SICILIA! - six clapperboards by Straub/Huillet

Pedro Costa, Où gît votre sourire enfoui?, 2001

 

Passio Secundum Mariae Göttler

1 - JESUS IS CONDEMNED TO DEATH

2 - JESUS CARRIES HIS CROSS

3 - JESUS FALLS THE FIRST TIME

4 - JESUS MEETS HIS MOTHER

5 - SIMON OF CYRENE HELPS JESUS TO CARRY THE CROSS

6 - VERONICA WIPES THE FACE OF JESUS

7 - JESUS FALLS THE SECOND TIME

8 - JESUS MEETS THE WOMEN OF JERUSALEM

9 - JESUS FALLS THE THIRD TIME

10 - JESUS' CLOTHES ARE TAKEN AWAY

11 - JESUS IS NAILED TO THE CROSS

12 - JESUS DIES ON THE CROSS

13 - JESUS IS TAKEN FROM THE CROSS

14 - JESUS IS LAID IN THE TOMB

 Dietrich Brüggemann, Kreuzweg, 2014

Tribute to all the old projectionists

 

Oscar Wilde, Dorian Gray & Iginio Lardani

To attribute this film to Iginio Lardani, uncredited, I rely on the graphics, animations and Massimo Dallamano the Jack Dalmas cinematographer of A Fistful of Dollars or with  Gli occhi freddi della paura aka Deperate Moments or Cod Eyes of fear, 1971 by Enzo G. Castellari .

A Honey Boy

You know, a seed has to totally destroy itself to become a flower.
That's a violent act, honey boy.

Un seme si deve autodistreggere totalmente per diventare un fiore.
E' un atto violento, orsacchiotto
Shia LaBeouf, Honey Boy, 2019
 

Lee, Monte Walsh, Marvin

I ain’t spitting on my whole life
Non sputo su tutta la mia vita

William A. Fraker, Monte Walsh,1970

Kurosawa, Eastwood, Leone & the Confucian ideals and Catholic moral in Italy

What the classic Spaghetti Westerns
really owe to Akira Kurosawa

By Damian Flanagan*

I was recently rewatching the three spaghetti western classics, "A Fistful of Dollars," "For a Few Dollars More," and "The Good, The Bad and The Ugly" -- collectively known as "The Dollars Trilogy" -- films that have long resonated in my imagination.

It's well known that "A Fistful of Dollars" was an unauthorised reworking of Japanese director Akira Kurosawa's highly regarded 1961 film, "Yojinbo" ("The Bodyguard"). Yet if you think about what director Sergio Leone took most from Kurosawa in the trilogy, then it seems less about just copying the character and plot for his opening film and more about allowing Kurosawa's conceptual ideas to gradually inspire Leone in uniquely interesting ways.

In "Yojinbo" -- a film about a masterless samurai playing off two feuding houses of retainers against each other -- Kurosawa was daringly satirising the most important value system of pre-modern Japan: The code of feudal loyalty, the idea that absolute, unquestioning obedience to a feudal lord was the greatest samurai virtue.

Confucian ideals about loyalty underpinned the entire power structure of Edo period (1603-1867) Japan and indeed carried on into the modern age, transferred in the Meiji era (1868-1912) to submission to the nation state, and finally in the post-war era to dedication to the Japanese company.

Yet Kurosawa's anti-hero, memorably played by Toshiro Mifune, is not a self-sacrificing samurai lifted from the pages of classic plays like "The 47 Loyal Retainers," but rather a pragmatically self-interested and self-contained man, completely uninterested in "loyalty" and casually flipping his services between rival clans as and when he feels like it.

In "A Fistful of Dollars" (1964), Sergio Leone stayed mostly faithful to the plot of Kurosawa's original, simply transposing the action from a Japanese village to a Wild West town and retaining the claustrophobic atmosphere. It's still a story about an enigmatic loner switching loyalty from one scheming clan to another, but in the Wild West -- where vigorous individualism reigned supreme -- the trampling of the concept of "loyalty" did not carry the same iconoclastic meaning as it did in Japan.

Yet in subsequent films Leone began to explore how his modern take on the Western could be used to subvert specifically European value systems in the same way that Kurosawa had satirised traditional Japanese value systems.

