Thursday, July 06, 2023

P. E. Svinhufvud (1956)


Martti Santavuori: P. E. Svinhufvud (FI 1956). A portrait documentary on P. E. Svinhufvud (18611944, President of Finland in 19311937).

FI 1956. PC: Suomi-Filmi Oy. Commissioned by: P. E. Svinhufvudin muistosäätiö, Jääkäriliitto.
    A portrait documentary on President P. E. Svinhufvud (18611944, President of Finland in 19311937).
    D+SC: Martti Santavuori. B&w, Academy. Speaker: Reino Palmroth. S: Pentti Hämäläinen. ED: Harry Lewing.
    Soundtrack: Jean Sibelius: Symphony No. 5  "Björneborgarnas marsch" (comp. trad).  Väinö Haapalainen: "Gavotte"  Toivo Kuula: "Pirunpolska"  Jean Sibelius: Symphony No. 1  "The March of the Finnish Cavalry in the Thirty Years War" (comp. trad. 16181648)  Jean Sibelius: Finlandia.
    11 min
    Viewed on a video loop at Kotkaniemi, the P. E. Svinhufvud Home Museum, Luumäki, 6 July 2023.
    See the movie on Elonet.

AA: A visit to Kotkaniemi, the family friendly P. E. Svinhufvud Home Museum, is a perfect summer excursion. 

Svinhufvud (18611944) was the first Head of State of independent Finland, as Chairman of the Senate and as Protector before the election of the first President, K. J. Ståhlberg. Later Svinhufvud became also the third proper president of Finland (19311937).

As a hard-line conservative, he was not the whole people's president, but he enjoyed wide respect for his tough stance against the repressive line and the Russification policy of Imperial Russia. For his unflinching defence of legality he was removed from his office as a judge in 1914 and sentenced to Siberia from which he returned to Finland after the resignation of the Czar.

On New Year's Eve, on the last hour of the last day of December 1917, together with Carl Enckell and Gustaf Idman, he met in Saint Petersburg V. I. Lenin, who gave his official recognition to Finnish Independence.

Svinhufvud was not a supporter of Parliamentarism, and he wanted to keep the Social Democrats outside of the Cabinet. But in 19311937, when fascism and authoritarianism reigned all over Europe, except in Czechoslovakia, Switzerland, France, England, the Netherlands, Belgium and the Nordic countries, there was a violent right-wing movement, the Lapuanliike, who planned a military coup and even kidnapped the ex-President K. J. Ståhlberg. Svinhufvud with his unquestioned authority in right-wing Finland was the man able to stop Lapuanliike and prevent Finland from following the course of Estonia, Latvia, Lithuania, Poland, etc.

The portrait documentary film of 1956 directed by Martti Santavuori conveys the earthy charisma and authority of Svinhufvud very well while steering away from his controversial aspects.

...

Finland has never won more international attention, sympathy and respect than during the Sanna Marin Cabinet (20192023). In this year's election, the parties in her coalition fared well, but even more votes were won by the National Coalition and the populist-nationalist Finns party, which houses also extreme right wing elements who flirt with racism, xenophobia, antisemitism, Adolf Hitler affiliations and Holocaust denial / belittling (including Speaker of the Parliament Jussi Halla-aho) plus supporting the glory of Finnish SS men legacy (Minister for Foreign Affairs Elina Valtonen). Thanks to them, in the international press such as Süddeutsche Zeitung 4 July 2023, the Petteri Orpo Cabinet has been dubbed "Das Gruselkabinett" (the Horror Cabinet). I wish Petteri Orpo strength in the spirit of P. E. Svinhufvud when he had to deal with the Lapua Movement.

The blogger greets the lifesize replica of P. E. Svinhufvud at Kotkaniemi, the P. E. Svinhufvud Home Museum, Luumäki, 6 July 2023. Foto Laila Alanen.

Erkki Räikkönen (Svinhufvud ja itsenäisyyssenaatti):

" After trying in vain to meet the Soviets on December 30, 1917  then Sunday  the next day, the delegation managed to submit this letter to Lenin's secretary, and in the evening at 9 o'clock it went to Smolny, Saint Petersburg to hear the decision. "We waited a couple of hours in the big hallway and sat at the corner of the table," says Svinhufvud, "and we had the furs on and the caps on hand, because they didn't dare leave them." Smolny was busy despite the late hours. Guests came and went, typists ran down the hallways, even toddlers on the floor. On several occasions, Enckell tried to rush to the Soviet government's head of office, Vladimir Bonch-Bruyevich, but nothing helped. "We could only see," says Enckell, "how in one room the People's Commissars sat in thick tobacco smoke and probably pondered our case." Despite the fact that the furs were on, it became cold in the hallway while waiting. Finally, almost at midnight, Bonch-Bruyevich brought the decision of the Board of Commissioners. "

" It was worded as follows: "We rose one after another and signed with special satisfaction the recognition of Finland's independence," writes I. Steinberg, who was a justice commissioner in Lenin's government. "We knew that Finland's current hero Svinhufvud, once sent to exile by the tsar, was our public social enemy. and that he would not spare any of us in the future. But if we free the Finnish people from the oppression of Russia, there will be one less historical injustice in the world." Despite the fact that this letter merely announced the proposed recognition of Finland's independence, it actually meant full recognition of independence, as the confirmation of the Executive Committee was only a formality. Thus, in the last hour of the last day of the year, Finland had received an official certificate of resignation from Russia. After handing over this formal declaration of independence to the delegation, Bonch-Bruyevich planned to say goodbye and leave, but then Enckell pointed out: "When the Chairman of the Finnish Government is here, would it not be desirable for him to meet Lenin in person and express his gratitude to the Finnish people for the recognition of their independence." "

" Bonch-Bruyevich now went back to the commissioners' room, informing the commissioners that Svinhufvud was waiting in the hallway and wanted to thank Lenin. This resulted in great confusion, Lenin shrugged, laughed a little embarrassed, and refused. "What can I say to those bourgeoisie!" It was then suggested that Leon Trotsky go to greet the guests, but he too refused sharply. It was finally invented that Justice Commissioner Steinberg should agree to the request. "What can I tell them," he asked and continued: "I could only arrest them in my post!" Trotsky laughed cunningly at this: "Like you would capture!" Now Bonch-Bruyevich was nervous. He interrupted the play and again asked Lenin to go out to greet the Finns. In a worn suit and head presses, Lenin was now following Bonch-Bruyevich, while the hall was still laughing and counting dives. "Lenin came and held out his hand to us, and we introduced him to Svinhufvud," says Enckell of this historic scene, adding that "Lenin squeezed Svinhufvud's hand cordially.""Are you satisfied now?" Lenin asked. "Very satisfied," replied Svinhufvud. "Russia was spoken there and answered in Russian," says Svinhufvud, adding that "it only said a sad thank you for the letter of resignation." The Finns left now. Svinhufvud, Enckell, and Idman rushed quickly to the Secretary of State’s Office. A typewritten copy of the recognition of independence was urgently taken there, after which we left for the station and from there continued by train to Finland. A few days later, the Russian Central Executive Committee confirmed the recognition of Finland's independence, which was thus finally decided for Russia. " Via Wikipedia: Erkki Räikkönen (Svinhufvud ja itsenäisyyssenaatti, Helsinki: Otava, 1935)

Monday, July 03, 2023

Il Cinema Ritrovato XXXVII edizione (Bologna 2023 Catalog)


Cover photo: Damiano Damiani: Quién sabe? / A Bullet for the General / Yo soy la revolución / El Chuncho, quien sabe? / Naurava paholainen (IT 1967)  with Lou Castel (Bill "Niño" Tate), Klaus Kinski (El Santo), Martina Beswick (Adelita), Gian Maria Volontè (El Chuncho Muños).

Il Cinema Ritrovato XXXVII edizione : Bologna 24 giugno  2 luglio 2023
Catalogo
Supervisione: Gian Luca Farinelli, Ehsan Khoshbakht, Mariann Lewinsky, Cecilia Cenciarelli.
Cura editoriale: Alice Autelitano, Alessandro Cavazza, Gianluca De Santis con l'assistenza de Nora Diofili
Grafica: Mattia Di Leva con la collaborazione di Elena Nannetti
Soft cover, 448 pp.
Bologna: Fondazione Cineteca di Bologna, 2023

"Madamina, il catalogo è questo!"

This catalog is no leporello but a weighty tome, brilliantly illustrated, with original texts from internationally leading experts, a keepsake, a significant contribution to international film literature.

It is possible to see but a fraction, and during the festival there is no time to read, so I start reading tomorrow on my way back home from Bologna, to learn what I missed.

