KANAL FILMS. 4 EDITIoN decides to lead a rescue party which ultimately breaks through the Producer: Stanislaw Adler; screenplay: Jerzy Stefan Stawinski, frontier barrier and arrives at the gates of the French mine to the from a short story by Jerzy Stawinski; photography: Jerzy Lipman astonishment of the waiting and despairing relatives. ""Les Allemands. art directors: Roman Mann and Roman Wolzniec: music: Jan Ce n'est pas possible. The rest of the film is concerned with Krenz, ocarina theme by Adam Pawlikowski. Pabst has stamped the exterior and interior of the mine with uncompromising realism. The people are the protagonists, and ind- Teresa lzewski(Stokrotka); Emil Karewicz(Madry) Wldysta Sheybal vidual characters never leave the ambience which shapes them and to Composer): Tadeusz Gwiazdowski(Kula); Stanislaw Mikulski(Slim) which they bel Emo Metzner, Pabst has achieved a triumph of studio construction. Teresa Berezowska(Halinka): Adam Pawlikowski( German officer) Life in the mine and the terror of the disaster are translated into film terms that remain unforgettable. No music is used. The noises of the Award: Cannes Film Festival, Special Prize, 1957 ne, the clanking of chains, metal rubbing against metal, the hiring sounds of lifts-all this brings the strange world of the miner vividly before the spectator. It is a shared and illuminated experience Pabst's great humanity shines through the film. Its technical virtuos- Publications ity is no less. Wagner's camera catches the light shining in darkness, follows the ravaged, terrified faces. It gives significance to darkness. Script There is no plot as such. Human relations are hinted at. But the mine disaster leaves us in no doubt as to those relationships: Francoise Stawinski, Jerzy Stefan, Kanal, in Three Films by Andrzej Wajda, and her lover: The old man and his grandson; The three German New York. 1973 friends. All are people we know, and from the event Pabst creates a richly textured canvas of life and reality Faces haunt us. The hysterical miner, tap tapping a signal on metal Books pipe, who hears the guttural sounds of his German rescuer wearing a gasmask; he thinks he is back in the war and hurls himself on his Rhode, Eric, Tower of Babel: Speculations on the Cinema, New rescuer. Anna dragging her child beside the lorry that carries her husband to the dangers of rescue work. The actors do not play in this Geduld, Harry M, editor, Film Makers on Filmmaking, Bloomington, film; they are embedded in it. Indiana. 1967 he technical problems of creating movement in a narrow space McArthur, Colin, editor, Andrzej Wajda: Polish Cineme n,1970 were superbly overcome, as were the problems of proportioning light Michatek, Boleslaw. The Cinema of Andrzej Wajda,London, 1973 dark areas. But above all it is the great spirit of Pabst that is the real Stoil. Michael Jon Cinema bevond the Danube. The Camera and triumph of the film. Politics, Metuchen, New Jersey, 1974. Sadly, as the miners celebrate their new found friendship-"Why Leihm, Mira, and Antonin Liehm, The Most Important Art: east must we cooperate only at times of disaster. Why not every day below ground the brick wall which was smashed to allow the german European Film After 1945, Berkeley, 1977 Douin, Jean-Luc, Wajda, Paris, 1981 rescuers through is rebuilt with much official rubber-stamping and paul. David W. editor. Politics, Art, and Commitment in the Eastem exchanging of documents. A new shadow was falling on the Ger European Cinema, New York, 1983 Wajda, Andrzej, Un Cinema nomme des 1986. Wajda, Andrzej, Wajda on Film: A Notes. Los Ange -Liam OLeary les,1989 Wajda, Andrzej, Double Vision: My Life in Film, New York, 1989 article KANAL Wajda, Andrzej, Destroying the Commonplace, in Films and (Canal) Filming(London), November 196 Higham, Charles, "" Grasping the Nettle: The Films of Andrzej Poland. 1957 Wajda, in Hudson Review(New York), Autumn 1965 Wajda Issue of Etudes Cinematographiques(Paris), no 69-72, 1968. Hauru, A,"Kanal-kirottujen tie, in Filmihullu(Helsinki), Director: Andrzej wajda Holloway, Ronald, in Variety(New York), 5 September 1979 Production: Film Polski and ZAF, black and white, 35mm; running Wajda Issue"of Avant-Scene du Cinema(Paris), 1 January 1980 time: 95 minutes, some sources list 97 minutes; length: 8569 feet. Andrzej Wajda, in Village Voice(New York), 20 December 1981 Released April 1957. Filmed 1957 in Poland. Andrzej Wajda, in Current Biography Yearbook, New York, 1982. 624
