07 February 2015

Stromboli, terra di Dio (1950)

When I moved to California I noticed that the earth shakes. Coming from Texas, where the land only moves if you drill it wrong, it is a profoundly odd feeling, and one that I still haven't gotten used to. Since this tectonic activity is on the mind I thought it would pair well with a review of Stromboli, terra di Dio (1950), Roberto Rossellini's dark, yet very rich and mysterious film.

Ingrid Bergman plays Karin, a displaced immigrant who marries an imprisoned local fisherman. Fleeing a "displaced persons" camp in Farfa, Italy, she marries a husband sight unseen to secure a safe, albeit temporary, future for herself. In reality, her husband Antonio (Mario Vitale) brings her to Stromboli, a volcanic island with a scattering of hovels perilously attached to its perimeter. This was to be her new home. Perhaps too predictably, her time spent on the island parallels the charring and grinding of the ground beneath her. She has trouble integrating with the southern Italian lifestyle consisting of fish, sun, and fish. Her tantrums become uncontrollable, and she turns to the village priest for consolation. Perhaps out of boredom and embarrassment for her new lifestyle, she redecorates the house to make it into a home. Unfortunately, her husband's latent disapproval of the feminization of his space brings her no respite.

In creating 'spheres' of personality for both Karin and the villagers, including the island itself, Rossellini's islanders seem shallow and simple. Even Antonio has a limited scope of understanding, thinking that by only providing fish for Karin, they would live happily, and that would be his extent of the marriage. Karin, however, also falls victim to the limits of her personality and often appears as a caged, delicate animal of little to no value to the community. 

In the end, Karin faces the cruel irony of fleeing from Nazis only to find herself fleeing from Nature itself. As she stares into the volcano's deep crater, her body exposed as if in self-sacrifice, the existential sensation of giving in, hopelessness, and a new beginning come to mind. It is a hallmark of neorealismo, and a fine documentation of one of Italy's more interesting island communities.



References

Stromboli, terra di Dio. Dir. Roberto Rossellini. Berit Films/RKO Radio Pictures, 1950. 107 min.

Iordanova, Dina. "Modern Marriage on Stromboli." Criterion Collection, 2013. http://www.criterion.com/current/posts/2908-modern-marriage-on-stromboli

11 January 2015

Anita Ekberg (1931-2015)















No one set the standard for platinum blonde quite like Anita Ekberg.

Having played bit parts in America in the 1950s, Ekberg met Fellini on the set of War and Peace in Italy. The rest is history. Passing off extremely well as a Marilyn Monroe-pastiche in Fellini's La Dolce Vita (1960), Ekberg was rocketed to fame as the Trevi fountain sex kitten named Sylvia.

Ekberg often played the mesmerizing female object because of La dolce vita. On screen (and also in real life) no other woman could counter the gravitational pull she had on men. It was a given that if she appeared in a film, she would have top (read, upper body) billing. Famous for her ample curves, sultry glances, and that squeaky-smokey voice, her breasts were often given their own shot in a film.

Although her body speaks for itself, her 50-year acting career is quite impressive. She averaged a project or two every couple of years and never stopped. Although appearing mostly in Italian films,  she was known to make the jump to English-speaking films as well. Here's a bit scene of hers from Back From Eternity (1956), in one of her few English speaking films.


As you can see, she never really left the fountain.

I will leave you with one of my favorite Ekberg characters, Sister Gertrude from Killer Nun (1978). Not only is this a bizarre lesbian horror film, but it is also one of her last great performances in my opinion. A must see if you like giallo films.



Goodbye Anita! Italian cinema will never be the same without you.

13 December 2014

Io sono l'amore (2009)

i Recchi


Every now and then, a contemporary Italian film gem reveals itself and reminds me why I love Italian cinema. Director Luca Guadagnino's film Io sono l'amore is one such film which deserves attention for its craft, story, and sense of audacity (see also Melissa P. for another amazing Guadagnino film).


