Росселлини - невостребованные материалы - Tag Gallagher. The Adventures of Roberto Rossellini
With equal interest he would engage people on drugs in lengthy conversations, and was perpetually fascinated by porn shops, amateur strip tease shows, and transvestite cabarets. Ingrid never understood any of this.
He played cards by himself constantly; it was a way of thinking. He adored card tricks too. When he died, Silvia and Franca Rodolfi wanted to put his cards in his tomb.
448 Years later Rohmer reflected on his review. “My aesthetic and ideological itinerary…started with existentialism, with Jean Paul Sartre. His essays…revealing Faulkner, Dos Passos, and Husserl too, gave me a lot.…It was Rossellini who turned me away from existentiaIism. It happened in the middle of . During the first minutes of the projection I felt the limits of the Sartrian sort of realism I thought was going to be the film’s. I detested the way it urged me to look at the world, until I understood that it was urging me go beyond that. Then came my conversion. That’s what’s so terrific in Stromboli , it was m also to y road to Damascus: in the middle of the film, I was converted, I changed perspective.…What I tried to do in my review…was to show how values that were completely rejected at that time - making something great out of something great, w was to make something out of nothing - values of grandeur, of hereas the current ideology
572 We felt seduced and abandoned,” said Rouch. “He was always saying ‘I’m a moral man and I want to show people moral portraits’…and I want to recall this position of moral cinema because rarely have I encountered a man so marvelously immoral, like Roberto. This immoral man, completely immoral, was in his films of a morality absolutely exemplary and this transformation is one of the things which has most struck me. He came to stimulate us in Paris in the fifties-conventional, middle-class, intellectual, self-satisfied; but also people who ate cinema, and into this world arrived this wizard, a pied piper who made us dream for a year, obliging us to cultivate our garden, and disappeared. Well, this completely immoral act was the most moral act and gave life to Truffaut, to Godard, to Rohmer, to Rivette and to myself. I never would have shot Moi un noir if Roberto hadn’t incited me to do it and that was more important than the millions of lire he promised us and didn’t have and more important that marvelous cameraman he promised and who in the end went to make India
663-664 Hitherto, Andrew Sarris notes “... What is more remarkable about this image is the unity of the idea and the image. Where Buñuel’s ideas sometimes transcend his images, and where Chaplin’s images sometimes transcend his idea s, there is in Rossellini little or no separation between style and substance. If there be such a thing as a cinematographic language, and I firmly believe there is, Rossellini requires the least translation.…What we are watching is our own aesthetic and ideological distance from an event
... in making Vivre sa vie Godard had been inspired by the style of Francesco giullare di Dio.
725 This same Croce famously in like conflict <как в Деяниях Апостолов> can be found in every Rossellini film, most Roma città ap erta . Human facts versus abstract theories. Laws, texts, institutions, power, murder, death, intolerance, aridity versus love, afflatus, impulse, nature, growth
The conflict is constant in Deutschland im Ja hre Null or Acts, which is a horror film even more than Louis XIV that Acts were horror films, but with the difference is even more a textbook for a revolution. The martyr’s death is linked with the growth of the tree. The law is made for man, not man for the law.
727 The revolution spreads only via one person to another; there is no mass communication, no television, radio, phone , newspaper or printing. Just one on foot. People walk constantly in Acts of the Apostles, onone, always. And they have no other way to get from one city to another. And they listen constantly. Rossellini’s heroes always listen, even Louis XIV. List ening is a great theme in genuineness.
The music, very spare, simple and elegant - Acts , an earnest of sometimes only a single long suspended tone -also makes one listen and look. It makes precious the empty time, the frequent moments in Acts when nothing i s happening and therefore the most is happening. It has the rare musical ability of underlining the openness of space and freedom. It consists mostly of Sonali’s wordless singing and Severino Gazzelloni’s flute soloing, “to emphasize and differentiate th e states of mind and psychology of the apostles” (Nascimbene 36 ), to create a melodrama. But the effect is subtle. Occasionally there are Indian instruments: tampura (plucked strings), sitar, shofar (a Hebrew bull’s horn), cicale, and the Mixerama.
Brunette, 322 - In fact, throughout the film -and it is more in evidence here than in any other film of the didactic period-several different characters, in a technique reminiscent of what Bakhtin called Dostoevsky's "dialogic imagination," offer widely divergent opinions in a given scene, and we are left to divine the "point" on our own.