In "For a Few Dollars More" (1965) -- while maintaining the same stylized gunfights, cast of degenerate-looking characters, operatic elements and enigmatic lead character as "A Fistful of Dollars" -- we have a narrative line which is informed not by Japan but in reaction to the suffocating Catholic moral order of Leone's own native Italy.

Two competing bounty hunters (played by Clint Eastwood and Lee Van Cleef) join forces to wipe out an entire band of outlaws. What really strikes you though is the painterly way in which the director Sergio Leone frames the assembly of bandits at a derelict church to resemble the structure of Renaissance religious art works, such as Leonardo da Vinci's famous portrait of "The Last Supper."

Indio, the bandit leader and his 12 accomplices, are positioned in the centre of the church like Jesus and his twelve disciples, sub-divided into groups of three. Indio, a pathological killer, is a kind of anti-Jesus who assumes the pulpit to speak to his men about the next daring crime they will commit. Into their midst arrives Eastwood's bounty hunter character, pretending to be a bandit, though actually a Judas in their midst.

If Kurosawa subverted the prized concept of "loyalty" at the heart of Japan's moral order, then Leone turned the "moral authority" of Catholic Europe on its head. Judas, the ultimate villain of European civilization, is here turned into Leone's angelic hero, while "Jesus" and his apostles are recast as villains.

Before the bandits rob the bank at El Paso, they enjoy a "Last Supper" together, breaking bread and gustily drinking wine. "For a Few Dollars More" narrates a systematic hit job on the central icons of Christianity, picking off the bandit apostles one by one, until we are left with only the "anti-Jesus" Indio (played by Gian Maria Volonte), shot through the heart by the Bible-reading Colonel Mortimer (Van Cleef).

Can you really get away with wiping out "Jesus" and his whole crew? Won't you meet your comeuppance and hang from a gibbet like Judas? Entering into the world of "The Good, The Bad and the Ugly," we discover Blondie (Eastwood) and a new accomplice, Tuco (Eli Wallach) running a scam that involves outlaw Tuco being repeatedly handed over for a reward and brought to the point of being hung for crimes, before having the rope around his neck shot away at the last minute by crack shot Blondie. As if to taunt the immortal Christian legend of remorse and divine retribution, these "Judases" (who soon start betraying each other) keep surviving and tenaciously holding on to life, trying to keep hold of the bounty they share.

If you were to ask, "What is the central message of Catholic Europe, embodied in its timeworn artworks?" then it would be this: Renounce all worldly desires and dreams of gold because the grave gapes for you. The ephemerality of life, the folly of worldly ambition and the need to prepare for the afterlife is the key message which suffuses not just all the religious art of Christendom, but all the secular works, from still lives to portraiture, too.

In Leone's vision, when at the climax of the film we reach the seemingly infinite metaphysical graveyard, with identical crosses panning out in every direction in which the two "Judases" Blondie and Tuco are encircled, we know we are at the climax. The music soars to new heights of ecstasy as Tuco, mesmerized and uncontainable, feels dizzy with excitement at the thought of claiming the gold that is contained within the key grave.

The entire religiously moral universe has been overthrown and reconfigured as Ennio Morricone's music -- with its paganistic yelps, animalistic beats and choral crescendos -- crashes in waves, again and again. In this arena, gold is not being offered up to enter the grave; rather, gold is being dug out of the grave to give luxury and meaning to life itself.

Kurosawa's genius is widely acknowledged in film circles, but Leone's lesser appreciation belittles his achievements. Leone took as his starting point two vastly different and alien influences, melded them, reinterpreted them, and then used them as gothic buttresses in a cathedral of ideas that allows him to reimagine the structure and strictures of western religion and how it judges fallible mortal men, pitting them against each other, scrapping over trinkets only to earn holes in their hearts. Leone knows a thing or two about sin, guilt, redemption and the theatre that plays out at the graveside: "The Dollars Trilogy" is his masterful altar piece.

Damian Flanagan, a researcher in Japanese literature, ponders about Japanese culture as he travels back and forth between Japan and Britain.