The film does not have much of a plot to speak of, but focuses on a minutiae of events that occur in languid succession in and around contemporary Milan. The focus is on the Recchi family, a symbolic powerhouse of the Italian manufacturing sector. Unlike films from the postwar years in which the factory workers would be central narrative figures, the Recchi factory is overshadowed by the events that occur within the family, in their palace.  The palace is really a secluded, somewhat dull fortress-house in central Milan. Tilda Swinton plays Emma, a Russian bride who married into the powerful family and remains somewhat outside of the family rules. Her children are growing and changing, and she finds herself becoming increasingly restless after the death of the family patriarch signals a shift in family politics. Emma becomes unstoppably attracted to the cook Antonio, played by Edoardo Gabbriellini, a close friend of her son. As her attraction becomes more intense she begins an emotionally deep and physical affair with Antonio, however going out of her way to hide it. Eventually her son discovers that his best friend and mother are having an affair, and the movie comes to a quick and intense climax.

Nick Vivarelli writes in a 2011 issue of Variety that "Guadagnino's Tilda Swinton-starrer is an awards-season standout, landing a Golden Globes nomination, a British Independant Film Awards nod, and six BAFTA longlist bids, besides making several prix lists and pulling in over $5 million stateside via Magnolia Pictures." And yet despite being given rave reviews by the upper echelons of the festival circuit, Io sono l'amore's success waned after it lost out to the other Italian contender for Best Foreign Film at the Academy Awards, Paolo Virzì's La prima cosa bella (2010). For now it remains among one of the better 'art films' that Italy has ever produced, in my opinion.

Muted colors provide contrast as the story gets wild
And of course there is Tilda Swinton. Not just any Tilda Swinton, but Tilda Swinton playing a Russian-turned-Milanese factory giant's wife who speaks in northern Italian dialect. It is a rare phenomenon when international stars appear in Italian films and speak in fluent Italian. Her demeanor is demure, maternal, conservative, respectable. In short, she is everything a noblewoman ought to be and a prize catch at that. Her austere physique, highlighted by prominent bones and luxurious Italian textiles, is paired with an undercurrent of deep internal unrest. Swinton does a fabulous job of combining all of these qualities into a complex, unique character. To top it off, the excellent casting of Emma's daughter Elisabetta, played by Alba Rohrwacher, balances Emma's rigid demeanor.

I highly recommend a watch for the technique alone, but the story is also one of a kind and worth the time.



References

Io sono l'amore. Dir. Luca Guadagnino. First Sun/Mikado Film, 2009. 120 min  

Weissberg, Jay. "Review: I Am Love." Variety, 2009. http://variety.com/2009/film/reviews/i-am-love-1200476375/



06 December 2014

Lion of Thebes (1964)

Helen is often shown dependent on her potential mate...
Il leone di Tebe, popularized as Lion of Thebes, is a peplum film made in 1964, right at the genre's peak success. However, the skyrocket success of the first Italian westerns in the mid-60's soon diminished the peplums' popularity and consequently their studio time.

Lion of Thebes is a typical peplum. Fleeing by boat, Helen of Troy escapes her city's destruction with Aryan, a former lieutenant in the army. They shipwreck near Egypt. Days later, both destitute and lost in the desert, they get picked up by the caravan of the great pharoah Ramses.

What is interesting to me about Lion of Thebes is that, unlike many peplums, the female lead is not a quivering statuette like Ramses' wife. Helen possesses a grace that easily dissolves into raw power and forcefulness. She is (was) a queen, and often reminds everyone of that fact. Coupled with her beauty, no man or woman can resist her wishes.

...but she is actually controlling everyone, including Ramses.
Despite this power, Helen is unable to break Ramses physical imprisonment with only her political wits and a pretty face. Aryan always steps in when she needs brute strength applied to the situation.

When they are finally rescued by the Spartan army, Helen and Aryan go off together in love, relieved that their Egyptian imprisonment is finally over.

And now for a classic scene in the film. Only after Aryan rescues Helen from between two gigantic crushing stones does she realize that she really does love him. It is a proven formula of the peplum to grant love, success, victory, etc. only after the male lead has passed a feat of physical endurance and pain. After the man has proven his worth, the plot continues.


