his property to the Franciscan terrain and departure, with a rucksack on his back and little else, to try to face the world with as little baggage as possible.

The abandonment of the parents and sister without a note of explanation, hitchhiking, odd jobs along the way to win you need to survive (but before leaving he gave to charity $ 24,000, all his savings, for the continuation studies), the encounter of diverse and valuable examples of humanity, but the ultimate goal is the total solitude, direct contact with nature and the challenge of survival with no helmet. Chris wants to arrive in Alaska, and get alone and live alone in the forest in search of a personal revolution, spiritual / existential.

But nature is a bastard, and just lower the guard is ready to fuck. The star of "Into the Wild " seeks the truth, and perhaps the location, but at the bottom of the well. Trapped in an old abandoned bus, starving, dying painfully of starvation, almost imagining, in the final moment, her return to the arms of their parents.

The story of McCandless è accaduta davvero: se ne parlò abbastanza sui giornali al tempo della tragedia, e ancora di più quando il giornalista Jon Krakauer le dedicò un libro che ricostruiva la faccenda nei dettagli (in italiano è uscito come " Nelle terre estreme " e Corbaccio lo ha ripubblicato a ridosso dell'uscita del film. 268 pagine, 16 euro). Testo molto secco, cronachistico, senza il minimo compiacimento, con le testimonianze di alcune delle persone che avevano incontrato McCandless lungo la sua avventura, e anche con gli appunti, agghiaccianti, con cui il ragazzo stesso aveva documentato la sua fine: un diario fatto di annotazioni quasi tutte brevissime e che fu ritrovato nell'autobus accanto a quel che restava del corpo.

Later, Krakauer wrote a book would become much more popular on a similar story: entitled "Into Thin Air" (Into Thin Air) , is the story of Everest trip ended in tragedy and has multiple a tone far less, because in that case the author was among the protagonists of the events recounted. "Into the Wild" instead is, indeed, little more than a reconstruction, in which the author gives maximum importance to the figure of McCandless, trying to stick to the facts or statements, and without giving them too much to speculate on why.

Also because there is no need: as Guccini sang with nostalgia, at twenty it was really stupid . And the search for teenager's death becomes a big story when the protagonist can actually find it. Who reads "In the lands extreme" closes it with tears in his eyes, recognizing the protagonist a friend who in his time he has lost the challenge your limits. And maybe also recognizing himself, that some time has made a giant shit and it went well, but he also could go wrong.

is a fairly slim book that reads quickly. But Sean Penn has a film of 146 minutes, endless, repetitive, and verbose, what is worse, shot using a constant search for a style that gives the whole exercise a disturbing patina of insincerity. There is everything in the movie: the jump cut, accelerations and decelerations, the oblique shots, the freeze frames, out of focus, even an offensive look in the car. A catalog of cinematic Mossette young, independent, from new wave with fifty years of delay. All that stuff, for heaven's sake, there was also already in bell'episodio directed by Penn in ' anthology September 11, but there applied to a story overtly symbolic and unreal, and in any case limited to little more than ten minutes in length.

Penn was one of the main characters of "The Thin Red Line " and a little surprising that he chose such an approach diametrically opposed to that of Malick for a story in which the issue of cruel and insensitive beauty of nature was so strong. But Okay, it is said that Malick's style would work best with this story, and Penn seems more interested in the meetings along the way: two hippies a little 'far from the years of Kerouac, a wheat farmer, a beautiful sixteen and one, an old soldier, a widower, a couple of young Danes. They are the best moments of the film, those in which the directing is less evident satisfaction, and perhaps are a bit 'too much but it works.

works less, however, the familiar element: William Hurt and Marcia Gay Harden is as good as ever, but become two parents too stuffed programmatically. And the voiceover of her sister soon became a comment cumbersome, especially when you add to that of the protagonist (and who knows in this massive use of speech, Penn illudesse not to follow in the footsteps of Malick). We talk too much and too long, in "Into the Wild", and is too much on the family, the family that McCandless instead chose to leave behind, at least for a while '.

When you get to the last, harrowing, twenty minutes, boredom polluter too long the suggestion of the tragedy and the film remains a huge part of the potential emotional impact. Perhaps only those who do not know, before entering, as would end the matter may fail really excited, but it is evidence that those who moved out due to the force of history, not that of a film on the whole rather disappointing.

Rome Film Festival, October 25, 2007