KANAL FILMS, 4th EDITION 624 decides to lead a rescue party which ultimately breaks through the frontier barrier and arrives at the gates of the French mine to the astonishment of the waiting and despairing relatives. ‘‘Les Allemands. Ce n’est pas possible.’’ The rest of the film is concerned with the rescue. Pabst has stamped the exterior and interior of the mine with uncompromising realism. The people are the protagonists, and individual characters never leave the ambience which shapes them and to which they belong. With the brilliant cooperation of his designer, Ernö Metzner, Pabst has achieved a triumph of studio construction. Life in the mine and the terror of the disaster are translated into film terms that remain unforgettable. No music is used. The noises of the mine, the clanking of chains, metal rubbing against metal, the whirring sounds of lifts—all this brings the strange world of the miner vividly before the spectator. It is a shared and illuminated experience. Pabst’s great humanity shines through the film. Its technical virtuosity is no less. Wagner’s camera catches the light shining in darkness, follows the ravaged, terrified faces. It gives significance to darkness. There is no plot as such. Human relations are hinted at. But the mine disaster leaves us in no doubt as to those relationships: Françoise and her lover; The old man and his grandson; The three German friends. All are people we know, and from the event Pabst creates a richly textured canvas of life and reality. Faces haunt us. The hysterical miner, tap tapping a signal on metal pipe, who hears the guttural sounds of his German rescuer wearing a gasmask; he thinks he is back in the war and hurls himself on his rescuer. Anna dragging her child beside the lorry that carries her husband to the dangers of rescue work. The actors do not play in this film; they are embedded in it. The technical problems of creating movement in a narrow space were superbly overcome, as were the problems of proportioning light in dark areas. But above all it is the great spirit of Pabst that is the real triumph of the film. Sadly, as the miners celebrate their new found friendship—‘‘Why must we cooperate only at times of disaster. Why not every day’’— below ground the brick wall which was smashed to allow the German rescuers through is rebuilt with much official rubber-stamping and exchanging of documents. A new shadow was falling on the German people. —Liam O’Leary KANAL (Canal) Poland, 1957 Director: Andrzej Wajda Production: Film Polski and ZAF; black and white, 35mm; running time: 95 minutes, some sources list 97 minutes; length: 8569 feet. Released April 1957. Filmed 1957 in Poland. Producer: Stanisław Adler; screenplay: Jerzy Stefan Stawiński, from a short story by Jerzy Stawiński; photography: Jerzy Lipman; art directors: Roman Mann and Roman Wołzniec; music: Jan Krenz, ocarina theme by Adam Pawlikowski. Cast: Wieńczysław Gliński (Lt. Zadra); Tadeusz Janczar (Korab); Teresa Izewski (Stokrotka); Emil Karewicz (Madry); Włdysła Sheybal (Composer); Tadeusz Gwiazdowski (Kula); Stanisław Mikulski (Slim); Teresa Berezowska (Halinka); Adam Pawlikowski (German officer). Award: Cannes Film Festival, Special Prize, 1957. Publications Script: Stawinski, Jerzy Stefan, Kanal, in Three Films by Andrzej Wajda, New York, 1973. Books: Rhode, Eric, Tower of Babel: Speculations on the Cinema, New York, 1967. Geduld, Harry M., editor, Film Makers on Filmmaking, Bloomington, Indiana, 1967. McArthur, Colin, editor, Andrzej Wajda: Polish Cinema, London, 1970. Michatek, Boleslaw, The Cinema of Andrzej Wajda, London, 1973. Stoil, Michael Jon, Cinema Beyond the Danube: The Camera and Politics, Metuchen, New Jersey, 1974. Leihm, Mira, and Antonin Liehm, The Most Important Art: East European Film After 1945, Berkeley, 1977. Douin, Jean-Luc, Wajda, Paris, 1981. Paul, David W., editor, Politics, Art, and Commitment in the Eastern European Cinema, New York, 1983. Wajda, Andrzej, Un Cinéma nommé désir, Paris, 1986. Wajda, Andrzej, Wajda on Film: A Master’s Notes, Los Angeles, 1989. Wajda, Andrzej, Double Vision: My Life in Film, New York, 1989. Articles: Wajda, Andrzej, ‘‘Destroying the Commonplace,’’ in Films and Filming (London), November 1961. Higham, Charles, ‘‘Grasping the Nettle: The Films of Andrzej Wajda,’’ in Hudson Review (New York), Autumn 1965. ‘‘Wajda Issue’’ of Etudes Cinématographiques (Paris), no. 69–72, 1968. Hauru, A., ‘‘Kanal—kirottujen tie,’’ in Filmihullu (Helsinki), no. 2, 1979. Holloway, Ronald, in Variety (New York), 5 September 1979. ‘‘Wajda Issue’’ of Avant-Scène du Cinéma (Paris), 1 January 1980. ‘‘Andrzej Wajda,’’ in Village Voice (New York), 20 December 1981. ‘‘Andrzej Wajda,’’ in Current Biography Yearbook, New York, 1982
