FILMS. 4th EDItION IL VANGELO SECONDO MATTEO elderly, rather dignified Frenchwoman(interestingly, her dress ech oes that of a Lutheran pastor), the young David (under the pseudonym Julian West)is Baron von Gunzburg, the films backer, who couldnt act but could wander, perfect for the impersonal, impassive dreamer, vacant, to be impressed upon. Only the sister, Gisele, and her father are professionals. with an essentially passive hero who experiences events-acting as manifestations of the unconscious-Vampyr has something in common with The Cabinet of Dr Caligari(1919) with it's framin story, but there the similarity ends. While Herman Warm was the art t signer of both films, and several scenes in the Danish film are miniscent of the earlier German one, Caligaris expressionism was proper: exaggerated acting, stylised movement and distorted sets, hotographed theatre In his book Transcendental Style, Paul Schrader refers to Vampyr as"an exclusively expressionistic film, without trace of kammerspiel(chamber play"). I dont agree. The Nordic sober-mindedness and"weighty psychological intent"lent itself effectively to several of the latters ingredients: intimate, slow-paced drama, with a deliberate symbolism and rhythm-the four walls of ammerspiel is certainly extended, but there is at times a suffocating intimacy nonetheless. Caligari was theatre, in shards of black and white, but Vampyris filmic in its purest sense, its phenomenal lightin accentuating the otherworldliness, the myriad vague greys, mirroring the dream-states within, blurred, shaded Vampyr combines elements of both expressionism and kammerspiel; Dreyer was no rigid formalist, but experimented successfully with different styles in all of his major works with the last scene combining the doctor stifled by cascades of I Vangelo secondo Matteo flour with the wandering of the two now-less- innocent figures still in nist, out of the nightmare, Jonathan Rosenbaum writes that Dreyer created""an exalted realm where the natural and supernatural, the the by Johann Sebastian Bach, Sergei Sergeevich Prokofiev, Wolfgang sical and the metaphysical, can breathe the same enlightened air Mozart, and Anton Webern; special effects director: Ettore Catallucci costume designer: Danilo Donati. Jane ehrlich Cast: Enrique Irazoqui(Jesus Christ): Margherita Caruso(Mary, as a girl): Susanna Pasolini(Mary, as a woman): Marcello Morante (Joseph): Mario Socrate(John the Baptist); Settimo Di Porto(Peter); IL VANGELO SECONDO MATTEO Otello Sestili (Judas ): Ferruccio Nuzzo(Matthew): Giacomo Morante (John): Alfonso Gatto(Andrew): Enzo Siciliano(Simon): Giorgio Agamben(Philip): Guido Cerretani(Bartholomew): Luigi Barbini CThe Gospel According to St Matthew) (ames, son of Alpheus); Marcello Galdini (James, son of Zebedee): Elio Spaziani(Thaddeus); Rosario Migale(Thomas): Rodolfo wilcock Italy-France, 1964 Caiaphas); Alessandro Tasca(Pontius Pilate): Amerigo Becilacqua (Herod): Francesco Leonetti (Herod Antipas): Franca Cupane (Herodias); Paola Tedesco (Salome): Rossana Di Rocco(Angel); Director: pier paolo pasolini arg(Mary of Bethany ); Renato Terra(A Pharisee): Ennio Maria Salerno( Voice of Production: Arco Film (Italy) and CC F. Lux(Paris): black and Jesus) white, 35mm; running time: 142 minutes; English version is 136 minutes and French version is 130 minutes. Released 1964, Italy Awards: Venice Film Festival, Special Jury Prize: Catholic Film Filmed in Calabria, Lucania, and Puglia(southern Italy).(Note: the Office award. 1964 word""Saint"was used in English version against Pasolini's wishes Producer: Alfredo Bini: executive producer: Manolo Bolognini; Publications screenplay: Pier Paolo Pasolini, from ospel According to St Matthew in the New Testament; photography: Tonino Delli Colli; Script editor: Nino Baragli; sound: Mario Del Pezzo; art director: luigi Scaccianoce:; music: Luis Enriquez Bacalov; other music: selections Pasolini, Pier Paolo, Il Vangelo secondo Matteo, Milan, 1964 1273
