Pub Date : 2020-12-17DOI: 10.1093/OSO/9780190885632.003.0003
G. Marrone
Le mani sulla città (Hands over the City, 1963), Rosi’s indictment of local civic corruption, maps the labyrinthine spaces and power hierarchies of Naples, the city that exemplified for him scandalous urban developments in postwar Italy. The film, which exposes the rapacity of land speculators operating in collusion with local government, features spectacular collapse and eviction scenes that reflect Rosi’s rapport with Neapolitan theater and his aesthetic ties to Cartier-Bresson. Cadaveri eccellenti (Illustrious Corpses, 1976), adapted from Leonardo Sciascia’s Il contesto, is Rosi’s noir on the Mafia’s ascendancy to a de facto partner in national government. The film, which unfolds around a series of unsolved murders of distinguished jurists, reflects Rosi’s political unease with the “historic compromise.” To capture these political maneuverings, Rosi breaks with “documented” realism and devises a neobaroque view of the South as an iconic site of corruption, doubt, conspiracy, suspicion, and visual theatricality.
《交出城市》(Le mani sulla citt， 1963)是罗西对地方公民腐败的控诉，描绘了那不勒斯迷宫般的空间和权力等级，对他来说，那不勒斯是战后意大利城市发展丑闻的典范。这部电影揭露了与当地政府勾结的土地投机者的贪婪，以壮观的崩溃和驱逐场景为特色，反映了罗西与那不勒斯戏剧的融洽关系，以及他与卡蒂埃-布列松的美学联系。《杰出的尸体》(1976)改编自莱昂纳多·夏西亚的《竞争》，是罗西的黑色小说，讲述了黑手党如何成为国家政府事实上的合作伙伴。这部电影围绕着一系列针对杰出法学家的悬案展开，反映了罗西对“历史性妥协”的政治不安。为了捕捉这些政治操作，罗西打破了“记录”现实主义，设计了一种新巴洛克式的观点，将南方视为腐败、怀疑、阴谋、怀疑和视觉戏剧性的标志性场所。
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Pub Date : 2020-12-17DOI: 10.1093/OSO/9780190885632.003.0005
G. Marrone
In his adaptation of Carlo Levi's Cristo si é fermato a Eboli (Christ Stopped at Eboli, 1979), Rosi continues to confront the problems of the South—emigration, cultural marginalization, poverty—while reclaiming its rich, forgotten culture. The film signals a shift of Rosi's style, later evident in the slow-paced Cronaca di una morte annunciata (Chronicle of a Death Foretold, 1987), an epic adaptation of Gabriel García Márquez' 1981 novel that, like Cristo, is structured as an archetypal journey back to the past. In Tre fratelli (Three Brothers, 1981), Italy's chronic political instability is reflected in the tale of a self-assured judge, an idealistic teacher, and an angry factory worker and labor organizer. Summoned home for their mother's funeral, the brothers revisit their peasant roots, confront their present, and imagine their future. The film's concluding wide shot, which unites two generations, indicates Rosi's return to ahistorical values.
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Pub Date : 2020-12-17DOI: 10.1093/oso/9780190885632.003.0004
G. Marrone
Il momento della verità (The Moment of Truth, 1965), a thematic departure from earlier films, is a bold experiment in shooting “freely” without a script. The film, informed by a keen sense of class consciousness and Rosi's penchant for location shooting, centers on the career of a matador, Miguel Mateo “Miguelín,” a peon who leaves the country for the city to escape poverty. Visually, Rosi’s searing exposure of the corruption and exploitation rampant in contemporary Spain is achieved through the use of a long 300mm lens. Sacrificial rituals also lie at the heart of Carmen (Bizet’s Carmen, 1984), Rosi's only experiment in opera adaptation. Also shot in Andalusia and featuring actual soldiers, gypsies, and locals, Carmen counterposes realistic settings to staged theatricality.
《真相时刻》(The Moment of Truth, 1965)的主题与早期电影不同，是一次大胆的实验，在没有剧本的情况下“自由”地拍摄。这部电影以强烈的阶级意识和罗西对外景拍摄的喜爱为素材，讲述了斗牛士米格尔·马特奥(Miguel Mateo，“Miguelín”)的职业生涯，他是一个为了摆脱贫困而离开农村来到城市的苦力。视觉上，罗西通过使用300毫米长的镜头，揭露了当代西班牙猖獗的腐败和剥削。祭祀仪式也是《卡门》(比才的《卡门》，1984)的核心，这是罗西唯一一次歌剧改编的实验。《卡门》也是在安达卢西亚拍摄的，以真实的士兵、吉普赛人和当地人为特色，将现实的场景与舞台上的戏剧性相对照。
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Pub Date : 2020-12-17DOI: 10.1093/OSO/9780190885632.003.0002
G. Marrone
Rosi’s groundbreaking trilogy Salvatore Giuliano, Il caso Mattei, and Lucky Luciano addresses the profound cultural and political transformations of postwar Italy. In Salvatore Giuliano (1962), which concerns the enigmatic death of the legendary folk hero, Rosi offers a complex portrait of Sicilian society violently ruled by the Mafia in collusion with the police and the state. Il caso Mattei (The Mattei Affair, 1972) investigates the suspicious death of one of the most influential figures in the postwar economic boom. Lucky Luciano (1973), the treacherous figure of organized crime, is at the center of Rosi’s inquiry into the Mafia’s labyrinthine web of political alliances. Deploying his own metodo dell'inchiesta (“method of inquiry”), Rosi digs beneath the surface of official accounts of these public scandals, unearthing an underlying pattern of corrupt and lethal connections. His open endings attest to his belief in the director’s ethical responsibility to create an actively engaged spectatorship.