GUIDA AL CINEMA RITROVATO 2023 / Cecilia Cenciarelli, Gian Luca Farinelli, Ehsan Khoshbakht, Mariann Lewinsky

EVENTI SPECIALI
Omaggio a Joe Dante
Omaggio a enrico ghezzi
Omaggio a Jonathan Nossiter
Omaggio a Nan Goldin
Omaggio a Ruben Östlund
Zeffirelli 100

LA MACCHINA DEL TEMPO
Il secolo del cinema: 1903 / Mariann Lewinsky e Karl Wratschko
Cento anni fà: 1923 / Oliver Hanley
Progetto Samama Chikli / Mariann Lewinsky
Dive russe in Italia / Tamara Shvediuk e Federico Striuli
Documenti e documentari / Gian Luca Farinelli

LA MACCHINA DELLO SPAZIO
Teinosuke Kinugasa: dall'ombra alla luce / Alexander Jacoby e Johan Nordström
Cinemalibero / Cecilia Cenciarelli – texts by Bahram Beyzaie, Cecilia Cenciarelli, Mohamed Challouf, Ehsan Khoshbakht, Marco Lena, Tiziana Manfredi e Aboubakar Sanogo
Elfi Mikesch: filmare è dedizione / Martin Koerber
I colori del Cinema Ritrovato 2023
L'ultimissima risata: commedie tedesche dell'esilio: 1934–1936 / Lukas Foerster
Leopold Lindtberg: la Svizzera e il mondo / Frédéric Maire

IL PARADISO DEI CINEFILI
Ritrovati e Restaurati / Gian Luca Farinelli
Anna Magnani: l'irripetible / Emiliano Morreale
Rouben Mamoulian: sfumature di desiderio / Ehsan Khoshbakht
Suso Cecchi d'Amico, scrivere su misura / Masolino d'Amico, Silvia d'Amico, Caterina d'Amico
Attraverso la nebbia: Powell prima di Pressburger / James Bell con Ian Christie e Thelma Schoonmaker
16 mm – Piccolo grande passo / Karl Wratschko con André Habib, Marion Brouant, Benoît Charpentier, Garance Fromont, Guillaume Lafleur, Rémi Llorens, Johanne Sloane e Naeje Soquer
Il Cinema Ritrovato Kids e Young

"Osservate, leggete con me!"

Like Midnight Sun Film Festival one week earlier, Il Cinema Ritrovato enjoyed a record year in attendance. Both for four reasons, I would propose: the uncompromising quality of the programming, an advance ticket booking system that guarantees entry to screenings even when queues are long, the graceful commitment of the dedicated staff and the extraordinary joy of the theatrical experience put into relief by a comparison with the dreary remote viewing circumstances of the pandemic years.

The more the merrier!

...

24 JULY 2023

Visiting the festival and reading the catalog, the mission is: film history revisited.

I have now finished reading the catalogue, one month after the festival started. When Il Cinema Ritrovato expanded beyond what was possible to see, and the participation fragmented so that it was no longer possible to meet everybody or even know who was present, I used to be depressed and heartbroken. Now the explosion has magnified beyond heartbreak.

Before this year's festival edition, I decided on the following selection criteria:
- No silents.
- No Piazza Maggiore (with one exception).
- No films that I had seen before. For instance I had seen the Rouben Mamoulian retrospective in the Berlin Film Festival in 1987.

On Tuesday afternoon, I became the victim of theft. After a screening delayed because of overlong introductions, there was a double throng on the alley to Cinema Jolly, people trying to get out and to get in at the same time. In the middle of the throngs was a thief posing as a beggar. She was aggressive, and when she hit me violently, I did not mind, but ten minutes later I realized that she had stolen my wallet during the assault. The kind festival staff helped me immediately to the carabinieri where I filed a report and mortified my credit cards. The process took a few hours, and in the afternoon heat I had no money to buy water, caught a sunstroke and a cold and became bedridden for three days. I could identify with the film I had just seen - The Dupes - and also reconfirm that the "lesson in crime" in Robert Bresson's Pickpocket, about which I had just been reading in Lauri Timonen's mammoth Robert Bresson monograph, was still perfectly au courant. This episode also created a "selection criterium", because I could not see any films in the next three days.

The quality of writing in the catalogs of the Italian heritage festivals keeps rising. They represent the best in film literature, not only as separate introductions to films and themes, but in their constantly evolving sense of history in general, and world cinema as a whole.

Because of the high quality of the writers, it is worth the effort to read the entire catalog with focus and attention. Mounting the festival, the programmers go to the best sources, and every film is revisited or reconsidered also from a technical point of view, as a real, concrete object. In the cinema, form and material is also of the essence, a matter of substance.

One of the tributes was dedicated to Anna Magnani, and La voce umana was included. The image of the Bologna 2023 totebag was the logo of the film in which it's included in letters of fire:

L'amore


That is all you need.

Mariann Lewinsky (a cura di): Albert Samama Chikli : Fotografo, cineasta, navigatore (a book, 2023)




Albert Samama Chikli. Fotografo, cineasta, navigatore
A cura di: Lewinsky, Mariann
    Foreword: Gian Luca Farinelli
Il fondo Albert Samama Chikli : Cecilia Cenciarelli, Elena Correra, Nina Fortuna
Albert Samama Chikli: La vita : Mariann Lewinsky
La fotografia : Michele Smargiassi, Elena Correra
Il cinema : Mariann Lewinsky
Haydée : Cecilia Cenciarelli
Filmografia : Mariann Lewinsky
La riscoperta di Albert Samama Chikli, pioniere del cinema africano : Aboubakar Sanogo
Il padre del cinema tunisiano : Mahmoud Ben Mahmoud
"L'Enfant du pays" : Morgan Corriou
Una cassetta color polvere : Liliane Barda
Bibliografia
    Anno: 2023 Categorie: Libri
prezzo: 40.00 38.00 €
Coffee table size
Hard cover
Richly illustrated
lingua: italiano / inglese
pp. 336
ISBN / EAN: 9791280491145

Cinestore (Cineteca di Bologna) blurb: " Albert Samama Chikli (1872-1934) è stato pioniere del cinema africano, geniale fotografo, tecnofilo e inventore, marinaio, principe, nomade, artista poliedrico e libero, che ci riporta sulle sponde di un Mediterraneo crocevia di saperi e civiltà. Dai meravigliosi scatti di Chikli emerge un profondo amore per il suo paese, la Tunisia, di cui ci mostra per la prima volta il profilo dall’alto di un pallone aerostatico, i lavori della campagna e della pesca, il mondo beduino del grande Sud, la ricchezza di una città colonizzata ma fiorente come Tunisi. I suoi film rivelano un indiscusso talento e un pensiero moderno. Documenta la Grande guerra per l’armata francese e realizza, in collaborazione con la figlia Haydée, sceneggiatrice e attrice, due lungometraggi di finzione. Il volume – in doppia lingua italiano e inglese e accompagnato da un ricco corredo iconografico – ne ripercorre la multiforme parabola artistica, proponendo per la prima volta una filmografia completa, in gran parte ricostruita sulla base dei materiali d’archivio depositati presso il fondo Chikli della Cineteca di Bologna."

" Albert Samama Chikli (1872-1934) was a pioneer of African cinema, a brilliant photographer, a technophile and inventor, a sailor, a prince, a nomad, a polymath and an independent artist. His life, works and passions take us back to the shores of the Mediterranean, a crossroad of knowledge and civilisation. A deep love of his homeland, Tunisia, emerges from Samama’s photography; he shows us, for the first time, the profile of this land from the heights of a hot-air balloon, the labour of farmers and fishermen, the Bedouin world of the great south, the riches of the colonised but flourishing city of Tunis. The films he made reveal his indisputable talent and modern mindset. He documents the Great War for the French army and shoots, along with daughter Haydée as screenwriter and actress, two feature-length films. This dual language volume – Italian and English – is accompanied by a wealth of images. It retraces the course of Samama’s multifaceted artistic career and reconstructs his complete filmography for the first time, thanks in large part to the archive materials held by the Samama Chikli Collection of Cineteca di Bologna. "

AA: Father of Tunisian cinema, father of Arab cinema, father of African cinema. We have been following the rediscovery of the rich oeuvre of Albert Samama Chikli at Il Cinema Ritrovato for years, witnessing early footage from Tunis in fiction and non-fiction movies, also views from the First World War and stunning aerial scenes shot from a hot air balloon.

Samama was an outstanding cinematographer and photographer. His family has been involved in the project since the beginning, and also thanks to the family archives gorgeous photogaphs have been made available. A work has resulted that is both an indispensable contribution to (early) cinema studies and an artistically high quality publication in its own right.

I blogged about the opening program of the Albert Samama Chikli project eight years ago:
https://anttialanenfilmdiary.blogspot.com/2015/06/albert-samama-chikly-prince-of-pioneers.html

Lauri Timonen: Robert Bresson, luultavasti / [Robert Bresson, Probably], a book (2023)



900 pages
Kustantaja: Rosebud
Sidosasu: Pehmeäkantinen
ISBN: 978-952-7313-64-0
Ilmestymisvuosi: 2023
Kirjastoluokka: 77.4

The publicity blurb from Rosebud:

"Bresson on ranskalaiselle elokuvalle mitä Dostojevski venäläiselle romaanille ja Mozart saksalaiselle musiikille."
-JEAN LUC GODARD

Robert Bresson (1901-1999) oli vuosisatansa lapsi ja eli käytännössä koko 1900-luvun. Ensimmäisen ja viimeisen teatterielokuvan väliin mahtuu 40 vuotta ja kolmetoista pitkää ohjausta kattava filmografia kuuluu taiteenlajinsa korkealaatuisimpiin ja johdonmukaisimpiin saavutuksiin. Historian lehdillä Bresson esiintyy mystisenä, yksityisyyttään J. D. Salingerin vakaudella varjelleena hahmona, josta ei ole julkaistu ensimmäistäkään elämäkertaa. Tutkimuskirjallisuutta ja esseistiikkaa on ilmestynyt sitäkin enemmän ja haastavana pidettyä tuotantoa runnotaan akateemisessa sementtimyllyssä milloin mihinkin suuntaan. Syvästi katolista, henkilökohtaiseen näkemykseensä syvästi luottanutta ohjaajaa on arvuuteltu vuoroin surrealistiksi, transsendentalistiksi, jansenistiksi tai ateistiksi, mutta totuus lienee toisaalla.