FILMS, 4 IL VANGELO SECONDO MATTEO th EDITION 1273 elderly, rather dignified Frenchwoman (interestingly, her dress echoes that of a Lutheran pastor), the young David (under the pseudonym Julian West) is Baron von Gunzburg, the film’s backer, who couldn’t act but could wander, perfect for the impersonal, impassive dreamer, vacant, to be impressed upon. Only the sister, Gisele, and her father are professionals. With an essentially passive hero who experiences events—acting as manifestations of the unconscious—Vampyr has something in common with The Cabinet of Dr. Caligari (1919) with it’s framing story, but there the similarity ends. While Herman Warm was the art designer of both films, and several scenes in the Danish film are reminiscent of the earlier German one, Caligari’s expressionism was proper: exaggerated acting, stylised movement and distorted sets, photographed theatre. In his book Transcendental Style, Paul Schrader refers to Vampyr as ‘‘an exclusively expressionistic film,’’ without a trace of kammerspiel (‘‘chamber play’’). I don’t agree. The Nordic sober-mindedness and ‘‘weighty psychological intent’’ lent itself effectively to several of the latter’s ingredients: intimate, slow-paced drama, with a deliberate symbolism and rhythm—the four walls of kammerspiel is certainly extended, but there is at times a suffocating intimacy nonetheless. Caligari was theatre, in shards of black and white, but Vampyr is filmic in its purest sense, its phenomenal lighting accentuating the otherworldliness, the myriad vague greys, mirroring the dream-states within, blurred, shaded. Vampyr combines elements of both expressionism and kammerspiel; Dreyer was no rigid formalist, but experimented successfully with different styles in all of his major works. With the last scene combining the doctor stifled by cascades of flour with the wandering of the two now-less-innocent figures still in mist, out of the nightmare, Jonathan Rosenbaum writes that Dreyer has created ‘‘an exalted realm where the natural and supernatural, the physical and the metaphysical, can breathe the same enlightened air.’’ —Jane Ehrlich IL VANGELO SECONDO MATTEO (The Gospel According to St. Matthew) Italy-France, 1964 Director: Pier Paolo Pasolini Production: Arco Film (Italy) and C.C.F. Lux (Paris); black and white, 35mm; running time: 142 minutes; English version is 136 minutes and French version is 130 minutes. Released 1964, Italy. Filmed in Calabria, Lucania, and Puglia (southern Italy). (Note: the word ‘‘Saint’’ was used in English version against Pasolini’s wishes.) Producer: Alfredo Bini; executive producer: Manolo Bolognini; screenplay: Pier Paolo Pasolini, from ‘‘The Gospel According to St. Matthew’’ in the New Testament; photography: Tonino Delli Colli; editor: Nino Baragli; sound: Mario Del Pezzo; art director: Luigi Scaccianoce; music: Luis Enriquez Bacalov; other music: selections Il Vangelo secondo Matteo by Johann Sebastian Bach, Sergei Sergeevich Prokofiev, Wolfgang Mozart, and Anton Webern; special effects director: Ettore Catallucci; costume designer: Danilo Donati. Cast: Enrique Irazoqui (Jesus Christ); Margherita Caruso (Mary, as a girl); Susanna Pasolini (Mary, as a woman); Marcello Morante (Joseph); Mario Socrate (John the Baptist); Settimo Di Porto (Peter); Otello Sestili (Judas); Ferruccio Nuzzo (Matthew); Giacomo Morante (John); Alfonso Gatto (Andrew); Enzo Siciliano (Simon); Giorgio Agamben (Philip); Guido Cerretani (Bartholomew); Luigi Barbini (James, son of Alpheus); Marcello Galdini (James, son of Zebedec); Elio Spaziani (Thaddeus); Rosario Migale (Thomas); Rodolfo Wilcock (Caiaphas); Alessandro Tasca (Pontius Pilate); Amerigo Becilacqua (Herod); Francesco Leonetti (Herod Antipas); Franca Cupane (Herodias); Paola Tedesco (Salome); Rossana Di Rocco (Angel); Eliseo Boschi (Joseph of Arimathea); Natalia Ginzburg (Mary of Bethany); Renato Terra (A Pharisee); Enrio Maria Salerno (Voice of Jesus). Awards: Venice Film Festival, Special Jury Prize; Catholic Film Office award, 1964. Publications Script: Pasolini, Pier Paolo, I1 Vangelo secondo Matteo, Milan, 1964