FILMS. 4 EDITIoN KANAL Kanal Lewis, Clifford, and Carroll Britch, "Andrzej Wajdas War Trilogy commentary which presents the individual characters: "These are the A Retrospective, in Film Criticism(Meadville, Pennsylvania), main heroic tragedies. Watch them closely; these are the last hours of Spring 1986. their lives. It is from this point of view that we see the unfoldin Bukoski, A, "'Wajda's Kanal and Mrozek's Tango, ' in Literature/ story of one group of fighters who are no longer able to hold off the Film Quarterly(Salisbury, Maryland), no. 2, 1992 enemy and must retreat through underground sewers. The film is structured in two parts which differ from one another in heir use of cinematic techniques. The first part is documentary in nature. It acquaints the viewer with the heroes and briefly conveys something of their lot before the Uprising. The follows them Kanal, Andrzej wajdas second film, is based on a story by Jerzy through everyday situations: they prepare their food, shave, make Stefan Stawinski which appeared in the magazine Tworczose. The love, and talk about their loved ones and about their past. The effects events of the story are drawn from the writer's personal experience. of the war are ever present as these apparently everyday moments Stawinski had taken part in two battles for Warsaw, as an 18-year-old occur amid the ruins of the city where not a single house has been left in 1939 and then in the Warsaw Uprising of 1944 standing. The war itself intrudes only with occasional explosions and purposely renounced any possibility of producing an small-scale attacks. This relative quiet is expressed through long exhaustive chronicle of the Uprising or commemorative poem on the takes, tracking shots and the use of only a minimum of detail. The heroic insurgents. His approach to examining this event was different. actual tragedy commences only after the group has withdrawn under From the outset he limited himself to the time in which the story itself ground. There is also a change in the style of representation, which is set. The Uprising lasted 63 days, and he followed his heroes from takes on an expressive eloquence; the lighting changes, there are more the fifty-seventh day, just a few days and nights before the Uprising contrasts of light and dark, the camera focuses on the heroes in detail. was suppressed. Defeat is present in the film from the introductory the sequences of reality alternate with scenes that have symbolic
FILMS, 4 KANAL th EDITION 625 Kanal Lewis, Clifford, and Carroll Britch, ‘‘Andrzej Wajda’s War Trilogy: A Retrospective,’’ in Film Criticism (Meadville, Pennsylvania), Spring 1986. Bukoski, A., ‘‘Wajda’s Kanal and Mrozek’s Tango,’’ in Literature/ Film Quarterly (Salisbury, Maryland), no. 2, 1992. *** Kanal, Andrzej Wajda’s second film, is based on a story by Jerzy Stefan Stawiński which appeared in the magazine Twórczość. The events of the story are drawn from the writer’s personal experience. Stawiński had taken part in two battles for Warsaw, as an 18-year-old in 1939 and then in the Warsaw Uprising of 1944. Wajda quite purposely renounced any possibility of producing an exhaustive chronicle of the Uprising or commemorative poem on the heroic insurgents. His approach to examining this event was different. From the outset he limited himself to the time in which the story itself is set. The Uprising lasted 63 days, and he followed his heroes from the fifty-seventh day, just a few days and nights before the Uprising was suppressed. Defeat is present in the film from the introductory commentary which presents the individual characters: ‘‘These are the main heroic tragedies. Watch them closely; these are the last hours of their lives.’’ It is from this point of view that we see the unfolding story of one group of fighters who are no longer able to hold off the enemy and must retreat through underground sewers. The film is structured in two parts which differ from one another in their use of cinematic techniques. The first part is documentary in nature. It acquaints the viewer with the heroes and briefly conveys something of their lot before the Uprising. The camera follows them through everyday situations: they prepare their food, shave, make love, and talk about their loved ones and about their past. The effects of the war are ever present as these apparently everyday moments occur amid the ruins of the city where not a single house has been left standing. The war itself intrudes only with occasional explosions and small-scale attacks. This relative quiet is expressed through long takes, tracking shots and the use of only a minimum of detail. The actual tragedy commences only after the group has withdrawn underground. There is also a change in the style of representation, which takes on an expressive eloquence; the lighting changes, there are more contrasts of light and dark, the camera focuses on the heroes in detail, the sequences of reality alternate with scenes that have symbolic
KAOS FILMS. 4 EDITIoN ing. A comparison of the two parts brings out the specific use of art director: Francesco Bronzi; costumes: Lina Nerli Taviani, light, and darkness music: Nicola piovani Above ground in the films beginning, the basic component of the soundtrack is the staccato of firearms, while underground the sound Cast: L' Altro figlio(The Other Son): Margarita Lozano(spoken by component is far richer-the distorted voices of the heroes Fiorella Mari)(Mother); Mali di luna(Moon Sickness): Claudio sounds which the viewer is often unable to identify, ever Bigagli (Bata): Enrica Maria Modugno (Sidora): Massimo Bonetti harmonic note of an ocarina. Here. sound has the extra f (Saro): Anna Malvica(Sidora's Mother); La giara(The Jar): Ciccio heightening the drama, for the underground odyssey must take place Ingrassia(Don Lollo): Franco Franchi(Zi Diam); Requiem: Biagio in absolute stillness so that the insurgents do not betray their positions to the germans who are lurking above. Light and shadow play Barone (Salvatore): Salvatore Rossi (Patriarch); Franco Scaldati Father Sarso): Pasquale Spadola(Baron); Colloquio con la madre a similar role. The first part is depicted in light, non-contrasting (Conversing with Mothe shades of grey, while darkness and sharp flashes of light are assigned Regina Bianchi(at"): Omero Antonutti(Luigi Pirandello); the underground sequences. Traditionally, the light/sun is a symbol of hope. For Wajda, the symbol has the opposite meaning, for the fulfilment of longing for light would mean death for the heroes. Therefore, at the conclusion both symbolic meanings-light as good, Publications darkness as threat-fow together and empty into tragedy, both extremes of the light spectrum bring the ineluctable endin Kanal had its Polish premiere in the spring of 1957, the same year Articles it was introduced at the International Festival at cannes where it won a prize. Its reception abroad was decidedly positive, while its appea Variety(New York), 12 September 1984 ance in Poland stirred discussions that included both positive and Coleman, John, in New Statesman(London), 5 October 1984 negative views. The country still had a tragic reminder of the Robinson, David, in Times(London), 5 October 1984 Uprising: people who had been direct participants in this tragedy of Bianco e Nero(rome), October-December 1984. modern history were still living. Their attitude towards the film was Rayns, Tony, in Monthly Film Bulletin(London), November 1984. sometimes too uncompromising: they wanted it to be a literal depic Ranvaud, Don, *"Taking the Centre ground, ' in Monthly Film tion of what they had experienced. However, Wajda could not make Bulletin ( London), November 1984. uch a film. He emphasized his personal approach as a director by Adair, Gilbert, " La tragedia dell'arte, " in Sight and Sound (London), presenting the experiences of a specific group of people whom he Winter 1984-85 divests of heroism but does not condemn, for they chose their fate Wahlstedt, T, in Chaplin(Stockholm), vol. 27, no. 3, 1985 freely and fought not for glory but against bondage and enslavement, Amiel, M, and J Kermabon, in Cinema(Paris), January 1985. and paid the highest price Legrand, Gerard, in Positif(Paris), January 1985 Kanal occupies a crucial position in the Polish cinema. It ushered Martin, Marcel, in Revue du Cinema/lmage et Son(Paris), Janu- in a series of films noted for their sober view of the myths engendered ary 1985 by the war and the Uprising. From this standpoint the film is similar in Philippon, A, in Cahiers du Cinema(Paris), January 1985 function to a declaration of policy Delmas, G, and A. Tournes, Quand la terre est protagonist: Kaos, in Jeune Cinema(Paris), January-February 1985 -B. Urgosik Orto, N, in Cinema Nuovo(Bari), February 1985 Rinieri, D, in Cinematographe(Paris), February 1985 Giguere, A, in Sequences(Montreal), April 1985 Maslin. Janet. in New york Times. 