References

Lion of Thebes. Dir. Giorgio Ferroni. Filmes/La Société des Films Sirius, 1964. 87 min.

26 December 2013

Va' Pensiero: Storie Ambulanti (2013)

For various reasons the subject of African immigration doesn't make it to screens very often in Italy, but a new movie was brought to my attention that adds to this subgenre. Va' Pensiero: storie ambulanti, directed by a rescued immigrant named Dagwami Yimer, tells the story of several African immigrants and their struggle to survive in an unwelcoming country. I haven't yet seen the film because it is just being released in Italy and may not make it to an American theater, but hopefully this post will at least attract the attention that I think this film necessarily deserves. I am posting some sources to videos made by the crew of the film, including an interview with the cast and several video diaries. None of them are particularly satisfying without having seen the film, though. 

Italy has, at first glance, a somewhat unique rich-country problem: its socioeconomic relationship with its poorer immigrants is horribly 'behind' by contemporary standards. The European immigrant now enjoys legal integration, but African immigrants, particularly black Africans, are held to unjust social and legal standards in the black market, no pun intended. Part of this treatment is racist, but as I've learned, Italians don't approach racism from the same angle that Americans do; the term racism isn't quite relevant in the sense that skin color alone does not necessarily motivate anti-immigration sentiment. Part of it is also legal - Italy does not have a clear legal framework to naturalize citizens who weren't born in Italy, nor does its visa system make it easy to work there. Mostly, though, it is cultural. The Italian "imagined community," to quote Benedict Anderson's often used phrase, simply does not include people from outside of Italy. The very concept of becoming Italian sounds strange indeed.

Although I don't know if the people involved in Yimer's film want to become Italian, I do know that their struggle to make a living is worth attention. Va' Pensiero is an attempt to shine light on marginalized Africans who immigrated to Italy to work and support their families within the cultural framework that I described above. Drawing connections to Verdi's hugely popular opera song "Va' Pensiero," Yimer argues that Africans are being held back by the Italian people, much like the Hebrew slaves who sing the song, and that they have as much right to live and work in Italy as Italians do. By also attaching Verdi's legacy to this documentary, Yimer is claiming a certain degree of Italian-ness in his role as director.

Yimer is also clearly motivated by African griot storytelling, as the film's website quotes him stating that the griot "accompanies the story of the incident from a remote past that seems to continue to persecute the victims (accompagna il racconto degli avvenimenti partendo da un passato remoto che sembra continuare a perseguitare le vittime)". That the director is an immigrant in Italy and that he has created a film with both African and Italian qualities places Yimer among the ranks of those who have decided to speak out about the inequality they face in their lives.

To illustrate Yimer's point, the very timely and horrifying scandal involving Cécile Kyenge comes to mind. Kyenge, a Congo-born immigrant, was selected as the new Italian Minister for Integration. Embarrassingly for the Italian government, she was harassed and threatened by politicians when she arrived at her new job and has since become the shining example of Italian racism and bigotry. To see a video of her at the film's screening, see video diary 3

None of this should come as a surprise from a country that treats its poorer immigrants the way depicted in Yimer's film. It will be interesting to see what impact Va' Pensiero has across Italy as it is gradually released throughout the country.

Click here to see the trailer on Vimeo.
 
Interview (italiano)

http://www.youtube.com/watch?v=pb2xic00Lus

Diaries (italiano)

1 - https://vimeo.com/81596199
2 - https://vimeo.com/81830669
3 - https://vimeo.com/82045341

References

Nonleggerlo, Will. "Kyenge, cento giorni di insulti". L'Espresso. 19 August 2013. http://espresso.repubblica.it/palazzo/2013/08/19/news/kyenge-cento-giorni-di-insulti-1.57931

Scherer, Steve. "Insight: African immigrants use films and books to fight Italian racism". Reuters. 22 December 2013. http://www.reuters.com/article/2013/12/22/us-italy-migrants-racism-insight-idUSBRE9BL02220131222

Va' Pensiero: storie ambulanti website