IL VANGELO SECONDO MATTEO FILMS. 4 EDITIoN Orto, N,'n rapporto mito-realta nell,itinerario di Pasolini, in Cinema Nuovo(Bari), November-December 1977 Stack, Oswald, editor, Pasolini on Pasolini, London, 1969 Hahn, L, in Filmkultura(Budapest), November-December 1979. Gervais. Marc. Pier Paolo pasolini. Paris. 1973 Escobar. R ."Pasolini e la dialettica dell'irrealizzabile, in bianco Siciliano, Enzo, Vito di Pasolini, Milan, 1978; as Pasolini: A Bogra e Nero(rome), July-Sept phy, New York, 1982. ll Vangelo secondo Matteo Sectionof Filmkultura(Budapest), Bertini, Antonio, Teoria e tecnica del film in Pasolini, Rome, 1979. March 1986 Snyder, Stephen, Pier Paolo Pasolini, Boston, 1980 Pezzotta, A, ""lo sono una forza del passato, in Filmcritica(Rome), Bergala, Alain, and Jean Narboni, editors, Pasolini cineaste, Paris, 1981 October -November 1988 Gerard, Fabien S, Pasolini; ou, Le Mythe de la barbarie, Brus- Pescatore, G, "La grana del cinema, " "in Cinema& Cinema( Bolo- sels. 1981 gna), January-August 1989 Boarini, Vittorio, and others, Da Accatone a Salo: 120 scritti sul Jorgensen, L N, "Jesus pa film: en balancegang mellem afmagt og cinema di Pier Paolo Pasolini, Bologna, 1982. overmod, in Kosmorama(Copenhagen), vol. 35, no. 187, De Giusti, Luciano, I film di Pier Paolo Pasolini, Rome, 1983 Spring 1989 Carotenuto, Aldo, L'autunno della coscienza: Ricerche psicologiche Douin, Jean-Luc,"Pasolini, touche par la grace/ L'evangile selon su Pier paolo pasolini. Turin. 1985 saint Matthieu. in Telerama(Paris), no 2255, 31 March 1993 Schweitzer, Otto, Pier Paolo Pasolini: Mit Selbstzeugnissen and Beylot, Pierre, "Pasolini, du realisme au mythe, in Cinemaction Bilddokumenten, Hamburg, 1986 ( Conde-sur-Noireau), no. 70, January 1994 Klimke, Cristoph, Kraft der Vergangenheit: Zu Motiven der Filme Castoro Cinema (Milan), no. 166, July/August 1994 on Pier Paolo Pasolini, Frankfurt, 1988 Sitney, P. Adams, Three Filmmakers as Culture Heroes, in Yale Greene. Naomi. Pier Paolo Pasolini. Cinema as Heresy. Prince Review. vol. 82. no. 4. October 1994 on,1990. Beylie, C, " Trois visages du Christ, in Cinemaction( Conde-sur Jewell, Keala, The Poiesis of History: Experimenting with Genre in 3, Postwar Italy, Ithaca, 1992. iano, Maurizio, Certain Realism: Making Use of Pasolini's Film Warren, P, "Le Christ n'est pas a son aise au cinema, in Cinemaction Conde-sur-Noireau), vol. 80, no 3, 1996. Theory and Practice, Berkeley, 1993 Rumble, Patrick, and Bart Testa, Pier Paolo Pasolini: Contemporary Perspectives, Toronto, 1994 Rohdie, Sam, Passion of Pier Paolo Pasolini, Bloomington, 1995 Ward, David, A Poetics of Resistance: Narrative and the Writings of Pier paolo pasolini was one of the most controversial and fascinat- Pier Paolo pasolini. Madison. 1995 ing of modern Italian filmmakers, and his films covered a wide Gordon, Robert S.C, Pasolini: Forms of Subjectivity, Oxford, 1996. variety of subjects and cinematic styles. He once described himself Baranski, Zygmunt G, Pasolini Old and New: Surveys and Studies, appropriately as a pasticheur, one who selected"items, objects and Dublin. 1999 even styles from here and there. A writer, poet, critic, and filmmaker, as well as an avowed Marxist, atheist and homosexual. it is ironic that Articles. Pasolini made what many hailed as"the best life of Jesus Christ ever placed on film. The Gospel According to St Matthew is the exact ussex, Elizabeth, in Sight and Sound (london), winter 1964-65 antithesis of Hollywood-produced biblical spectacles: a stark, aus- Pier Paolo Pasolini: An Epical-Religious View of the World, in tere, realistic, almost documentary re-enactment of the story of Christ Film Quarterly(Berkeley), Summer 1965 Pasolini was drawn to St Matthews Gospel because he found it Kumlien, G. D, in Commonweal(New York), 2 July 1965. rigorous, demanding and absolute"as opposed to Marks version, Blue, James, ' Pier Paolo Pasolini, in Film Comment(New York) which was"too obviously written for people of little education; or Fall 1965 Luke who was" too literary and mellifluous or John who was"too Butcher, Maryanne, "Greatest Story Ever Told . By a Commu- much a mystic to be transmitted visually. " Pasolini chose to use the ist, in Film Comment(New York), Fall 1965 dialogue intact from Matthew, using a"standard Catholic translation Hitchens, Gordon. "pIer Paolo Pasolini and the art of Directing in to avoid polemics, with two exceptions from Isaiah: one where Film Comment(New York), Fall 1965 Christ is walking with the Apostles in Calabria prior to the investiture Jordan, Rene, in Films in Review(New York), January 196( of Peter, and the other where