13 October 1985 KAOS Sarris, Andrew, in Village Voice(New York), 18 February 1986. Denby, David, in New York, 24 February 1986. Kael. Pauline. in New Yorker. 10 March 19 Italy. 1984 Listener(London), 27 October 1988 Andrew, Geoff, " Double Takes, in Time Out(London), no 1082 Directors: Paolo Taviani and Vittorio Taviani 15May1991. Tremois. Claude-Marie "Fiorile. Fantomes de la liberte. in telerama Production: Filmtre, for RAl Channel 1; Eastmancolor; running (Paris), no. 2262, 19 May 1993. time: 187 minutes; length: 16, 816 feet. Released 1984 Producer: Giuliani G. De Negri; screenplay: Paolo Taviani, Vittorio Taviani, and Tonino Guerra, from Novelle per un anno by luigi While films are traditionally considered collaborative efforts, few Pirandello: photography: Giuseppe Lanci; editor: Roberto Perpignani; have been so to the extent that two directors have purposefully sound recordist: Sandro Zanon: sound re-recordist: Fausto ancilla initiated collaboration on the same film. Yet the italian directors and 626
KAOS FILMS, 4th EDITION 626 meaning. A comparison of the two parts brings out the specific use of sound, light, and darkness. Above ground in the film’s beginning, the basic component of the soundtrack is the staccato of firearms, while underground the sound component is far richer—the distorted voices of the heroes, dissonant sounds which the viewer is often unable to identify, even a solitary harmonic note of an ocarina. Here, sound has the extra function of heightening the drama, for the underground odyssey must take place in absolute stillness so that the insurgents do not betray their positions to the Germans who are lurking above. Light and shadow play a similar role. The first part is depicted in light, non-contrasting shades of grey, while darkness and sharp flashes of light are assigned to the underground sequences. Traditionally, the light/sun is a symbol of hope. For Wajda, the symbol has the opposite meaning, for the fulfilment of longing for light would mean death for the heroes. Therefore, at the conclusion both symbolic meanings—light as good, darkness as threat—flow together and empty into tragedy; both extremes of the light spectrum bring the ineluctable ending. Kanal had its Polish premiere in the spring of 1957, the same year it was introduced at the International Festival at Cannes, where it won a prize. Its reception abroad was decidedly positive, while its appearance in Poland stirred discussions that included both positive and negative views. The country still had a tragic reminder of the Uprising; people who had been direct participants in this tragedy of modern history were still living. Their attitude towards the film was sometimes too uncompromising; they wanted it to be a literal depiction of what they had experienced. However, Wajda could not make such a film. He emphasized his personal approach as a director by presenting the experiences of a specific group of people whom he divests of heroism but does not condemn, for they chose their fate freely and fought not for glory but against bondage and enslavement, and paid the highest price. Kanal occupies a crucial position in the Polish cinema. It ushered in a series of films noted for their sober view of the myths engendered by the war and the Uprising. From this standpoint the film is similar in function to a declaration of policy. —B. Urgošíkova KAOS Italy, 1984 Directors: Paolo Taviani and Vittorio Taviani Production: Filmtre, for RAI Channel 1; Eastmancolor; running time: 187 minutes; length: 16,816 feet. Released 1984. Producer: Giuliani G. De Negri; screenplay: Paolo Taviani, Vittorio Taviani, and Tonino Guerra, from Novelle per un anno by Luigi Pirandello; photography: Giuseppe Lanci; editor: Roberto Perpignani; sound recordist: Sandro Zanon; sound re-recordist: Fausto Ancillai; art director: Francesco Bronzi; costumes: Lina Nerli Taviani; music: Nicola Piovani. Cast: L’Altro figlio (The Other Son): Margarita Lozano (spoken by Fiorella Mari) (Mother); Mali di luna (Moon Sickness): Claudio Bigagli (Bata); Enrica Maria Modugno (Sidora); Massimo Bonetti (Saro); Anna Malvica (Sidora’s Mother); La giara (The Jar): Ciccio Ingrassia (Don Lollo); Franco Franchi (Zi’ Diam); Requiem: Biagio Barone (Salvatore); Salvatore Rossi (Patriarch); Franco Scaldati (Father Sarso); Pasquale Spadola (Baron); Colloquio con la madre (Conversing with Mother): Omero Antonutti (Luigi Pirandello); Regina Bianchi (Mother). Publications Articles: Variety (New York), 12 September 1984. Coleman, John, in New Statesman (London), 5 October 1984. Robinson, David, in Times (London), 5 October 1984. Bianco e Nero (Rome), October-December 1984. Rayns, Tony, in Monthly Film Bulletin (London), November 1984. Ranvaud, Don, ‘‘Taking the Centre Ground,’’ in Monthly Film Bulletin (London), November 1984. Adair, Gilbert, ‘‘La tragedia dell’arte,’’ in Sight and Sound (London), Winter 1984–85. Wahlstedt, T., in Chaplin (Stockholm), vol. 27, no. 3, 1985. Amiel, M., and J. Kermabon, in Cinéma (Paris), January 1985. Legrand, Gérard, in Positif (Paris), January 1985. Martin, Marcel, in Revue du Cinéma/lmage et Son (Paris), January 1985. Philippon, A., in Cahiers du Cinéma (Paris), January 1985. Delmas, G., and A. Tournes, ‘‘Quand la terre est protagoniste: Kaos,” in Jeune Cinéma (Paris), January-February 1985. Orto, N., in Cinema Nuovo (Bari), February 1985. Rinieri, D., in Cinématographe (Paris), February 1985. Schouten, R., in Skoop (Amsterdam), March-April 1985. Giguere, A., in Séquences (Montreal), April 1985. Maslin, Janet, in New York Times, 13 October 1985. Sarris, Andrew, in Village Voice (New York), 18 February 1986. Denby, David, in New York, 24 February 1986. Kael, Pauline, in New Yorker, 10 March 1986. Listener (London), 27 October 1988. Andrew, Geoff, ‘‘Double Takes,’’ in Time Out (London), no. 1082, 15 May 1991. Trémois, Claude-Marie, ‘‘Fiorile: Fantômes de la liberté,’’ in Télérama (Paris), no. 2262, 19 May 1993. *** While films are traditionally considered collaborative efforts, few have been so to the extent that two directors have purposefully initiated collaboration on the same film. Yet the Italian directors and
FILMS. 4th EDItION KAOS enarists Paolo and Vittorio Taviani, like their older english coun- though, like Pirandello,'s works, contain universal elements that terparts Michael Powell and Emeric Pressburger, have uniquely transcend the superficial quaintness of the stories. created through their writing and directing duality some of the most Of the four tales. "The Other Son. ' ''Moon sickness. ' '"The innovative films of the last decade Jar, and"Requiem, the story of a lonely wife and her husband who Though the brothers began working as a team in the mid-1950s, becomes insane during the full moon, is considered the best. The brief their international fame was not well established until the release of segment before "The Other Son"sets the somber pace of the film and Padre padrone in 1977. Night of the Shooting Stars(1983), coming introduces the signature of the flying crow which is seen throughout after their reputations had grown, was also an international critical the other segments, threading them together. The epilogue complet the cycle with Pirandello himself (played by the Taviani favorite Thus their 1984 film Kaos, loosely adapted by themselves and Omero Antonutti) conversing with his mother about a pleasant Co-writer Tonino Guerra from short stories contained in Luigi Piran- experience from her childhood. llos Novelle per un anno, was chosen to close the 1985 New York Though each segment is filmed in the aesthetic starkness typical of Film Festival. Though it was not a resounding success and was not the Tavianis' work (which might appropriately be labelled"neo-neo generally released in the U.S., some critics ranked it above the Realism), they are peppered with Pirandello's ironic fatalism Taviani's previous works. things are what they are, yet not as they seem; the lines between sanity For Kaos, the Tavianis utilized the infrequently seen compendium and order and chaos and insanity cannot be distinctly drawn. His format, separate short films loosely tied together by a theme or locale. stories reflect characteristics of his reg Kaos, a title taken from the greek word for chaos, which formed the make-up of the characters and their sociological choices can be linguistic root of the name for an area near Pirandello's birthplace in parallelled in any time or age Sicily, consists of four separate stories, a prologue, and an epilogue The Tavianis have taken the currents of the pirandello stories if ach illustrating aspects of Sicilian life. These cinematic folk tales, not their exact content, and elaborated them in a simple, muted style