Timosen kansainväliselläkin mittapuulla poikkeuksellisen järkälemäinen tietoteos avaa Bressonin elokuvat ja henkilön ennennäkemättömällä tavalla, käy läpi uran merkittävimmät klassikkosovitukset ja kirjailijakohtaamiset (Jean Cocteau, Blaise Pascal, Georges Bernanos, Fjodor Dostojevski, Leo Tolstoi), esittelee olennaisimmat aikalaiset ja vaikutteet, järkähtättömimmät teoriat ja kuuluisimmat analyysit; rikkoo entisiä tutkintalinjoja ja rakentaa uusia. Mukana on kattava otos elokuvien dialogeja, ohjaajan haastattelulausuntoja ja lajin ranskalaista historiaa. Näiden sivujen jälkeen Bressonin vaikeaselkoiseksi leimattu filmitaide avautuu puhtaana, kirkkaana ja selkeänä.
---
Lauri Timonen (s. 1980) on kirjailija, ohjaaja, muusikko ja Filmihullu-lehden päätoimittaja. Hän on julkaissut teokset Aki Kaurismäestä (2006),Matti Pellonpäästä (2009), Matti Ijäksestä (2013), Jean Sebergistä (2018), Rainer Werner Fassbinderistä (2019) ja Federico Fellinistä (2021). Robert Bresson, luultavasti, päättää Timosen "eurooppalaisen elokuvan trilogian".

AA: Lauri Timonen's most recent mammoth book was published in Sodankylä, the Midnight Sun Film Festival, where I bought it from the Rosebud pop-up store on day one. It was great travel reading in the hour-long queues of Sodankylä and on the plane to Bologna. By the way, the emblem of this year's edition, on the t-shirt and the totebag, was from Au hasard, Balthazar: Anne Wiazemsky and Balthazar.

Finland has been a great Bressonian country since the early 1960s. Aito Mäkinen was Bresson's friend and champion and personally exported most of his films in Finland. A significant moment in my own cinephilia was reading Jukka Kemppinen's insightful review about Au hasard, Balthazar in Elokuva-Aitta in 1967. Reportedly Bresson was more popular in Finland than France. I believe this is what Bresson confessed to Mäkinen, but someone should verify this.

Timonen, an experienced writer and critic, and editor of the Filmihullu magazine since the death of Peter von Bagh, has had a formidable period of creativity, and quantity has translated into quality. The more the better. The long form brings the best out of him.

His most recent books have resulted in a trilogy of mammoths about giants of European cinema: Fassbinder (2019, mere 724 pages), Fellini (2021, 1019 pages). The Balzacian / Zolaesque / Peter von Baghian urge shows no signs of diminishing: new trilogies are in the works.

In this book, the life of Robert Bresson remains as mysterious as ever, but Timonen pursues admirable close-reading of the films that demand repeat viewings if you want to make sense of their elliptic narratives. He discusses major Bresson experts and offers special chapters on Bresson's main sources and the ways his films have inspired others.

The book is an ideal companion of lasting value to the master's timeless oeuvre, with a special foreword by Dominique Sanda. In the wake of Me Too, even Bresson's way with her young female actors has been put into scrutiny. What emerges is not exactly what one would expect, even if one has read Anne Wiazemsky's memoirs.

Susan Sontag: Styles of Radical Will (collection of essays, 1968)



Imprint: Penguin Classics
Published: 02/07/2009
ISBN: 9780141190051
Length: 288 pages
Dimensions: 196mm x 24mm x 128mm
Weight: 220g
Price: £14.00

I.

"The Aesthetics of Silence" (1967)
"The Pornography of Imagination" (1967)
""Thinking Against Oneself": Reflections on Cioran" (1967)

II.

"Theatre and Film" (1966)
"Bergman's Persona" (1967)
"Godard" (1968)

III.

"What's Happening in America" (1966)
"Trip to Hanoi" (1968)

In March I happened on a wonderful book called Conversations with Susan Sontag which covers her whole life and all her activities, most importantly her inspiring presence as a great conversationalist and debater. The interview was elevated into an art form. Which leads us to the origins of Western philosophy in Socratic dialogues. I now begin to understand that Susan Sontag was first and foremost a philosopher with a ten year formation in Boston, Harvard, Oxford and Sorbonne.

I had read Susan Sontag here and there since 1968 when "The Imagination of Disaster" was translated into Finnish. I knew the notes on camp, On Photography, Illness as Metaphor and so on, but in a superficial way. Sontag never regretted her notes on camp, but in later years she regretted not having defended the great tradition of high culture more. Camp is still on the rise, high culture is an endangered species since a long time.

This year I have (re)read Against Interpretation, On Photography, its sequel Regarding the Pain of Others and now Styles of Radical Will. Sontag's essays on Bresson, Godard and Bergman still belong to the best on them. "Against Interpretation" and "The Aesthetics of Silence" are key contributions to aesthetics after WWII. 

I don't always agree with Sontag, but there is never an uninspiring sentence in her books.

Sunday, July 02, 2023

The Straight Story (2023 restoration supervised by David Lynch, presented by Mary Sweeney at the Piazza Maggiore in Bologna)


David Lynch: The Straight Story (US//FR/GB 1999) with Richard Farnsworth (Alvin Straight).

David Lynch: The Straight Story (US//FR/GB 1999). In the morning, Alvin Straight discovers the bundle tied by the hitch-hiker Dorothy.

Una storia vera / The Straight Story (FI) / The Straight Story (SE).
    US/FR/GB 1999. PC: Asymmetrical Productions, Canal+, FilmFour Productions, Ciby 2000, Le Studio Canal+. P: Mary Sweeney, Neal Edelstein.
     D: David Lynch. Scen.: John Roach, Mary Sweeney. F.: Freddie Francis. M.: Mary Sweeney. Scgf.: Jack Fisk. Mus.: Angelo Badalamenti. 
    Int.: Richard Farnsworth (Alvin Straight), Sissy Spacek (Rose Straight), Harry Dean Stanton (Lyle Straight), Jane Galloway Heitz (Dorothy), Dan Flannery (dottor Gibbons), Everett McGill (Tom), Kevin Farley (Harald), John Farley (Thorvald). 
    112 min
    Festival premiere: 21 May 1999 Cannes
    American premiere: 3 Sep 1999 Telluride
    Helsinki premiere: 11 Feb 2000 Bio Rex - released by Buena Vista International Finland Oy
    Restored in 4K in 2023 by courtesy of StudioCanal at Fotokem and L’Immagine Ritrovata laboratories, from the original negative. Soundtrack remastered by Ronald Eng and David Lynch. Restoration supervised by David Lynch.
    Il Cinema Ritrovato, Bologna, 2023: Recovered and Restored.
    Introduced by Mary Sweeney (screenwriter, producer, editor).
    DCP screened at Piazza Maggiore, open air screening, 2 July 2023.

Roy Menarini (Bologna 2023 catalog): " The Straight Story is a bedrock film in which Lynch inverts all his places, objects and characters by exposing all of them without exception towards the sun. Clearly, it is a film of contrast, capable of demonstrating that the “matter” of Lynch’s cinema, when solarized, can take on a classic and moving tone… "

" An elderly man wants to reach his brother to make peace with him but has only one way of getting there: taking a small tractor across half of America. The Straight Story recaptures, although in  a deconstructed version, the spirit of the classic road movie. Somehow, Lynch intends to suggest that The Straight Story is Wild at Heart turned upside down: Big Tuna is replaced with a hospitable and very human rural community, the most ferocious accidents are replaced with tragic conflicts of a benign nature, and man-on-man violence is healed through a journey and forgiveness. Now, there are two ways of interpreting The Straight Story: there are those who think that Lynch has not changed much and look for the film’s disturbing elements to prove that we are still dealing with a world that is more like a nightmare than a dream; and those who think Lynch is (too) conciliatory… Both seemingly feuding factions are wrong. The Straight Story is pure Lynch, but upside down. The film seems to be an easy win: use all of Lynch’s materials, expose them “to the sun”, shape them positively and tell the story of America… The Straight Story is a story of decency, dignity and honour in all its forms through a journey in stages (and a false start) that presents itself as “straight” like the direct and stubborn protagonist. The deviations do not impede the journey – unlike its antithesis Wild at Heart – on the contrary, they reinforce it. In fact, Alvin not only chose to make the journey, but he chose to do it slowly. Respectful of his age, the protagonist travels at eight kilometres an hour and takes the time he needs to walk across the slab of America that separates him from his sick brother. The road becomes the space of earning forgiveness. " Roy Menarini

AA: I avoid Piazza Maggiore night screenings, because open air circumstances distract my focus especially in subtle and intimate movies or passages. And because I am a morning person, an early bird, with a farmer's genes. I am the one who might wake up the rooster. But today I fortified myself by taking an afternoon nap.

The Straight Story was also programmed in the Midnight Sun Film Festival two weeks ago, with Mary Sweeney as a guest of honour (her morning discussion was one of the best ever). In Sodankylä, I only view new films, but Otto Kylmälä recommended The Straight Story and claimed that it is David Lynch's best. It was the only theatrical film by Lynch that I had never seen. 

Otto was right.

The Straight Story is completely different from the other films by David Lynch. Yet it is also the film with the strongest and purest essence of his work. Gone is the fantasy, the dreamwork and the surreal nightmare ambience.

But the sense of the mystery of life is even greater. The Straight Story is Lynch's simplest and most cosmic work. It is based on a true story and takes place in circumstances that are familiar to David Lynch and his screenwriter-producer-editor Mary Sweeney.