Christ dies. Pasolini was quick to point Walsh, M, in America(New York), 26 February 1966. out that"the whole of Matthew is full of quotes from Isaiah, so I felt Kauffmann, Stanley, in New Republic(New York), 22 March 1966 that was fair enough.” Whitehall, Richard, in Cinema(London), July 1966 This is not to say that Pasolini simply presented a literal translation Bragin,J,"A Conversation in Rome, 'in Film Culture(New York), of Matthews text. His interpretation is a molding of that narrative Fall 1966 with changes in chronology, some omissions, and some inventions, Thomas, John, in Film Society Review(New York ) December 1966. such as his version of Salome's dance. When he first began to shoot Maakaroun, E, in Etudes Cinematographiques ( Paris), no. the film, Pasolini used the same"reverentialcamera technique he 109-111,1976 had used with Accatone, but suddenly realized that approach was Feringer, F.R. in Film Society Review(New York), April 1967 gilding the lily. After just two days, he thought of abandoning the Durgnat, Raymond, in Films and Filming(London), June 1967. project, then opted for a technique comparable to cinema verite, using 1274
IL VANGELO SECONDO MATTEO FILMS, 4th EDITION 1274 Books: Stack, Oswald, editor, Pasolini on Pasolini, London, 1969. Gervais, Marc, Pier Paolo Pasolini, Paris, 1973. Siciliano, Enzo, Vito di Pasolini, Milan, 1978; as Pasolini: A Biography, New York, 1982. Bertini, Antonio, Teoria e tecnica del film in Pasolini, Rome, 1979. Snyder, Stephen, Pier Paolo Pasolini, Boston, 1980. Bergala, Alain, and Jean Narboni, editors, Pasolini cinéaste, Paris, 1981. Gerard, Fabien S., Pasolini; ou, Le Mythe de la barbarie, Brussels, 1981. Boarini, Vittorio, and others, Da Accatone a Salo: 120 scritti sul cinema di Pier Paolo Pasolini, Bologna, 1982. De Giusti, Luciano, I film di Pier Paolo Pasolini, Rome, 1983. Carotenuto, Aldo, L’autunno della coscienza: Ricerche psicologiche su Pier Paolo Pasolini, Turin, 1985. Schweitzer, Otto, Pier Paolo Pasolini: Mit Selbstzeugnissen und Bilddokumenten, Hamburg, 1986. Klimke, Cristoph, Kraft der Vergangenheit: Zu Motiven der Filme von Pier Paolo Pasolini, Frankfurt, 1988. Greene, Naomi, Pier Paolo Pasolini: Cinema as Heresy, Princeton, 1990. Jewell, Keala, The Poiesis of History: Experimenting with Genre in Postwar Italy, Ithaca, 1992. Viano, Maurizio, Certain Realism: Making Use of Pasolini’s Film Theory and Practice, Berkeley, 1993. Rumble, Patrick, and Bart Testa, Pier Paolo Pasolini: Contemporary Perspectives, Toronto, 1994. Rohdie, Sam, Passion of Pier Paolo Pasolini, Bloomington, 1995. Ward, David, A Poetics of Resistance: Narrative and the Writings of Pier Paolo Pasolini, Madison, 1995. Gordon, Robert S.C., Pasolini: Forms of Subjectivity, Oxford, 1996. Bara’nski, Zygmunt G., Pasolini Old and New: Surveys and Studies, Dublin, 1999. Articles: Sussex, Elizabeth, in Sight and Sound (London), Winter 1964–65. ‘‘Pier Paolo Pasolini: An Epical-Religious View of the World,’’ in Film Quarterly (Berkeley), Summer 1965. Kumlien, G. D., in Commonweal (New York), 2 July 1965. Blue, James, ‘‘Pier Paolo Pasolini,’’ in Film Comment (New York), Fall 1965. Butcher, Maryanne, ‘‘Greatest Story Ever Told . . . By a Communist,’’ in Film Comment (New York), Fall 1965. Hitchens, Gordon, ‘‘Pier Paolo Pasolini and the Art of Directing,’’ in Film Comment (New York), Fall 1965. Jordan, Rene, in Films in Review (New York), January 1966. Walsh, M., in America (New York), 26 February 1966. Kauffmann, Stanley, in New Republic (New York), 22 March 1966. Whitehall, Richard, in Cinema (London), July 1966. Bragin, J., ‘‘A Conversation in Rome,’’ in Film Culture (New York), Fall 1966. Thomas, John, in Film Society Review (New York), December 1966. Maakaroun, E., in Etudes Cinématographiques (Paris), no. 109–111, 1976. Feringer, F. R., in Film Society Review (New York), April 1967. Durgnat, Raymond, in Films and Filming (London), June 1967. Orto, N., ‘‘Il rapporto mito-realta nell’itinerario di Pasolini,’’ in Cinema Nuovo (Bari), November-December 1977. Hahn, I., in Filmkultura (Budapest), November-December 1979. Escobar, R., ‘‘Pasolini e la dialettica dell’irrealizzabile,’’ in Bianco e Nero (Rome), July-September 1983. ‘‘Il Vangelo secondo