* https://mainichi.jp/english/articles/20211015/p2a/00m/0op/035000c

 

 

Four strong guns for Billy the kid

“ Prendete per esempio il curioso personaggio di Billy the Kid. Gli episodi della vita di questo ragazzo di 21 anni sono più appassionanti di quelli di una dozzina di eroi fabbricati dallo schermo... Non ci sono, nei film dettati dalla fantasia, fucilate più drammatiche di quelle sparate durante il famoso assedio della casa MacSween . Con questo assedio, che durò tre giorni, dal 15 al 18 luglio 1878, e raggiunse momenti di insuperabile drammaticità, il disordine e la illegalità che allora caratterizzavano quelle lontane regioni toccarono il massimo vertice. Quando Billy aprì la porta della casa Sween in fiamme per mettersi al riparo dalle scariche di fucileria, cominciò l’ultimo atto della tragedia recitata da questi uomini selvaggi insofferenti di qualsiasi legge “. King Vidor

 Caro Luigi

sono qui. Mi sto divertendo molto. L'altro giorno ho visto la tomba di Billy the kid. Ora sono a Texas. Ieri sono andato sul cavallo. Ho portato due nastri di Ennio, quindi non manca la musica. Ho visto un villaggio indiano.

Ci vediamo, adios

Nigel

Cinema on screen - and Maestro Morricone

Giulio Macchi, Difendo il mio amore, 1956

Lewis Milestone, All'ovest niente di nuovo aka All Quitet on the Western Front, 1930

Enzo Trapani, Altissima pressione, 1965

Claude Chabrol, La tigre ama la carne fresca aka Le Tigre aime la chair fraîche, 1964

Satyajit Ray, Pratidwandi, 1970

Anthony Dawson, Nude si muore aka The Young, The Evil and The Savage, 1969
 

Siddharta and the war in Vietnam

Atkins. - What would you regard as the most outstanding and significant event of the last decade?
The war in Vietnam, sir. –
More significant than the landing on the moon?
- I think so, sir.
Could you tell us why you think so?
Because the moon landing You see, we weren't entirely unprepared for the moon landing.
We knew that it had to come some time. We knew about the space flights, the great advances in space technology.
So we knew it had to happen.
I'm not saying it wasn't a remarkable achievement but it wasn't unpredictable.
The fact that they did land on the moon.
Do you think that the war in Vietnam was unpredictable?
Not the war itself. But what it has revealed about the Vietnamese people. About their extraordinary power of resistance. Ordinary people, peasants and no one knew that they had it in them.
This isn't a matter of technology, it's just plain human courage, and takes your breath away.
Are you a communist?
I don't think one has to be one in order to admire Vietnam, sir.
 
Atkins. - Quale considereresti il ​​più eccezionale e significativo evento dell'ultimo decennio?
La guerra in Vietnam, signore.  
Più significativo dell'atterraggio sulla Luna?
- Penso di sì, signore.
Potresti dirci perché la pensi così?
Perché lo sbarco sulla luna...
Vedi, non eravamo del tutto impreparati per lo sbarco sulla luna.
Sapevamo che doveva arrivare un po' di tempo. Sapevamo dei voli spaziali, i grandi progressi
della tecnologia spaziale.
Quindi sapevamo che doveva succedere.
Non sto dicendo che non sia stato un risultato straordinario ma non era imprevedibile.
Il fatto che siano sbarcati sulla luna.
Pensi che la guerra in Vietnam sia stata imprevedibile?
Non la guerra in sé. Ma cosa ha rivelato sul Popolo vietnamita. Sul loro straordinario potere ... di resistenza. Gente comune, contadini e nessuno sapeva che ce l'avevano dentro.
Non è una questione di tecnologia, è solo coraggio umano, e ti toglie il fiato.
Sei comunista?
Non credo che uno debba esserlo per poter ammirare il Vietnam, signore.
Satyajit Ray, Pratidwandi, 1970
 

Old outdoor cinema

Cine arena "Trinacria" in Messina, Sicily

Open air cinema in Villafranca Tirrena, Messina

L'avventura: yesterday and today locations

Schisina, village of Francavilla di Sicilia in the Province of Messina, Italy

Screenshot from Michelangelo Antonioni L'avventura (1960)

Today's photo Sandro Messina

Gino Paoli, Anche se, sung Ornella Vanoni, Ennio Morricone arrangement and orchestra.