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Pub Date : 2020-12-17DOI: 10.1093/OSO/9780190885632.003.0007
G. Marrone
Since he had left Naples in the winter of 1946–1947 Rosi had never felt tempted to return but somehow always looked for creative projects which would lead him back. In 1992, he films Diario napoletano (Neapolitan Diary), an intimate narrative documenting a personal and collective journey. In 2003, Eduardo De Filippo’s art, deeply rooted in human suffering rather than the virtuosity of the stagecraft, persuaded Rosi to direct Napoli milionaria! at the San Carlo Theatre for the Compagnia di Teatro Luca De Filippo. Rosi’s vision of historical continuity between cinema and the theater is embodied in a city where poverty favors corruption, crime, and an insatiable longing for power. For Rosi, Eduardo's play is an appeal for action aimed at recapturing the fundamental values of life: love, honesty, solidarity. Three years later he staged Le voci di dentro and in 2008 Filumena Marturano.
自从1946-1947年冬天离开那不勒斯以来，罗西从未想过要回来，但不知怎的，他总是在寻找能让他回来的创意项目。1992年，他拍摄了《那不勒斯日记》，这是一部记录个人和集体旅程的亲密叙事电影。2003年，爱德华多·德·菲利波(Eduardo De Filippo)的艺术深深植根于人类的苦难，而不是精湛的舞台艺术，说服罗西执导了《那不勒斯百万富翁!》在圣卡洛剧院为卢卡·德·菲利普剧院演出。罗西对电影和剧院之间的历史连续性的看法体现在一个贫穷导致腐败、犯罪和对权力的永不满足的渴望的城市。对罗西来说，爱德华多的戏剧呼吁人们采取行动，重拾生活的基本价值观:爱、诚实、团结。三年后，他上演了《树之声》，2008年又上演了《菲鲁梅纳·马图拉诺》。
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Pub Date : 2020-12-17DOI: 10.1093/OSO/9780190885632.003.0006
G. Marrone
Uomini contro (Just Another War, 1970), one of Rosi’s most undervalued films, exposes the barbarity of war and the absurdity of military dogma by focusing on the plight of the common soldiers fighting in the trenches of the Great War, many of whom resorted to mutiny, desertion, and self-mutilation to resist being sent on suicide missions. Rosi’s obsession with the moral as well as the physical hazards of war finds new expression in La tregua (The Truce, 1997), adapted from Primo Levi’s memoir of his return home after Auschwitz. The film is stylistically notable for the eschewing of visual and theatrical effects and the concentration on the ordinary experience of a heterogeneous group of people, Jews and non-Jews alike, confronting the uncertainty of what awaited them as free beings. Claiming that he wanted “to turn Levi into an eye,” Rosi also aspires to the role of a timely witness.
{"title":"The Hazards of History","authors":"G. Marrone","doi":"10.1093/OSO/9780190885632.003.0006","DOIUrl":"https://doi.org/10.1093/OSO/9780190885632.003.0006","url":null,"abstract":"\u0000 Uomini contro (Just Another War, 1970), one of Rosi’s most undervalued films, exposes the barbarity of war and the absurdity of military dogma by focusing on the plight of the common soldiers fighting in the trenches of the Great War, many of whom resorted to mutiny, desertion, and self-mutilation to resist being sent on suicide missions. Rosi’s obsession with the moral as well as the physical hazards of war finds new expression in La tregua (The Truce, 1997), adapted from Primo Levi’s memoir of his return home after Auschwitz. The film is stylistically notable for the eschewing of visual and theatrical effects and the concentration on the ordinary experience of a heterogeneous group of people, Jews and non-Jews alike, confronting the uncertainty of what awaited them as free beings. Claiming that he wanted “to turn Levi into an eye,” Rosi also aspires to the role of a timely witness.","PeriodicalId":425201,"journal":{"name":"The Cinema of Francesco Rosi","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122197821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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