John Doe

If you want to make your dreams come true, the first thing you have to do is wake up.

Mary Taylor

You can have anything you want if you are willing to give up everything you have.

That crime on the banks of the Tiber, the 60th anniversary of “La commare Secca” –

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to Stefania Olivi

Marco Tullio Giordana talks about Bernardo Bertolucci’s first work, which he will present on March 16th. He talks about an overwhelming love for cinema, a love that is completely reciprocated

One of his less popular films, a work that was considered, in my opinion wrongly, to follow in Pasolini’s footsteps, not yet personal. Marco Tullio Giordana talks about dry kumari – The debut of director Bernardo Bertolucci – which he will present on March 16 to the audience of Cinema Troisi, on the occasion of the 60th anniversary of the release of the film, on the day the Oscar-winning director died in November 2018. They are 91. Investigations, in flashbacks, into the murder of a prostitute , found as a corpse on the banks of the Tiber, from different points of view.

Pasolini’s theme, inspiration comes from Ragazzi di vita, script written with Sergio Citti. Pasolini Bertolucci, who was his assistant at Accattone, advised the use of non-professional actors. However, you are right, a non-Pasolini movie. How do you explain that?

They face the same world, deal with the same backgrounds, and the same human substance. But the look is very different: in every shot in Pasolini, every camera movement is dominated (which is a rarity) by a sense of holiness. On the other hand, Bertolucci’s view belongs, as he himself said, to an “unhappy conscience”. Full of love and excitement, as in a mentor, but with a more romantic and teenage dimension.

Bertolucci seems more interested in portraying the characters in the margins than in solving the mystery.

A feature of noir, the genre to which it belongs. Perhaps the fascination with the characters in Bertolucci I is stronger than the social context.

In your eyes, what dries up La commare?

Already a harmonious cry. Like a newborn baby coming into the world singing a song from the troubadour.

And the sonnet by Bailey for the title: “And now dry, Commaraccia de Strada Ggiulia arza, what wrestle?”

I think it’s Pasolini’s idea. Referring to one of the tombstones on the facade of the Romanesque church of Santa Maria del Orazione e Morte in Via Giulia was another thing I should have asked.

What is your link with Cinema Bertolucci?

He and Bellocchio were the directors I admired the most when I was a boy. Of course, great masters such as Fellini, Visconti, Rossellini, Rossie, Ferreri, and Pasolini were still active, but these boys seemed to me to be greater brothers and, therefore, as unreachable as their fathers. Perhaps there is also a “regional” truth: I am from Crema, Parma and Piacenza, a stone’s throw away. The world of their first films, Their Little Homes, was similar to mine.

What do you say to young people today?

It speaks of an overwhelming love for cinema, a passion without torment or contradiction, second thoughts, push and pull. The love is completely mutual: the cinema has always been a pleasant place for Bernardo Bertolucci.

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Mar 9, 2022 (change on Mar 9, 2022 | 07:53 AM)

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