Until today, my favourite David Lynch work (the one I selected to my MMM Film Guide, of the 1000 best, and in the second edition, 1100 best films) was the Twin Peaks Special Pilot (1989), the 113 minute extra long, alternative version that was released in Europe on home video. There is an emotional connection in The Straight Story, and in Angelo Badalamenti's opening theme I imagine a reference to the sound of Twin Peaks.

The Straight Story is a road movie and a pilgrimage. It is a restrained celebration of the best in America, the unsung virtues beyond surface markers of success.

Alvin Straight (Richard Farnsworth) disarms everyone with his Quixotic project: to visit his brother by a lawn tractor which means that it will take months to reach him. They smile, they are amazed, but they admire him. Everywhere he makes friends.

Alvin, a war veteran, meets a fellow veteran, and shares a traumatic war memory of "friendly fire": in the darkness, Alvin shot the scout of his own unit. He never told anyone.

Alvin meets a hitch-hiker, a young pregnant woman who has left home and family. At the campfire Alvin takes a stick and breaks it into half. A single stick is vulnerable, but a bundle is strong. In the morning, when Alvin wakes up, the hitch-hiker is gone, but there is a bundle tied together by a ribbon.

During the journey, we learn of the tragedy of Alvin's daughter (Sissy Spacek).

Finally, Alvin comes to the destination, his brother Lyle (Harry Dean Stanton), who has become his enemy. Lyle takes a look at Alvin's pathetic vehicle. Did you ride it just to see me? "I did, Lyle".

It is night. The brothers look at the stars. Today, Piazza Maggiore is the perfect place to experience this, because it is midnight, and the stars are shining over Bologna in the last screening of the festival.

Rysopis / Identification Marks: None (Restored by Studio Filmowe KADR and Wytwórnia Filmów Dokumenalnych i Fabularnych)


Jerzy Skolimowski: Rysopis / Identification Marks: None (PL 1964) with Jerzy Skolimowski  (Andrzej Leszczyc).

Segni particolari nessuno / Irrallinen / 13 timmar.
    PL 1964. Director: Jerzy Skolimowski. Sog., Scen., Scgf.: Jerzy Skolimowski. F.: Witold Mickiewicz. M.: Halina Grondek, Jerzy Skolimowski. Mus.: Krzysztof Sadowski. Int.: Jerzy Skolimowski (Andrzej Leszczyc), Elżbieta Czyżewska (Teresa/Barbara/ la moglie di Leszczy), Tadeusz Minc (Mundzek Kruszyfiskì), Andrzej Żarnecki (Raymond), Jacek Szczęk (Mundek), Juliusz Lubicz-Lisowski, Marek Piwowski. Prod.: PWSTiF. DCP. Bn. 71 min
    Language: Polish.
    Restored by Studio Filmowe KADR and Wytwórnia Filmów Dokumenalnych i Fabularnych at DI Factory laboratory, from the 35 mm duplicate negative. Funding provided by Ministerstwo Kultury i Dziedzictwa Narodowego and Polski Instytut Sztuki Filmowej .
    DCP from WFDiF (Wytwórnia Filmów Dokumenalnych i Fabularnych) with English subtitles.
    Il Cinema Ritrovato, Bologna, 2023: Recovered and Restored. E-subtitles in Italian by Sub-Ti Londra.
    Viewed at Arlecchino Cinema, 2 July 2023.

Michel Ciment (quoted in the Bologna 2023 catalogue: " Rysopis is an imperfect autobiography since Andrzej Leszczyc’s existence resembles that of the director only at certain moments. It is more like a portrait of someone who resembles him like a brother (“What does resemble mean?” J.S.). The line between truth and fiction, between “I” and “he” is blurry, and Skolimowski’s great originality is abolishing the distinction between subjective and objective. We do not stop “following” Andrzej, but we see and hear the world like him while becoming judges and involved parties at the same time. No film had ever pushed identification with a main character to this point, and without using flashbacks or the artificial solutions of off-screen commentary, or the subjective camera employed by Daves or Montgomery. Concerned about the involvement of personal experience, Skolimowski concentrated his films’ timelines; they never take place over more than a day or two… But during those crucial hours when the hero unwittingly takes stock of his life, the camera is always on him. 39 shots in Rysopis…, this is how, at the price of technical prowess, the filmmaker hopes to depict his character’s journey as succinctly as possible… "

" These peregrinations are linked to a psychology of behaviour. Andrzej is unstable, perpetually seeking his own balance and even his ego.  And it’s not just at the gym where he practises shadow-boxing, in other words, fighting against his shadow. Leszczyc is extremely focused on himself. A coffee counter and a cracked mirror suggest narcissistic reveries to him. Egocentrism is the key to his personality, space interests him only as an extension of his own body, and masochism (Skolimowski, clearly a playboy and proud of his physique, receives a severe beating in every film) is yet again a way to feel one’s existence. " Michel Ciment, La Tête et les jambes, “Positif ”, n. 77-78, July 1966

AA: Revisited a Polish New Wave landmark film, Jerzy Skolimowski making a clean break with the post-WWII cinema focusing on the tragedy of the war and the subsequent social upheaval. But that had also already happened with Roman Polanski.

Paradoxically but symbolically, it is the draft to the military that brings the protagonist to leave his woman, discontinue his university studies and bring his dog to the veterinarian to be terminated. Catching the train in the nick of time he waves goodbye to his new girlfriend candidate.

Skolimowski's debut feature film, the first entry to his Andrzej Leszczyc trilogy (Rysopis, Walkower, Ręce do góry).

Experimental, a tale of unrest, a work of self-reflection, covered in long tracking shots (there are only 39 takes, or 29, depending on the source, in the whole movie), yet also including extreme close-ups, mirror images and X-ray images from the conscription medical tests ("identification marks: none"). Compiled from student shorts, without a script, yielding to an incoherent whole, with documentary value about the city Lodz, and about an identity in the process of its making.

I had seen the movie before and did not remember much, just a vague puzzling feeling.

I was also puzzled by the visual quality of the restoration. The image is largely in low definition, like a blow-up from narrow gauge, even 8 mm, but the source is reportedly 35 mm. To be confirmed.


WIKIPEDIA

Rysopis (film)

Rok produkcji
1964

Data premiery
18 listopada 1965

Kraj produkcji
Polska

Język
polski

Czas trwania
71 min

Reżyseria
Jerzy Skolimowski

Scenariusz
Jerzy Skolimowski

Główne role
Jerzy Skolimowski
Elżbieta Czyżewska
Andrzej Żarnecki

Muzyka
Krzysztof Sadowski

Zdjęcia
Witold Mickiewicz

Scenografia
Jerzy Skolimowski

Montaż
Halina Grondek

Produkcja
PWSTiF w Łodzi

Rysopis – polski film obyczajowy z 1964 roku w reżyserii Jerzego Skolimowskiego, debiut fabularny reżysera, a zarazem pierwsze ogniwo trylogii o Andrzeju Leszczycu, stanowionej również przez Walkower (1965) oraz Ręce do góry (1967). Zdjęcia kręcono w Łodzi.

Opis fabuły

Andrzej Leszczyc budzi się wczesnym rynkiem w swoim mieszkaniu, zostawia śpiącą dziewczynę Teresę i udaje się na komisję poborową. Ku zdumieniu komisji prosi o natychmiastowe powołanie do służby zasadniczej. Jako powód swojej decyzji wskazuje porzucenie studiów ichtiologicznych i potrzebę rozpoczęcia dorosłego życia w wojsku. Mając kilka godzin do odjazdu pociągu, z kartą poborowego Leszczyc powraca do opuszczonej dziewczyny. Robi zakupy, wychodzi z psem do weterynarza i zostawia tam zwierzę, aby zostało uśpione. Od spotkanego kolegi Mundka pożycza pieniądze. W tramwaju nawiązuje bliższą znajomość z Barbarą. Pobiwszy się z kolegami, po raz ostatni odwiedza swe mieszkanie, zabiera walizki i wskakuje do ruszającego pociągu, który wywozi go do jednostki wojskowej. Przez okno dostrzega machającą ku niemu Barbarę.

Obsada

Elżbieta Czyżewska – Teresa/Barbara/żona Leszczyca
Jerzy Skolimowski – Andrzej Leszczyc
Tadeusz Minc
Jacek Szczęk – Mundek
Andrzej Żarnecki
Juliusz Lubicz-Lisowski – pan w budce telefonicznej
Marek Piwowski – mężczyzna w komisji poborowej

Produkcja

Już na pierwszym roku studiów w łódzkiej szkole filmowej Skolimowski zjawił się w dziale produkcji z prośbą, aby umożliwiono mu realizację etiud. Ze studenckich etiud realizowanych podczas studiów Skolimowski stworzył Rysopis, a swojemu filmowi nadał charakter autobiograficzny. Sam też wcielił się w głównego bohatera – Andrzeja Leszczyca – który stał się jego alter ego. Etiudy Skolimowskiego powstawały bez scenariusza, a reżyser improwizował kwestie dialogowe już na planie filmowym; dopiero na etapie montażu poszczególnych etiud powstał film pełnometrażowy, który jednak sam w sobie miał chaotyczną strukturę. Jednakże owa struktura, oparta na wewnętrznej niespójności, stała się cechą charakterystyczną późniejszych filmów reżysera.