Matteo Section’’ of Filmkultura (Budapest), March 1986. Pezzotta, A., ‘‘Io sono una forza del passato,’’ in Filmcritica (Rome), October-November 1988. Pescatore, G., ‘‘La grana del cinema,’’ in Cinema & Cinema (Bologna), January-August 1989. Jorgensen, L.N., ‘‘Jesus pa film: en balancegang mellem afmagt og overmod,’’ in Kosmorama (Copenhagen), vol. 35, no. 187, Spring 1989. Douin, Jean-Luc, ‘‘Pasolini, touché par la grâce/ L’évangile selon saint Matthieu,’’ in Télérama (Paris), no. 2255, 31 March 1993. Beylot, Pierre, ‘‘Pasolini, du réalisme au mythe,’’ in Cinemaction (Conde-sur-Noireau), no. 70, January 1994. Castoro Cinema (Milan), no. 166, July/August 1994. Sitney, P. Adams, ‘‘Three Filmmakers as Culture Heroes,’’ in Yale Review, vol. 82, no. 4, October 1994. Beylie, C., ‘‘Trois visages du Christ,’’ in Cinemaction (Conde-surNoireau), vol. 80, no. 3, 1996. Warren, P., ‘‘Le Christ n’est pas a son aise au cinema,’’ in Cinemaction (Conde-sur-Noireau), vol. 80, no. 3, 1996. *** Pier Paolo Pasolini was one of the most controversial and fascinating of modern Italian filmmakers, and his films covered a wide variety of subjects and cinematic styles. He once described himself appropriately as a pasticheur, one who selected ‘‘items, objects and even styles from here and there.’’ A writer, poet, critic, and filmmaker, as well as an avowed Marxist, atheist, and homosexual, it is ironic that Pasolini made what many hailed as ‘‘the best life of Jesus Christ ever placed on film.’’ The Gospel According to St. Matthew is the exact antithesis of Hollywood-produced biblical spectacles: a stark, austere, realistic, almost documentary re-enactment of the story of Christ. Pasolini was drawn to St. Matthew’s Gospel because he found it ‘‘rigorous, demanding and absolute’’ as opposed to Mark’s version, which was ‘‘too obviously written for people of little education’’; or Luke who was ‘‘too literary and mellifluous’’; or John who was ‘‘too much a mystic to be transmitted visually.’’ Pasolini chose to use the dialogue intact from Matthew, using a ‘‘standard Catholic translation to avoid polemics,’’ with two exceptions from Isaiah: one where Christ is walking with the Apostles in Calabria prior to the investiture of Peter, and the other where Christ dies. Pasolini was quick to point out that ‘‘the whole of Matthew is full of quotes from Isaiah, so I felt that was fair enough.’’ This is not to say that Pasolini simply presented a literal translation of Matthew’s text. His interpretation is a molding of that narrative with changes in chronology, some omissions, and some inventions, such as his version of Salome’s dance. When he first began to shoot the film, Pasolini used the same ‘‘reverential’’ camera technique he had used with Accatone, but suddenly realized that approach was ‘‘gilding the lily.’’ After just two days, he thought of abandoning the project, then opted for a technique comparable to cinéma vérité, using
FILMS. 4th EDItION VARIETE a hand-held camera and zoom shots to create a documentary-like photography: Karl Freund; production designer: Oscar F. Werndortf; music: Erno Rappdee For the physical background of the film, Pasolini used the impo erished landscape and villages of southern Italy, which he found to b Cast: Emil Jannings(Boss Huller): Lya de Putti(Berthe-Marie analogous to those of Palestine where he had visited prior to making Wa the film. For the background music. he chose an electric combination (Sailor); erron( Docker); Paul Rehkopf: Charles Lincoln that complimented his unorthodox approach to the film as a whole. (Actor) The major contribution to the successful sense of realism was his use of non-professionals as actors. On many occasions Pasolini had said,"I choose actors because of what they are as human beings, not publications because of what they can do . I steal from them; I use their reality He particularly wanted no recognizable stars doing cameo turns i Books this interpretation of Christs story, so his actors came from various alks of life. "Judas is a Roman truck driver, "he said. "The Virgin Mitry, Jean, Emil Jannings, Paris, 1927. Mary is my mother. Joseph is a lawyer and John the Baptist is a poet. Moussinac, Leon, Panoramique du Cinema, Paris, 1929. I pick