FILMS, 4 KAOS th EDITION 627 Kaos scenarists Paolo and Vittorio Taviani, like their older English counterparts Michael Powell and Emeric Pressburger, have uniquely created through their writing and directing duality some of the most innovative films of the last decade. Though the brothers began working as a team in the mid-1950s, their international fame was not well established until the release of Padre padrone in 1977. Night of the Shooting Stars (1983), coming after their reputations had grown, was also an international critical success. Thus their 1984 film Kaos, loosely adapted by themselves and co-writer Tonino Guerra from short stories contained in Luigi Pirandello’s Novelle per un anno, was chosen to close the 1985 New York Film Festival. Though it was not a resounding success and was not generally released in the U.S., some critics ranked it above the Taviani’s previous works. For Kaos, the Tavianis utilized the infrequently seen compendium format, separate short films loosely tied together by a theme or locale. Kaos, a title taken from the Greek word for chaos, which formed the linguistic root of the name for an area near Pirandello’s birthplace in Sicily, consists of four separate stories, a prologue, and an epilogue, each illustrating aspects of Sicilian life. These cinematic folk tales, though, like Pirandello’s works, contain universal elements that transcend the superficial quaintness of the stories. Of the four tales, ‘‘The Other Son,’’ ‘‘Moon Sickness,’’ ‘‘The Jar,’’ and ‘‘Requiem,’’ the story of a lonely wife and her husband who becomes insane during the full moon, is considered the best. The brief segment before ‘‘The Other Son’’ sets the somber pace of the film and introduces the signature of the flying crow which is seen throughout the other segments, threading them together. The epilogue completes the cycle with Pirandello himself (played by the Taviani favorite Omero Antonutti) conversing with his mother about a pleasant experience from her childhood. Though each segment is filmed in the aesthetic starkness typical of the Tavianis’ work (which might appropriately be labelled ‘‘neo-neo Realism’’), they are peppered with Pirandello’s ironic fatalism: things are what they are, yet not as they seem; the lines between sanity and order and chaos and insanity cannot be distinctly drawn. His stories reflect characteristics of his region, but the psychological make-up of the characters and their sociological choices can be parallelled in any time or age. The Tavianis have taken the currents of the Pirandello stories, if not their exact content, and elaborated them in a simple, muted style
LA KERMESSE HEROIQUE FILMS. 4 EDITIoN with lingering shots and recurring images. While some critics have ( German), from a story by Charles Spaak; photography: Harry ccasionally found their style too heavy-handed, it blends perfectly Stradling, Louis Page, and Andre Thomas: editor: Jacques Brillouin vith the simple, yet unsettling nature of Pirandello's works sound: Hermann Storr: art directors: Lazare meerson. Alexandre Trauner, and Georges Wakhevitch; music: Louis Beydte: costume designers: Georges K. Benda and J. Muelle; artistic consultant -Patricia King hanson Charles Barrois: history consultant: M. Sterling of the Louvre, technical assistant: Marcel Carne Cast: French version: Louis Jouvet(Chaplain); Francoise Rosay LA KERMESSE HEROIQUE Andre Alerme( Burgomaster: Le we endtiners Fishmonsa: Ginette Burgomaster's wife ); Jean Murat(Duke of Olivares); s wife); Micheline Cheirel(Sisk (Carnival in Flanders) Gaubert (Innkeeper's wife): Marguerite Ducouret (Brewer's wife Bernard Lancret (Jean Breuchel): Alfred Adam(Butcher): Pierre France-Germany, 1935 Labry (Innkeeper); Arthur Devere(Fishmonger): Marcel Carpentier (Baker): Alexandre Darcy(Captain): Claude Sainval (Lieutenant) Delphin (Midget); German version: Wilhelm Holsboer(Chaplin) Director: Jacques Feyder Francoise Rosay(Burgomaster's wife); Paul Hartmann(Duke): Will Dohm(Burgomaster): Charlott Daubert(Siska); Albert Lieven ( ean Production: Film Sonores Tobis distributed through Films Sonor: Breughel); Paul Westermeier(Butcher); Carsta Loegk(Fishmonger's black and white, 35mm; running time: 1 15 minutes. French version