Odbiór i nagrody

Zygmunt Kałużyński przyjął dzieło Skolimowskiego entuzjastycznie, uznając kreację twórcy Rysopisu za ucieleśnienie „warszawskiego Jamesa Deana [...], osobliwe połączenie dziecięctwa, brutalności i przedwczesnej zgrzybiałości z dodatkowym akcentem pozerstwa, która to mieszanina uchodzi za sam ekstrakt młodego człowieka współczesnego”. Janusz Gazda w swoim eseju na temat tzw. trzeciego kina polskiego pisał, iż w Rysopisie Skolimowskiego „autentyczna sceneria obdrapanych ścian, ponurych klatek schodowych, niekończących się schodów, bezładnie za­graconego poddasza, zwałów de­sek w przedziwnym, choć prze­cież konkretnym tartaku – tworzą konsekwentny świat chao­su, który jest jakby częścią osobowości bohatera i pod­kreśla jego obcość”. Alicja Helman uznała wręcz Rysopis za pierwszą zapowiedź trzeciego kina. Mariusz Dzięglewski, opisując po latach Rysopis w kontekście wczesnej twórczości Skolimowskiego, dostrzegł w dziele reżysera próbę polemiki z „heroizmem wojennego pokolenia” znanego z polskiej szkoły filmowej; jak pisze Dzięglewski, „reżyser rozprawia się też z kompleksem swojego pokolenia, które nie miało okazji do bohaterstwa”.

Film Skolimowskiego został uhonorowany nagrodą za reżyserię i zdjęcia Państwowej Wyższej Szkoły Filmowej w Łodzi, a także Syrenką Warszawską dla najlepszego filmu fabularnego oraz Grand Prix Festiwalu Filmowego w Arnhem.

Macario (2023 restoration by The Film Foundation's World Cinema Project)


Roberto Gavaldón: Macario (MX 1960) with Ignacio López Tarso (Macario) and Enrique Lucero (la Morte). Filming location: Grutas de Cacahuamilpa.

Morte in vacanza.
    MX 1960. Director: Roberto Gavaldón. Sog.: dal racconto omonimo (1950) di B. Traven. Scen.:Emilio Carballido, Roberto Gavaldón. F.: Gabriel Figueroa. M.: Gloria Schoemann. Scgf.: Manuel Fontanals. Mus.: Raúl Lavista. Int.: Ignacio López Tarso (Macario), Pina Pellicer (moglie di Macario), Enrique Lucero (la Morte), José Gálvez (il Diavolo), José Luis Jiménez (Dios), Mario Alberto Rodríguez (Don Ramiro), Consuelo Frank (Virreina). Prod.: Armando Orive Alba per Clasa Films Mundiales. DCP. D.: 91’. Bn.
    Language: Spanish.
    Unreleased in Finland.
    Restored by The Film Foundation’s World Cinema Project and Fundación Televisa at L’Immagine Ritrovata in collaboration with Filmoteca UNAM and in association with Televisa S. de R.L. de C.V. Funding provided by the Hollywood Foreign Press Association. Special thanks to Guillermo del Toro.
    DCP from The Film Foundation.
    Il Cinema Ritrovato, Bologna, 2023: Recovered and Restored. E-subtitles in English and Italian by Robert Broch, Sub-Ti Londra.
    Viewed at Arlecchino Cinema, 2 July 2023.

Macario was first published in German by Büchergilde Gutenberg, Zürich, 1950. The original title was "The Healer", and the original manuscript is in English. Also known as "The Third Guest". Untranslated into Finnish. 

Imogen Sara Smith (quoted in the Bologna 2023 catalog). " In the mid-1950s, Gavaldón began to collaborate with different writers and new stars, moving away from urban noir and embracing a style of magical realism, as well as even more blistering social protest. He made a series of adaptations of stories by B. Traven, the mysterious writer best known for penning the source material for The Treasure of the Sierra Madre… Macario, adapted from a short story by Traven, became the first Mexican film to be nominated for an Academy Award, as well as Mexico’s entry in the 1960 Cannes Film Festival. By this point in his career, Gavaldón had begun a collaboration with the great cinematographer Gabriel Figueroa – whom Diego Rivera ranked alongside Mexico’s greatest muralists – and together they created a dark, unsentimental vision of peasant life that nonetheless leaves room for the poetic and the fantastic. "

" Death and its rituals are a constant refrain in Gavaldón’s films, from the funerals in The Other One and Rosauro Castro to onscreen murders and suicides, and it is often juxtaposed with carnivalesque revelry. Macario finally goes to the source of this motif, depicting Mexico’s Day of the Dead celebration, which fills streets with raucous dancing skeletons and ornamented sugar skulls. "

" The film is a haunting, folkloric fairy tale peppered with sharp observations about inequality. “They’re so pretentious, even with their dead,” a poor wife says of a rich family, which lays on a lavish spread of food as offerings for their ancestors while her large family goes hungry. Her husband, Macario, is a woodcutter so tired of sacrificing his meager portions of beans and tortillas to his ravenous brood that he goes on a hunger strike, announcing that he will never eat again until he can devour a roast turkey all by himself. His wife, a laundress, steals a fowl from her customers to fulfil this wish, but when Macario sits down to enjoy his solitary feast in the forest, he is approached by three figures – the Devil, God, and Death – who each beg for a piece of it… "

" The simplicity of the film’s effects adds to its emotional power, and it culminates in one of the greatest achievements of Gavaldón and Figueroa: a scene set in a vast cave carpeted with hundreds of dripping wax candles. It looks like a city at night seen from an airplane, or a galaxy of fallen stars flickering and guttering. " Imogen Sara Smith, Heat of the Night, “Film Comment”, vol. 55, n. 3, May-June 2019

AA: A masterpiece of the cinefantastique, a death dream, an original and powerful interpretation of a timeless and atavistic subject.

Watching the new restoration of Antonio Margheriti's Danza macabra in the Toute la mémoire du monde festival in March, I was inspired to digress about the international fascination in the topic of the All Souls' Day / Halloween / Toussaint, reverberating in culture from Camille Saint-Saëns to Toby Dammit.

Roberto Gavaldón takes us right to one of the wellsprings, the Mexican Día de Muertos, which I remember from Sergei Eisenstein's ¡Que viva México! and John Huston's Under the Volcano. The performers in the Day of the Dead festival include Pepe y sus Marionetas.

The master cinematographer is Gabriel Figueroa whose first movie ¡Que viva México! was (in collaboration with Eduard Tissé) and whose penultimate film was Under the Volcano. Figueroa was also a confidante of the family of B. Traven, and late in life he revealed for instance that Traven's mother was the Irish actress Helen Mareck, which helps explain the author's fluency in English. After The Treasure of the Sierra Madre, many B. Traven film adaptations were produced in Mexico, and the cinematographer in most was Figueroa.

The story takes place in the Virreinato de la Nueva España (1535-1821), the capital of which was Mexico City. The Mexican Inquisition, gruesomely in operation in the story, continued until the Mexican independence in 1821. B. Traven was inspired by national legends of the period.

The affinity with Grimms Märchen has also been noticed: the fairy-tale "Der Gevatter Tod" ("Godfather Death"), which belongs to the legacy of Aarne-Thompson 332, with roots and antecedents reaching to Icelandic sagas and probably sources in the Antiquity.

The climax of the movie takes place in the fabulous cave of the candles, where each candle represents a life.

I was reminded of Fritz Lang's Der müde Tod (Destiny, 1921) and its unforgettable hall of candles. Lang was inspired by H. C. Andersen's fairy-tale The Story of a Mother. Might B. Traven have been inspired by Der müde Tod? He was active in Germany, for instance as the publisher of Der Ziegelbrenner in 1917-1921. His presence in Mexico is verified since 1924. We know Der müde Tod as the film that changed the lives of Luis Buñuel, Jean Cocteau and Georges Franju, inspiring them to become film-makers. Perhaps it inspired also B. Traven in writing Macario and introducing a personified Death as a main character?

Gavaldón creates a story of magical realism where the realism is unvarnished and heartfelt. Macario is a tough account of social injustice. It is also a story of supreme love and sacrifice.

A beautiful restoration of a masterpiece of world art.

PS. I had forgotten that I had seen Macario before in our 1998 tribute to Mexican cinema. Even then I loved the film which, however, was screened in a print of bad definition. That has now been changed in this outstanding restoration.

...

WIKIPEDIA

Macario es una película mexicana de 1960 de los géneros drama, fantasía y misterio, dirigida por Roberto Gavaldón y producida por Clasa Films Mundiales. Está basada en la novela del mismo nombre de B. Traven, que se basa libremente en una antigua leyenda fronteriza, ambientada en el Virreinato de la Nueva España (hoy en día México).

Fue la primera película mexicana en ser nominada a un Premio de la Academia por Mejor Película en Lengua Extranjera.​ Además, también fue inscrita en el Festival Internacional de Cine de Cannes de 1960.

Argumento

Un humilde campesino y leñador llamado Macario vive obsesionado con la pobreza que sufre y el miedo a la muerte. Debido a la precaria situación al borde del hambre que él y su familia viven, comienza a añorar poder disfrutar de un banquete sin tener que compartirlo con nadie.

En su obstinación, decide dejar de comer hasta encontrar un guajolote (pavo) que pueda comer solo. Su esposa, preocupada, le roba un guajolote, y Macario sale a la soledad del bosque para comérselo a escondidas de sus hijos. En el bosque, conoce consecutivamente a tres enigmáticas personalidades. El primero es el Diablo en forma de rico terrateniente, quien primero le ofrece sus botas con espuelas de plata, pero Macario le dice que no tiene caballo, y luego le ofrece las monedas de oro de sus pantalones, pero Macario lo rechaza diciendo que le cortarían las manos por ladrón; finalmente, le ofrece el bosque, pero Macario le dice que el bosque no le pertenece a él, sino a Dios y que, además, teniendo el bosque, no dejaría de ser pobre, porque tendría que seguir cortando leña. Tampoco lo comparte con el segundo personaje que aparece, Dios, en forma de anciano humilde; Macario sostiene que Él puede poseer lo que quiera, ya que todo lo posee y lo que quiere es un gesto, y, mientras Macario con vergüenza reconoce que no tiene ganas de compartir su guajolote ni siquiera con Dios, desaparece, antes de que Macario se arrepienta de su decisión.