them for what they are; I ask them to play themselves. Jacobs, Lewis, The Rise of the American Film, New York, 1939 Likewise, for the pivotal role of Jesus christ, Pasolini selected Kracauer, Siegfried, From Caligari to Hitler: A Psychological His- Enrique Irazoqui, a student from Barcelona who was visiting Rome ory of the german Film, Princeton, 1947 His voice was then dubbed in Italian by Enrico Maria Salerno Arnheim Rudolf, Film as Art, Berkeley, 1957. Pasolini set out to create a"purely poetical and natural, non- Eisner, Lotte, The Haunted Screen, Berkeley, 1969 denominational'"version of the life of Christ and, despite his reputa- Manvell, Roger, and Heinrich Fraenkel, The German Cinema, Ne tion as a Marxist and atheist, the critical reception was highly York. 1971 favorable, with claiming it to be the finest biblical film ever Klinowski, Jacek, and Adam Garbicz, editors, Cinema, The Magic made. Especially cited were the wonderful faces of the non-actors and Vehicle: A Guide to Its Achievement: Journey One: The Cinema Pasolini's pictorial recreation of tableaux inspired by the works of Through 1949, Metuchen, New Jersey, 1975. such painters as Botticelli, Rouault, Masaccio, and Piero della Francesca. Monaco, Paul, Cinema and Society: France and Germany during the As a self-proclaimed non-believer, Pasolini had castigated the Twenties. New York, 1976. dying Pope Pius XIl, and stated later that had Pius lived three or four Bretschneider, Jurgen, Ewald Andre Dupont: Autor und Regisseur, more years he would never have been allowed to make this film. In atitude for the new climate brought about by the new pope, The Gospel According to St Matthew is dedicated to"the dear, familiar Articles memory of John XXIlL. New york times. 28 June 1926 -Ronald bowers Variety(New York), 30 June 1926 New Republic(New York), 28 July 1926 Leprohon, Pierre, ' Le Cinema allemand, in Rouge et le Noir THE VANISHING Potamkin, Harry, The Rise and Fall of the German Film, Cinema, April 1930 ee spoorloos Crisler, B. C, "The Friendly Mr. Freund, 'in New York Times, 21 November 1937 Luft, Herbert, " Karl Freund, in Films in Review(New York) February 1963 VARIETE Deschner, Donald, Karl Freund, in Cinema(Beverley Hills), (Variety) Truscott, Harold, Emil Jannings-A Personal View, in Silent Picture(London), Autumn 1970 Luft, Herbert, "E A Dupont, 1891-1956, in Anthologie du Cinem Germany, 1925 6. Paris. 197 Combs, Richard, in Monthly Film Bulletin(London), July 1979 Director: E. A Dupont Magill's Survey of Cinema: Silent Films, Englewood Cliffs, New Jersey, 1982. Production ersum-Film-Aktiengesellschaft(Ufa); black an white. 35mm. silent: length: 2844 meters. Producer: Erich Pommer: screenplay: Leo Birinski and E.A Variety is one of the most significant films of the silent era, a work Dupont, from the novel Der Eid des Stefan Hullerby Felix Hollande of technical expertise that liberated the stationary camera. It is
FILMS, 4 VARIETE th EDITION 1275 a hand-held camera and zoom shots to create a documentary-like realism. For the physical background of the film, Pasolini used the impoverished landscape and villages of southern Italy, which he found to be analogous to those of Palestine where he had visited prior to making the film. For the background music, he chose an electric combination that complimented his unorthodox approach to the film as a whole. The major contribution to the successful sense of realism was his use of non-professionals as actors. On many occasions Pasolini had said, ‘‘I choose actors because of what they are as human beings, not because of what they can do . . . I steal from them; I use their reality.’’ He particularly wanted no recognizable stars doing cameo turns in this interpretation of Christ’s story, so his actors came from various walks of life. ‘‘Judas is a Roman truck driver,’’ he said. ‘‘The Virgin Mary is my mother. Joseph is a lawyer and John the Baptist is a poet. I pick them for what they are; I ask them to play themselves.’’ Likewise, for the pivotal role of Jesus Christ, Pasolini selected Enrique Irazoqui, a student from Barcelona who was visiting Rome. His voice was then dubbed in Italian by Enrico Maria Salerno. Pasolini set out to create a ‘‘purely poetical and natural, nondenominational’’ version of the life of Christ and, despite his reputation as a Marxist and atheist, the critical reception was highly favorable, with some claiming it to be the finest biblical film ever made. Especially cited were the wonderful faces of the non-actors and Pasolini’s pictorial recreation of tableaux inspired by the works of such painters as Botticelli, Rouault, Masaccio, and Piero della Francesca. As a self-proclaimed non-believer, Pasolini had castigated the dying Pope Pius XII, and stated later that had Pius lived three or four more years he would never have been allowed to make this film. In gratitude for the new climate brought about by the new pope, The Gospel According to St. Matthew is dedicated to ‘‘the dear, familiar memory of John XXIII.’’ —Ronald Bowers THE VANISHING See SPOORLOOS VARIETE (Variety) Germany, 1925 Director: E. A. Dupont Production: Universum-Film-Aktiengesellschaft (Ufa); black and white, 35mm, silent; length: 2844 meters. Producer: Erich Pommer; screenplay: Leo Birinski and E. A. Dupont, from the novel Der Eid des Stefan Huller by Felix Holländer; photography: Karl Freund; production designer: Oscar F. Werndorff; music: Ernö Rappdée. Cast: Emil Jannings (Boss Huller); Lya de Putti (Berthe-Marie); Warwick Ward (Artinelli); Maly Delschaft (Boss’s wife); Georg John (Sailor); Kurt Gerron (Docker); Paul Rehkopf; Charles Lincoln (Actor). Publications Books: Mitry, Jean, Emil Jannings, Paris, 1927. Moussinac, Leon, Panoramique du Cinéma, Paris, 1929. Jacobs, Lewis, The Rise of the American Film, New York, 1939. Kracauer, Siegfried, From Caligari to Hitler: A Psychological History of the German Film, Princeton, 1947. Arnheim Rudolf, Film as Art, Berkeley, 1957. Eisner, Lotte, The Haunted Screen, Berkeley, 1969. Manvell, Roger, and Heinrich Fraenkel, The German Cinema, New York, 1971. Klinowski, Jacek, and Adam Garbicz, editors, Cinema, The Magic Vehicle: A Guide to Its Achievement: Journey One: The Cinema Through 1949, Metuchen, New Jersey, 1975. Monaco, Paul, Cinema and Society: France and Germany during the Twenties, New York, 1976. Bretschneider, Jürgen, Ewald André Dupont: Autor und Regisseur, Munich, 1992. Articles: New York Times, 28 June 1926. Variety (New York), 30 June 1926. New Republic (New York), 28 July 1926. Leprohon, Pierre, ‘‘Le Cinéma allemand,’’ in Rouge et le Noir (Paris), July 1928. Potamkin, Harry, ‘‘The Rise and Fall of the German Film,’’ in Cinema, April 1930. Crisler, B. C., ‘‘The Friendly Mr. Freund,’’ in New York Times, 21 November 1937. Luft, Herbert, ‘‘Karl Freund,’’ in Films in Review (New York), February 1963. Deschner, Donald, ‘‘Karl Freund,’’ in Cinema (Beverley Hills), no. 4, 1969. Truscott, Harold, ‘‘Emil Jannings—A Personal View,’’ in Silent Picture (London), Autumn 1970. Luft, Herbert, ‘‘E. A. Dupont, 1891–1956,’’ in Anthologie du Cinéma 6, Paris, 1971. Combs, Richard, in Monthly Film Bulletin (London), July 1979. Magill’s Survey of Cinema: Silent Films, Englewood Cliffs, New Jersey, 1982. *** Variety is one of the most significant films of the silent era, a work of technical expertise that liberated the stationary camera. It is
VARIETE FILMS. 4 EDITIoN a stunning example of montage, with overlapping dissolves perfectly There is also a superior use of subjective camera, allowing the executed-prior to the invention of the optical printing proc audience to be involved in the action. As an acrobat plunges to his The storyline of Variety is standard: on one level, the film is just death, the camera drops from a high wire directly into the faces of the a predictable melodrama, with characters who are more types than collectively frightened members of the audience. Dramatic tension is three-dimensional personalities. Middle-aged trapeze artist Emil enhanced by low-angle shots, and multiple exposures Jannings leaves wife and child for a younger woman. He is cuckolded While directing a season of vaudeville in Mannheim, E. A Dupont and later jailed for murdering her lover. The scenario unravels in was summoned by Erich Pommer to the UFA studio to direct Variety flashback, as Jannings tells the warden his tragedy. (This character is Originally, F. w. Murnau was set to make the film but, according to