As in Vanina Vanini , Rossellini's lyrical camera movements in this film become positively Ophülsian.
He played cards by himself constantly; it was a way of thinking. He adored card tricks too. When he died, Silvia and Franca Rodolfi wanted to put his cards in his tomb.
448 Years later Rohmer reflected on his review. “My aesthetic and ideological itinerary…started with existentialism, with Jean Paul Sartre. His essays…revealing Faulkner, Dos Passos, and Husserl too, gave me a lot.…It was Rossellini who turned me away from existentiaIism. It happened in the middle of . During the first minutes of the projection I felt the limits of the Sartrian sort of realism I thought was going to be the film’s. I detested the way it urged me to look at the world, until I understood that it was urging me go beyond that. Then came my conversion. That’s what’s so terrific in Stromboli , it was m also to y road to Damascus: in the middle of the film, I was converted, I changed perspective.…What I tried to do in my review…was to show how values that were completely rejected at that time - making something great out of something great, w was to make something out of nothing - values of grandeur, of hereas the current ideology
572 We felt seduced and abandoned,” said Rouch. “He was always saying ‘I’m a moral man and I want to show people moral portraits’…and I want to recall this position of moral cinema because rarely have I encountered a man so marvelously immoral, like Roberto. This immoral man, completely immoral, was in his films of a morality absolutely exemplary and this transformation is one of the things which has most struck me. He came to stimulate us in Paris in the fifties-conventional, middle-class, intellectual, self-satisfied; but also people who ate cinema, and into this world arrived this wizard, a pied piper who made us dream for a year, obliging us to cultivate our garden, and disappeared. Well, this completely immoral act was the most moral act and gave life to Truffaut, to Godard, to Rohmer, to Rivette and to myself. I never would have shot Moi un noir if Roberto hadn’t incited me to do it and that was more important than the millions of lire he promised us and didn’t have and more important that marvelous cameraman he promised and who in the end went to make India
663-664 Hitherto, Andrew Sarris notes “... What is more remarkable about this image is the unity of the idea and the image. Where Buñuel’s ideas sometimes transcend his images, and where Chaplin’s images sometimes transcend his idea s, there is in Rossellini little or no separation between style and substance. If there be such a thing as a cinematographic language, and I firmly believe there is, Rossellini requires the least translation.…What we are watching is our own aesthetic and ideological distance from an event
... in making Vivre sa vie Godard had been inspired by the style of Francesco giullare di Dio.
725 This same Croce famously in like conflict <как в Деяниях Апостолов> can be found in every Rossellini film, most Roma città ap erta . Human facts versus abstract theories. Laws, texts, institutions, power, murder, death, intolerance, aridity versus love, afflatus, impulse, nature, growth
The conflict is constant in Deutschland im Ja hre Null or Acts, which is a horror film even more than Louis XIV that Acts were horror films, but with the difference is even more a textbook for a revolution. The martyr’s death is linked with the growth of the tree. The law is made for man, not man for the law.
727 The revolution spreads only via one person to another; there is no mass communication, no television, radio, phone , newspaper or printing. Just one on foot. People walk constantly in Acts of the Apostles, onone, always. And they have no other way to get from one city to another. And they listen constantly. Rossellini’s heroes always listen, even Louis XIV. List ening is a great theme in genuineness.
The music, very spare, simple and elegant - Acts , an earnest of sometimes only a single long suspended tone -also makes one listen and look. It makes precious the empty time, the frequent moments in Acts when nothing i s happening and therefore the most is happening. It has the rare musical ability of underlining the openness of space and freedom. It consists mostly of Sonali’s wordless singing and Severino Gazzelloni’s flute soloing, “to emphasize and differentiate th e states of mind and psychology of the apostles” (Nascimbene 36 ), to create a melodrama. But the effect is subtle. Occasionally there are Indian instruments: tampura (plucked strings), sitar, shofar (a Hebrew bull’s horn), cicale, and the Mixerama.
Brunette, 322 - In fact, throughout the film -and it is more in evidence here than in any other film of the didactic period-several different characters, in a technique reminiscent of what Bakhtin called Dostoevsky's "dialogic imagination," offer widely divergent opinions in a given scene, and we are left to divine the "point" on our own.
As in Vanina Vanini , Rossellini's lyrical camera movements in this film become positively Ophülsian.