Finalmente, se presenta la Muerte, en forma de campesino indígena, a imitación de Macario, que le dice que hace miles de años que él no comió, y Macario accede a invitarle (no con miedo, sino por entendimiento), ya que Macario se da cuenta de que, ante su ineludible designio, nadie escapa, y también confiesa que lo invitó porque, mientras comía, retrasaría la muerte del propio Macario. Como muestra de agradecimiento, la Muerte le concede su amistad y le da a Macario agua milagrosa que curará cualquier enfermedad, con la condición de que Macario tenga que ver a la Muerte a los pies de los enfermos. Pero, si lo ve a la cabeza de la cama del paciente, nada ni nadie podrá salvarlo, porque ese ser ya era de la Muerte.

Macario regresa a casa y encuentra a su hijo frío por caer al pozo. Macario prueba el agua con su hijo y, a partir de allí, se le conoce como un sanador milagroso, incluso dejando al médico y al enterrado del lugar sin clientes. Aunque en un principio no quiso cobrar, la gente empezó a ofrecerle comida y dinero, que luego compartió con los demás pobres, y su fama comenzó a extenderse por toda la región, hasta llegar a oídos de la Inquisición. Las autoridades eclesiásticas ordenan su captura, para juzgarlo por brujería.

Para saber si Macario realmente tiene poderes mágicos, lo ponen a prueba, donde entre varios presos tendrá que decir quién vive y quién no. Entre estos condenados, ponen al verdugo del reino, un hombre fuerte y musculoso, y un condenado a muerte, esperando que Macario se equivoque. Para sorpresa de todos, Macario le dice que el único que morirá es el verdugo. Cuando la gente empieza a burlarse de él, llega un mensajero con una carta donde perdona la vida del condenado, y cuando se acercan al verdugo para pedirle que se levante, es hallado muerto, ya que tenía temor a los magos y la conmoción de ver a Macario le provocó un paro cardíaco. Los religiosos entonces lo condenan por adivinación al tormento y a la hoguera.

Ante esto, la esposa del virrey suplica a Macario, preso en espera de ejecución, que vea a su hijo enfermo. Cuando lo llevan con el niño, el pide estar a solas con ella y se entera de que la Muerte ha decidido llevárselo; por mucho que Macario suplica que no lo haga (porque de esto depende su propia vida), la Muerte le dice que no hay alternativa. Temiendo, Macario huye, sabiendo que será condenado a muerte por no salvar al niño. Mientras todos lo persiguen, en el bosque se encuentra nuevamente con el Diablo y con Dios. Ambos le recuerdan que debería haber compartido el guajolote con ellos: el Diablo le recrimina que, si lo hubiera elegido, no le hubiera pasado nada, y lo invita a nuevamente a ir con él, pero Macario lo rechaza; Dios, en cambio, advierte a Macario que su propia muerte está cerca y que debe reflexionar sobre sus acciones. Cuando llega a la caverna de la Muerte, encuentra una gran cantidad de velas, cada una de las cuales representa la vida de una persona y, si es pequeña, significa que está a punto de apagarse y que la persona morirá. La Muerte afirma que Macario negoció con algo muy sagrado, que es la vida. Macario encuentra que su propia vela está a punto de apagarse e intenta huir con ella, pero ya es demasiado tarde; la Muerte le advierte que hay reglas que ni él mismo puede ignorar y que en realidad él no tiene poder para retrasar el momento en el que cada uno va a perecer, y le hace ver que es mejor prepararse para aceptar su destino en lugar de escapar, porque es inútil: nadie puede escapar de la Muerte.

Finalmente, la escena vuelve al lugar en que Macario compartió el guajolote con la Muerte. No volvió a casa desde entonces, y su esposa y algunos aldeanos buscan a Macario en el bosque solo para encontrarlo pacíficamente muerto, junto a un pavo dividido en mitades: uno comido, el otro intacto. Queda ambiguo si todo fue un sueño de Macario antes de morir o un breve preámbulo de la Muerte para jugar con él.

Ignacio López Tarso - Macario
Pina Pellicer - Esposa de Macario
Enrique Lucero - La Muerte
Mario Alberto Rodríguez - Don Ramiro
Enrique García Álvarez - Inquisidor
Eduardo Fajardo - Virrey
José Gálvez - El Diablo
Consuelo Frank - Virreina
José Luis Jiménez - Dios
Wally Barrón - Panadero
Sonia Infante - Esposa de Don Ramiro
Manuel Dondé - Enviado de la Inquisición
Miguel Arenas - Inquisidor
Luis Aceves Castañeda - Verdugo
José Dupeyrón - Fabricante de velas
Elizabeth Dupeyrón - Hija de Macario
Alicia del Lago - La viuda (no acreditada)

Reconocimientos

Este filme ocupa el lugar 59 dentro de la lista de las 100 mejores películas del cine mexicano, según la opinión de 25 críticos y especialistas del cine en México, publicada por la revista Somos en julio de 1994. Fue la primera película mexicana nominada al Oscar como Mejor Película en Lengua Extranjera.

Saturday, July 01, 2023

Cherike-ye Tara / The Ballad of Tara (2022 restoration at Roashana Studios / Bahram Beyzaie)


Bahram Beyzaie: چریکه تارا / Cherike-ye Tara / The Ballad of Tara (IR 1979) with Susan Taslimi (Tara). 

چریکه تارا
    IR 1979. Director: Bahram Beyzaie. Scen., M., Scgf.: Bahram Beyzaie. F.: Mehrdad Fakhimi. Int.: Susan Taslimi (Tara), Manouchehr Farid (antico guerriero), Reza Babak (Ghelich), Siamak Atlasi (Ashoub), Mahim Dayhim (vicino). Prod.: Leesar Film Group (Bahram Beyzaie). DCP. D.: 102’. Col.
    Language: Farsi.
    Restored in 2022 from the original negatives at Roashana Studios (Tehran). The restoration was supervised by director/producer Bahram Beyzaie
    DCP from Bahram Beyzaie.
    Il Cinema Ritrovato, Bologna 2023: Cinemalibero, e-subtitles in English / Italian by Sub-Ti Londra.
    Introduced by Ehsan Khoshbakht
    Viewed at Jolly Cinema, 1 July 2023.

Ehsan Khoshbakht (Bologna catalog 2023): " Bahram Beyzaie’s seamless blend of myth, symbolism, folklore and classical Persian literature in Cherike-ye Tara is unparalleled in its complexity. Yet, apart from Ragbar (Downpour, 1972), which was restored and revived a decade ago, the director with the most consistent body of work in the Iranian cinema of the 1970s is also, unjustly, one of the most invisible masters of the Iranian New Wave. Here, as well as directing, he has also produced, written, set and costume-designed, and edited a mesmerising tale that fuses the ceremonial legends of the past with contemporary life. Tara, a strong-willed widow encounters the fleeting ghost of an ancient warrior in the forest next to her village. The ghost’s appearances become more frequent and finally he talks to her, claiming a sword that she has found among her father’s effects. Without the sword, the dead warrior can’t rest. But when the sword is restored to him, it’s his love for Tara that prevents him from returning to the land of the dead. "

" With the close of production coinciding with the 1979 revolution and the Islamist takeover of the country, it wasn’t so much the political symbolism of the film that led to its indefinite ban. Rather, it was the image of a woman, both desired and at the same time in charge of her destiny, which upset the authorities. (Cannes 1980 was the only official screening of the film.) Susan Taslimi’s stunning debut in the role of Tara remained unseen. Her energy is matched by the self-assured performance of Beyzaie’s regular collaborator, Manouchehr Farid. "

" The film is influenced by the patterns of ancient ritual as many of the scenes occur in parallel with a Ta’zieh performance, a Shia passion play, depicting the sufferings of Imam Hossein. The film could be seen as a secular interpretation of Ta’zieh (as much as a feminist take on Kurosawa) in which Tara, having lost the men in her life, realises that she must pick up a sword and redefine her womanhood. In that sense, the last sequence, one of the greatest moments of Iranian cinema, anticipates in its epic poetry the bravery of the struggles of Iranian women today. " Ehsan Khoshbakht

AA: Bahram Beyzaie's parallel film to The Stranger and the Fog, a distinguished achievement of the cinema of poetry and cinema as visual art in the inspiration of painting.

Again, it is a fantasy drama set by the Caspian Sea. I was thinking about Christopher Nolan because of the conceit of the time trap. The widow Tara, whose grandfather has just died, is riding in the forest in her carriage with her two children, to the grandfather's house, when she meets an ancient warrior of a lost tribe. Their love is doomed because they cannot cross the time barrier. One last time, the huge army of the warrior's tribe emerges from the sea, and the warrior joins them on his wounded horse, but Tara, equipped with the tribal sword inherited from her grandfather, cannot follow him, because the mighty waves push her back to the shore.

The pastoral landscape, the atavistic sea, the wind, the passion play, the horses and the sword are charged poetic images in this visionary movie that (to a foreign viewer) makes little sense storywise  but is a richly evocative experience nevertheless, carried by a valiant performance by Susan Taslimi.

It is a film about the force of the past on the present, with a feeling of an overwhelming drive of the future. 