wife): Trude Marlen(Innkeeper): Erika Helmke(Baker's wife): Hans released 3 December 1935. Paris: German version released 16 Janu- Henininger(Fishmonger): Wilhelm Gombert(Innkeeper): Heintz ary 1936, Berlin. Filmed June-July and September 1935 in Tobis Forster Ludwig(Baker): Werner Scharf (Ist Spanish Lieutenant) d Epinay-sur-Seine studios(france) Paul Wolka Walker(Midget) Awards: Venice Film Festival, Best Direction, 1936: Le Grand Prix Screenplay: Charles Spaak, adapted by Charles Spaak and Jacques du Cinema Francais, 1936 Feyder, dialogue by Bernard Zimmer(French) and A. Rabenalt Publications Script Spaak, Charles, and others, La Kermesse heroique, in Avant-Scene du Cinema(Paris), May 1963 Books Buzzi. Aldo. La kermesse eroica. Milan. 1945 Feyder, Jacques, and Francoise Rosay, Le Cinema, notre metier, Geneva. 1946 acquis Feyder, ou, le Cinema concret, Brussels, 1949 Paris. 1966 Regent, Roger, " Louis Jouvet, in Anthologie du cinema 5, Paris, 1969 Sadoul, Georges, French Fil. New York, 1972. Barsacq, Leon, Caligari's Cabinet and Other Grand Illusions: A His Ellis, Jack, C, A History of Film, Englewood Cliffs, New Jer- sey,1979. Feyder, Zavattini: Tresors de cinematheque, Perpignan, 1984 New York Times, 23 September 1936
LA KERMESSE HÉROÏQUE FILMS, 4th EDITION 628 with lingering shots and recurring images. While some critics have occasionally found their style too heavy-handed, it blends perfectly with the simple, yet unsettling nature of Pirandello’s works. —Patricia King Hanson LA KERMESSE HÉROÏQUE (Carnival in Flanders) France-Germany, 1935 Director: Jacques Feyder Production: Film Sonores Tobis, distributed through Films Sonor; black and white, 35mm; running time: 115 minutes. French version released 3 December 1935, Paris; German version released 16 January 1936, Berlin. Filmed June-July and September 1935 in Tobis d’Epinay-sur-Seine studios (France). Screenplay: Charles Spaak, adapted by Charles Spaak and Jacques Feyder, dialogue by Bernard Zimmer (French) and A. Rabenalt La Kermesse héroïque (German), from a story by Charles Spaak; photography: Harry Stradling, Louis Page, and André Thomas; editor: Jacques Brillouin; sound: Hermann Storr; art directors: Lazare Meerson, Alexandre Trauner, and Georges Wakhévitch; music: Louis Beydte; costume designers: Georges K. Benda and J. Muelle; artistic consultant: Charles Barrois; history consultant: M. Sterling of the Louvre; technical assistant: Marcel Carné. Cast: French version: Louis Jouvet (Chaplain); Françoise Rosay (Cornelia, the Burgomaster’s wife); Jean Murat (Duke of Olivares); André Alerme (Burgomaster); Lyne Clévers (Fishmonger’s wife); Micheline Cheirel (Siska); Maryse Wendling (Baker’s wife); Ginette Gaubert (Innkeeper’s wife); Marguerite Ducouret (Brewer’s wife); Bernard Lancret (Jean Breuchel); Alfred Adam (Butcher); Pierre Labry (Innkeeper); Arthur Devère (Fishmonger); Marcel Carpentier (Baker); Alexandre Darcy (Captain); Claude Sainval (Lieutenant); Delphin (Midget); German version: Wilhelm Holsboer (Chaplin); Françoise Rosay (Burgomaster’s wife); Paul Hartmann (Duke); Will Dohm (Burgomaster); Charlott Daubert (Siska); Albert Lieven (Jean Breughel); Paul Westermeier (Butcher); Carsta Loegk (Fishmonger’s wife); Trude Marlen (Innkeeper); Erika Helmke (Baker’s wife); Hans Henininger (Fishmonger); Wilhelm Gombert (Innkeeper); Heintz Forster Ludwig (Baker); Werner Scharf (1st Spanish Lieutenant); Paul Wolka Walker (Midget). Awards: Venice Film Festival, Best Direction, 1936; Le Grand Prix du Cinéma Français, 1936. Publications Script: Spaak, Charles, and others, La Kermesse héroïque, in Avant-Scène du Cinéma (Paris), May 1963. Books: Buzzi, Aldo, La kermesse eroica, Milan, 1945. Feyder, Jacques, and Françoise Rosay, Le Cinéma, notre métier, Geneva, 1946. Jacques Feyder, ou, le Cinéma concret, Brussels, 1949. Bachy, Victor, ‘‘Jacques Feyder,’’ in Anthologie du Cinéma 18, Paris, 1966. Bachy, Victor, Jacques Feyder, artisan du cinéma, Louvain, 1968. Régent, Roger, ‘‘Louis Jouvet,’’ in Anthologie du cinéma 5, Paris, 1969. Sadoul, Georges, French Film, New York, 1972. Ford, Charles, Jacques Feyder, Paris, 1973. Barsacq, Léon, Caligari’s Cabinet and Other Grand Illusions: A History of Film Design, New York, 1976. Ellis, Jack, C., A History of Film, Englewood Cliffs, New Jersey, 1979. Feyder; Zavattini; Trésors de cinémathèque, Perpignan, 1984. Articles: New York Times, 23 September 1936. Variety (New York), 30 September 1936