subtitulos Si (Incrustados)
DUREE 123 min.
DIRECTOR , Enrico Medioli, Luchino Visconti (Novel: Gabriele D'Annunzio) MUSIC PHOTOGRAPHY Pasqualino De Santis
CAST
Giancarlo Giannini, Jennifer O'Neill, Laura Antonelli, Marc Porel , Rina Morelli, Massimo Girotti, Didier Haudepin, Marie Dubois, Claude Mann
PRODUCER Les Films Jacques Leitienne
GENDER
Giancarlo Giannini, Jennifer O'Neill, Laura Antonelli, Marc Porel , Rina Morelli, Massimo Girotti, Didier Haudepin, Marie Dubois, Claude Mann
PRODUCER Les Films Jacques Leitienne
GENDER
Drama SYNOPSIS
living in Tuscany Tullio and Giuliana, two young lovers who have ideas liberal about love. However, their relationship seems to be more complicated when he realizes Giuliana that expecting a child by another man. Tullio, learning, making a terrible decision. (PRO)
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http://www.mediafire.com/?6x2u8znlh3pithp The latest film by Luchino Visconti. His farewell. In the opening credits there is a message from him: his hands. Whether browsing an old edition of the innocent d'Annunzio. It was not a flirt, she hated the exhibitionism. He knew. And with those hands, which are now ashes, we all said goodbye. We are friends and you, the reader, his audience. D'Annunzio, the innocent, why?, I had asked Lucca last year when I went to ask about the movie he was preparing. "Why not?" He replied. "D'Annunzio, now you can rehabilitate. Even as fiction. Is there a mountain of stuff that now, after fifty years of sedimentation, can return to enjoy themselves and also in new, different way, especially cinema. Many novels of D'Annunzio, Innocent first, which have a structure ready for the cinematic screen. " Right based, rehabilitation? The answer is yes not because of merit of d'Annunzio, but just for the "new and different" with which Visconti (and Suso Cecchi d'Amico and Enrico Medioli his staff for the screenplay) have re-read D'Annunzio succeeding, today, let us "taste" again, especially replacing him.
What's in the innocence of d'Annunzio? A husband who for years has been unfaithful to his wife. One day, the suspicion of being betrayed in turn, brings him back to her, who, deeply in love always, welcomed him back with joy, but the weakness that has been granted temporary is going to bear fruit, a child, now, you will between the two, dividing again. She wants to die, he would like to see the child die in the end, so, aware that because she wants that baby "will always stand between them," he finds a way to kill the child, "the innocent", convinced that he is above all law and all morality. But will eventually feel remorse for what he did. Assuming he says. The background, the Umbertine tastes and consumption end of the century, new ideas Nietzschean announcement of which had inspired the character of Cicero's still fresh methods of scientific inquiry with which this character was later played in a literary context which, while openly inspired in many ways and for many issues, the great Russian literature (Dostoevsky and Tolstoy) ended up mostly refer to Paul Bourget; and psychologists in vogue in Paris in those years. What's in the innocence of Visconti? A reduction in the faithful, but "free" of all this, how, exactly, he told me at the time: "Tolstoy in the meantime. The references were so little outspoken, genuine, we've made them disappear. And the superominismo. D'Annunzio believed, we do not. He theorized it, praise him, we judge, indeed, even bring the protagonist to the realization of his mistake, resulting in suicide. Arguing with d'Annunzio and his Tullio Hermilo, but without betraying the style and spirit of the text. " Verissimo. Innocence "rewritten" by Visconti and his team is this, this, but also much more. The themes of the novel, in the meantime. The jealousy, honor, crime. There are, but instead of Bourget (or according to an announcement of believing that builds Bourget Tolstoy) were held, offered, represented even to Chekhov, according to an intimacy, a "silence", a process constant and subtle allusions and indirect references gradually becomes the true backbone of the drama, the structure more authentic (or dusty or rhetoric) of the story, the "new way", just for a taste of this renewed d'Annunzio. In a particular character, Tullio, and the first rise in jealous of him, immediately followed by renewed passion and almost morbid Juliana, his wife. A feeling "represented" more indirect way, saying another, more telling, or a run of fencing in an armory, or an outburst against a third party, or looks long, intense, always leaving everything pending or outstanding, with a growth which increases gradually and that, even when it touches the pitch, never reveal to the bottom of its causes, its nature. With acute analysis which, while still blending, softening, sublimating, you almost psychological vivisection, always putting in a naked moment in which, instead, batting all: to intuit rather than reveal, to suggest at a distance rather than saying. Shattering all the patterns in this eye-catching, lost, insisting a text in which, however, claimed the psychologist-led scientific methods and then to talk about jealousy nearly quoted Lombroso.
This is the story. From which, moreover, have been wiped out and the figures more redundant and superfluous digressions in which the design of the character of Giuliana, stripped from the tacit complicity in the crime that touched the "damned lovers", instead buy a mournful, dignified nobility . In keeping with the story, the representation, the "visualization" which becomes a "contemplation", with eyes and modern tastes, a century, the late nineteenth century as an elegy, Visconti died, probably not ever again find ourselves on the screen, because he was the only one, last, able to look at Proust and the first century of Mann with such participation, with such intelligence and such a deep culture. What
"shows" the Innocent? Not only Umbertine the palaces, concerts, country houses, furniture, clothes, but also and above all, age and secrets of taste and heart, and lived real life (real, realistic ), but also "written", sung, and more true true because of perhaps only imagined by the artists, who came to us only through literature, poetry, painting, music. With a style that, elaborating more and more deeply than almost any close-ups which, in groups of family, Visconti was forced by illness, gives the narrative "closely" on the characters, an extremely fluid rhythm, sustained and almost sublime the internal dynamics of the images, which are justified now more conscious of the moral and dramatic ("a truth of character - he told me - leaving them little room to tighten around by her, clutching at them, and that's because now I feel more and more the need to tell a close eye on men and their stories, shorter descriptions, if you believe the Bergman, ideally at least). Abolishing descriptions! True too, but "describing" the same, and beautifully, just as he was not fit us to the characters in those tight spaces that allows us to glimpse the image around the human figure. What joy they give us these spaces, how much poetry interpretation exhales from those nineties Italian recreated blacks from white to an armory, the pink and green of a country villa, the red and gold of the Roman palaces! A civilization, a time, a soul retranscribed by an author that draws on his own measure. This is why the fire. If he had remade "according to d'Annunzio" would not go beyond the kitsch. not forget the music (by Franco Mannino), which now only piano, now with echoes of Mahler, leaving clearly read at any time of the film, even in terms of sound, the signature of Visconti. Just as the beautiful, fascinating photography (by Pasqualino De Santis), the greedy sets (Mario Garbuglia) and, of course, acting. Contained, although tense, that of Giancarlo Giannini in the role of Tully, quiet, subdued, not all marital and fragrances that most perverse of Laura Antonelli in the character of his wife. Gian Luigi Rondi
From The Time, September 10, 1976
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