The refined restoration does justice to the subtle colour world of the pastoral world.

...

WIKIPEDIA

Une veuve, Tara (Susan Taslimi), est sur le chemin de retour à sa cabane avec ses deux petits enfants (Golbahar Eslami, Ghorbanali Falahi). Toujours en chemin, elle entend que son grand-père est décédé. Sur la route, Tara voit passer un guerrier du temps ancien (Manouchehr Farid).

Parmi son heritage paternal, Tara trouve une épée qui ne lui sert à rien. Elle tâche pourtant de s’en servir pour récolter son moisson sans succès. Donc, elle la jette dans la rivière. Le guerrier apparaît de nouveau. Le courant d’eau rapporte l’épée. Tara la donne au guerrier qui est le dernier survivant d’une armée du temps ancien. Ce dernier, épris de Tara, ne peut plus retourner à son temps au passé. La belle sœur de Tara (Tavous Zarei) a l’intention de marier son frère, Ashoub (Siamak Atlassi) à Tara. Tara refuse. Ashoub kidnappe les enfants de Tara et l’accuse de tuer son frère.

Sceptique envers la présence légendaire du guerrier, Tara le rencontre de nouveau l’accusant de saboter le monde réel avec une légende absurde. Une armée soulève du fond de l’eau, et le guerrier se dérobe pour se cacher au cœur de la forêt. Tara promet au guerrier de le suivre dans son monde. Le guerrier fend la mer et plonge avec son cheval au fond des eaux. Tara se précipite pour le suivre, mais des vagues la poussent en arrière.

...

داستان

بیوه‌زنی به نام تارا (سوسن تسلیمی) همراه دو کودک کم‌سن و سالش (گلبهار اسلامی و قربانعلی فلاحی) از ییلاق به کومه‌اش بازمی‌گردد. در راه می‌شنود که پدربزرگش مرده، و در جادهٔ جنگلی به مردی غریب (منوچهر فرید) برمی‌خورد که جامهٔ تاریخی پوشیده و شتابان می‌گذرد. تارا میان میراث پدربزرگ شمشیری می‌یابد که نمی‌داند با آن چه کند؛ تارا می‌کوشد شمشیر را به جای داس درو به کار گیرد؛ اما شمشیر به این کارها نمی‌آید و تارا آن را به رودخانه می‌اندازد. تارا از نو مرد تاریخی را، که سرداری از تبار جنگجویان منقرض شده‌است، می‌بیند، که از آن‌ها جز شمشیر پدربزرگ هیچ نشانی نمانده‌است. مرد تاریخی ناپدید می‌شود و تارا در موقع جزر دریا شمشیر را می‌یابد و آن را به مرد تاریخی می‌دهد؛ اما او که عاشق تارا شده‌است قادر نیست به دنیای خود بازگردد. در این اثنا خواهر شوهرش (طاووس زارعی) او را برای برادرش آشوب (سیامک اطلسی) می‌خواهد که تارا نمی‌پذیرد. تارا از مرد تاریخی می‌خواهد که سد راهش نباشد. آشوب فرزندان تارا را می‌رباید، و تارا او را متهم می‌کند که برای رسیدن به وی برادرش را کشته‌است. آشوب دام‌گاه خود را ویران می‌کند و از آبادی می‌کوچد. تارا سراغ مرد تاریخی می‌رود و او را متهم می‌کند که همهٔ داستان‌هایش دروغ است و تبار و قبیله‌ای در کار نیست. در این موقع سپاهی عظیم از دریا، به شهادت، سربرمی آورد و مرد تاریخی از شرم به دل جنگل پناه می‌برد. تارا به او قول می‌دهد که فرزندانش را به قلیچ خواهد سپرد و همراه او خواهد آمد. مرد تاریخی با اسب زخمی‌اش به دریا می‌زند و تارا با شمشیر به موج‌های دریا حمله می‌کند تا مرد تاریخی را پس بگیرد؛ اما امواج دریا تارا را عقب می‌نشاند.

Gharibeh va meh / The Stranger and the Fog (2023 restoration The Film Foundation’s World Cinema Project)


Bahram Beyzaie: غریبه و مه / Gharibeh va meh / The Stranger and the Fog (IR 1974) with Parvaneh Massoumi (Rana). To the right, her mother-in-law.

Bahram Beyzaie: غریبه و مه / Gharibeh va meh / The Stranger and the Fog (IR 1974). The mysterious persecutors arrive from the sea. Poster design: Bahram Beyzaie, Morteza Mamiz.

غریبه و مه
    IR 1974. Director: Bahram Beyzaie. Scen.: Bahram Beyzaie. F.: Mehrdad Fakhimi, Firooz Malekzadeh. M.: Bahram Beyzaie. Scgf.: Iraj Raminfar. Int.: Parvaneh Massoumi (Rana), Khosrow Shojazadeh (Ayat), Manuchehr Farid (Zackaria), Esmat Safavi (Jeyran), Sami Tahassoni, Valiyollah Shirandami, Reza Yaghuti, Esmaeel Poor Rez, Mohammad Pour Reza. Prod.: Rex Cinema and Theatre Co. DCP. D.: 140’. Col.
    Language: Farsi.
    Restored in 4K in 2023 by The Film Foundation’s World Cinema Project and Cineteca di Bologna in collaboration with Bahram Beyzaie. Funding provided by the Hobson/Lucas Family Foundation. The restoration used the original camera and sound negatives and was carried out at L’Immagine Ritrovata laboratory. Special thanks to Ehsan Khoshbakht.
    DCP from The Film Foundation with English subtitles by Ehsan Khoshbakht.
    Il Cinema Ritrovato, Bologna 2023: Cinemalibero, e-subtitles in Italian.
    Viewed at Jolly Cinema, 1 July 2023.

Ehsan Khoshbakht (Bologna 2023 catalog): " Another holy grail of Cinema-ye Motafavet (Iranian New Wave) has been found and brought back to life. Impossible to see for decades, Bahram Beyzaie’s dazzling Gharibeh va meh, about a mysterious stranger arriving at a coastal village in a drifting boat and falling for a woman, is now fully restored from original camera and sound negatives. "

" In this endlessly symbolic tale, ghosts of the past, narrow-minded villagers and forces beyond the control of the characters take the viewer into a dizzying labyrinth of rituals. In the film’s meticulously structured circular narrative, characters, times and spaces rhyme and mirror each other, turning filmmaking into an act of dreaming. Gharibeh va meh and later Cherike-ye Tara represent one of the strongest duos of Iranian cinema; in both, characters are the product of each other’s imagination before transitioning into myth. They also share the mysteries of the sea, the use of pre-existing folk music instead of a musical score, the presence of myth and symbolism, heavy influence from Persian classical theatre and literature, and giving prominence (in terms of both attention/desire and control) to strong-willed women who transcend the confines of the victimised women of 1970s Iranian cinema. " Ehsan Khoshbakht

Bahram Beyzaie (Bologna 2023 catalog): " Gharibeh va meh, or at least some of its most essential images came right out of my nightmares. I realised the fear that was tormenting me in Iranian society was now growing even bigger within me. The critics’ reading and interpretation of the film after its premiere at Tehran International Film Festival proved that my fears were right. Gharibeh va meh was a warning about an impending danger that people were either oblivious to, or chose to stay ignorant of. They saw the signs of the looming threats adressed in the film but opted to attack the film and label it as “incomprehensible” and “anti-religious”. "

" However, I was moved when the same message, seemingly undecipherable for Iranian critics, was so clear to a writer from either “Films and Filming” or “Sight & Sound” who wrote a dispatch on the festival. I can’t recall his exact words, but the core of his argument was that Gharibeh va meh was a premonition of things to come, and the director/ writer is “five years ahead of his time”. What shakes me today is how did the writer know what was going to happen in Iran five years after the film’s completion? Of course, it was the regressive Iranian Revolution. "

" Ironically, while Gharibeh va meh was called a “baffling and anti-Islam” film by Iranian intellectuals, it was screened, without my permission, at a conference about Islam in London. In fact, Gharibeh va meh is a rejection of both accusations: a rejection of intellectualism and religion. " Bahram Beyzaie

AA: Bahram Beyzaie's compelling mystery play set in a fantasy community by the Caspian Sea. The stranger, Ayat, emerges from the fog of the sea, seemingly dead, but nursed back to life. Ghostly warriors from the sea are persecuting him. When there is a slowly growing but irresistible attraction with the widow Rana and the stranger from the fog, Rana's patriarchal brothers-in-law and her mother-in-law try to stop them, but they sleep together and there is a wedding, consummated by force by Ayat. To prevent Ayat from leaving, Rana buries his boat. Her husband has disappeared in the sea, but he has turned into a bandit, which is why he cannot return, and coincidentally, Ayat kills him. When the persecutors return in a task force of five, there is a violent combat, and Rana turns into an action heroine. But the again severely wounded Ayat returns to the sea. "It will never be over". "I have to see what's on the other side". In desperation, Rana buries her face in the mud.

An exquisite restoration of a masterpiece of refined colour cinematography and a haunting score arranged from Persian traditional music by the director Bahram Beyzaie from whom I have seen a previous masterpiece, Ragbar / Downpour.

The Stranger and the Fog, a powerfully oneiric dream play is completely different from the Antonionian modernist Ragbar.

The Stranger and the Fog is a superior representative of what Susanne Langer meant by the cinema's "dream mode".

...
WIKIPEDIA:

از ویکی‌پدیا، دانشنامهٔ آزاد
غریبه و مه

کارگردان بهرام بیضایی
تهیه‌کننده محمّدتقی شکرایی
نویسنده بهرام بیضایی
بازیگران پروانه معصومی
خسرو شجاع‌زاده
محسن محمّدباقر
منوچهر فرید
عصمت صفوی
ولی شیراندامی
سامی تحصّنی
رضا یاقوتی
موسیقی (انتخابی) بهرام بیضایی
فیلم‌بردار مهرداد فخیمی
پرویز ملک‌زاده
تدوین‌گر بهرام بیضایی
شرکت
تولید
شرکت سینما تئاتر رکس
تاریخ‌های انتشار
۱۳۵۳
مدت زمان
۱۴۰ دقیقه
کشور ایران
زبان فارسی
از سلسلهٔ مقالات
دربارهٔ
امضای بهرام بیضایی
سرگذشت • سال‌شمار •  اخبار
فهرست‌های کارها
فیلم‌شناسی • نمایش‌شناسی • کتاب‌شناسی • فهرستِ سخنرانی‌ها • بایگانی • کارهای نافرجام
دیـگر
بدایع • مضامین • مذهب • سیاست • همکارانِ چندباره • فهرستِ جایزه‌ها • مآثر (پذیرگیِ آثار طیِّ زمان • فهرستِ آثار دربارهٔ بیضایی)
گروهِ لیسار
 کارها  سخن‌ها
بهرام بیضایی
نبو
غریبه و مه فیلمی به کارگردانی و نویسندگیِ بهرام بیضایی است که در سالِ ۱۳۵۱ و ۱۳۵۲ ساخته شد و سالِ ۱۳۵۳ به نمایش درآمد.

داستان
در یک آبادیِ پرت‌افتاده کنارِ دریا اهالی قایقی می‌بینند که به سوی ساحل می‌آید. قایق را از آب می‌گیرند و در آن غریبه‌ای خسته و زخمی می‌یابند که نامش آیت (خسرو شجاع‌زاده) است و نمی‌داند چه بر سرش آمده. فقط به یاد می‌آورد که کسانی بر سرش ریخته بوده‌اند و او توانسته بگریزد. آیت در آبادی می‌ماند و می‌کوشد خود را بشناسد و بداند که از کجا آمده‌است؛ اما همواره نگران است که مبادا ناشناسانی که زخمیش کرده‌اند بازش یابند. زنی به نامِ رعنا (پروانه معصومی) که دریا شوهرِ ماهیگیرش را به کامِ مرگ کشیده و پس‌نداده‌است، دورادور کنجکاو احوال آیت است. او داسی خونین از قایق آیت می‌یابد که علامتِ عجیبی بر رویش نقش شده؛ و اهالی آیت را به محاکمه می‌کشند. آیت داس را خاک می‌کند. اهل آبادی برای آن که آیت با ایشان محرم باشد، وامی‌دارندش که دختری از دختران روستا به زنی بگیرد. آیت که رعنا را برمی‌گزیند درگیری و دودستگی می‌افتد؛ ولی رعنا نیز نمی‌پذیرد که تا آخر عمر تنها بماند. کنجکاوی رعنا نسبت به آیت دشمنی خانوادهٔ شوهر رعنا را برمی‌انگیزد. برادرانِ شوهر روبروی خانهٔ رعنا نگهبانی می‌دهند تا آیت را دستگیر کنند، ولی آیت پیش‌تر به درون خانه رفته و با رعنا کتابی بر زمین نهاده و دست رویش گذاشته و ازدواج کرده‌اند. بامدادان که آیت از خانهٔ رعنا بیرون می‌آید، کشتنش را بیهوده می‌بینند، و به جایش عاقد خبر می‌کنند تا بی‌درنگ عروسی بگیرند. هم‌زمان با جشنِ عروسی گرگی به آبادی می‌زند، و شامگاهان دو ناشناس راهِ آیت را می‌گیرند و می‌خواهندش که همراهشان برود. آیت نمی‌پذیرد، و چندی بعد با ناشناسی می‌جنگد که سراغ رعنا را می‌گیرد تا با خود ببرد. آیت او را می‌کشد. رودخانه نعش را به دریا برده و دریا به ساحل افکنده و روزهنگام جسد را از ساحل برمی‌گیرند. رعنا و اهل آبادی بازگشتن جسد را نتیجهٔ شومِ ازدواجی می‌دانند که با طبیعت سازگاری نداشته‌است. اینک آیت درمی‌یابد که مرد ناشناس شوهر گم‌شدهٔ رعنا بوده‌است، و این را به رعنا می‌گوید. همه سوگواری می‌کنند. شبی رعنا پنهانی قایقِ آیت را خاک می‌کند. آیت همچنان نگران کسانی است که در پی اویند و در شگفت که قایقش چه شده. او با پسرک چلاق ده دوست می‌شود و می‌خواهد برایش خانه‌ای بسازد. روزی مردی بلندبالا با جامهٔ سیاه با قایق از میانِ مهِ دریا به آبادی می‌آید، در آن جا گشتی می‌زند و پس از خریدنِ داس راهِ آمده را بازمی‌گردد. آیت هراسان و پریشان است. اهالی می‌گویند که مردِ سیاهپوش مشتریِ بازار بوده و در پیِ او نبوده. رعنا می‌گوید که گم شدنِ قایق کارِ او بوده، از ترسِ آن که آیت نیز مانندِ مرد پیشینش به دریا بزند و زنده برنگردد. آیت و رعنا آرامش می‌یابند از این که بیگانه در پیِ آیت نبوده‌است و گم شدن قایق کار دیگرانی نبوده‌است. روزِ بعد پنج سیاهپوشِ بیگانه سوار بر پنج قایق به آبادی می‌آیند و با داس در پی آیت می‌دوند. اهالی نیز با وحشت به کمک او می‌آیند، ولی دست خالی کاری نمی‌توانند. هر پنج مرد را آیت و رعنا از پا درمی‌آورند، و سپس آیت که زخم‌های فراوانی برداشته سوار بر قایق می‌رود تا بداند که در آن سوی آب چه خبر است؛ و رعنا از نو جامهٔ سیاه می‌پوشد.[۲]

فیلمنامه
بیضایی این فیلمنامه را سالِ ۱۳۵۱ پیش از کارگردانیِ سفر نوشت، ولی هرگز به صورتِ کتاب منتشر نکرد. نسخهٔ «اصل» ِ فیلمنامه در موزهٔ سینمای ایران نگهداری می‌شده است.[۳]

ساخت
این فیلم در اسالم فیلمبرداری شد. چندین تعطیلی ناخواسته در جریانِ ساخت پیش آمد و کارِ فیلمبرداری به درازا کشید: شرکت سینماتئاتر رکس از تأمینِ مخارجِ فیلم ناتوان شد و بیضایی از وزارتِ فرهنگ و هنر وام گرفت.[۴] سالِ ۱۳۵۲ فیلمبرداری به انجام رسید.

جایزه‌ها
به تعبیری ساده این قصه تمثیلی از زندگی است از ناشناخته آمدن با اضطراب حیات سرکردن و به ناشناخته رهسپار شدن.

جواد مجابی، پاییزِ ۱۳۵۳[۵]
غریبه و مه . . . دست کم یک «سینما»ی فوق‌العاده قوی است، که بیش از این در ایران هرگز نداشته‌ایم. . . . هیچ دینی به تئاتر ندارد. سینمای محض است، تصویر ناب است.

جمشید اکرمی، پاییزِ ۱۳۵۳[۶]
. . . انگار که بهرام بیضائی فیلمش را خواب دیده است و بعد خوابش را مجسم کرده است.

بهزاد عشقی، بهارِ ۱۳۵۴[۷]
جایزۀ ویژۀ جشنوارهٔ بین‌المللی فیلم قاهره (۱۹۷۶)
نفرتی‌تی نقره در جشنوارهٔ قاهره برای فیلمبرداری به مهرداد فخیمی
عوامل
واروژ کریم‌مسیحی، دستیارِ کارگردان
بازیگران

پروانه معصومی و خسرو شجاع‌زاده در نمایی از فیلم. در اخبارِ آبانِ ۱۳۵۱ آمده بود که نقشِ مقابلِ معصومی با منوچهر فرید خواهد بود.[۸] ولی خسرو شجاع‌زاده این نقش را بازی کرد.
بازیگر گوینده نقش
خسرو شجاع‌زاده جلال مقامی آیت
پروانه معصومی ژاله کاظمی رعنا
منوچهر فرید حسین عرفانی
عصمت صفوی عصمت صفوی
ولی شیراندامی احمد رسول‌زاده
اسماعیل پوررضا ظفر گرایی
سامی تحصّنی
رضا یاقوتی
محمد پورستّار
علی ژکان غریبه
حمید طاعتی مردی با جامه‌ی سیاه
ایرج رامین‌فر غریبه
مجید مظفّری
محسن محمّدباقر
پرویز مهرام
مهدی بهمن‌پور شوهر رعنا
قاسم پورشکیبا غریبه
مهدی منتظر غریبه
مرتضی سروش غریبه
نمایش
جلال ستّاری خبر داده که به میانجی‌گریِ او بود که این فیلم از دولتِ وقت اجازهٔ نمایش گرفت.[۹] با این همه، فروشِ خوبی نداشت.

ژوئیهٔ ۲۰۲۳ میلادی نسخه‌ای ترمیم‌شده از این فیلم در سینما ریترواتوی بولونیا به نمایش درآمد و بیضایی نوشتهٔ کوتاهی به این مناسبت منتشر کرد.[۱۰]

جستارهای وابسته
سایه‌های بلند باد