a sexual victim, a fate shared by Professor Unrath in The Blue Angel Freund, Pommer felt he lacked the appropriate passion for the project. and August Schiller in The Way of All Flesh-roles also played by Dupont had originally wanted to shoot the film utilizing mostly compositional shots; it was Freund's input that convinced the filmmaker In Variety, the ordinary becomes the extraordinary in that the film to perfect the method that made Variety so extraordinary. In this a technical tour de force, highlighted by exceptional editing and regard, Variety is as much a work of art by Karl Freund as E.A unusually striking camera movements and angles. Cinematographer Dupont. The cinematographer was a master of lighting and move- Karl Freund's camera is fiexible. He even sets it on a trapeze, ment: he had also shot The Last Laugh for Murnau(also starring photographing from a swinging position the actors'expressions of Jannings), Metropolis for Fritz Lang, and later such Hollywood ings. The camera becomes the conscience of the characters, who classics as Dracula, Camille, The Good Earth, Pride and prejudice, in a world of phoney glamor, two-bit circuses and decadent and Key largo. Variety breaks away from the Expressionist cinema music halls, and, finally, in the case of Jannings, a cheerless prison. then popular in Germany, and can be seen as the official starting point As the scenario unravels, the cutting from shot to shot suggests the of an era that became increasingly characterized by realism. But the changes in their points of view characters still exist in a quite unreal environment. The film is 1276
VARIETE FILMS, 4th EDITION 1276 Variete a stunning example of montage, with overlapping dissolves perfectly executed—prior to the invention of the optical printing process. The storyline of Variety is standard: on one level, the film is just a predictable melodrama, with characters who are more types than three-dimensional personalities. Middle-aged trapeze artist Emil Jannings leaves wife and child for a younger woman. He is cuckolded and later jailed for murdering her lover. The scenario unravels in flashback, as Jannings tells the warden his tragedy. (This character is a sexual victim, a fate shared by Professor Unrath in The Blue Angel and August Schiller in The Way of All Flesh—roles also played by Jannings.) In Variety, the ordinary becomes the extraordinary in that the film is a technical tour de force, highlighted by exceptional editing and unusually striking camera movements and angles. Cinematographer Karl Freund’s camera is flexible. He even sets it on a trapeze, photographing from a swinging position the actors’ expressions of feelings. The camera becomes the conscience of the characters, who exist in a world of phoney glamor, two-bit circuses and decadent music halls, and, finally, in the case of Jannings, a cheerless prison. As the scenario unravels, the cutting from shot to shot suggests the changes in their points of view. There is also a superior use of subjective camera, allowing the audience to be involved in the action. As an acrobat plunges to his death, the camera drops from a high wire directly into the faces of the collectively frightened members of the audience. Dramatic tension is enhanced by low-angle shots, and multiple exposures. While directing a season of vaudeville in Mannheim, E. A. Dupont was summoned by Erich Pommer to the UFA studio to direct Variety. Originally, F. W. Murnau was set to make the film but, according to Freund, Pommer felt he lacked the appropriate passion for the project. Dupont had originally wanted to shoot the film utilizing mostly compositional shots; it was Freund’s input that convinced the filmmaker to perfect the method that made Variety so extraordinary. In this regard, Variety is as much a work of art by Karl Freund as E. A. Dupont. The cinematographer was a master of lighting and movement: he had also shot The Last Laugh for Murnau (also starring Jannings), Metropolis for Fritz Lang, and later such Hollywood classics as Dracula, Camille, The Good Earth, Pride and Prejudice, and Key Largo. Variety breaks away from the Expressionist cinema then popular in Germany, and can be seen as the official starting point of an era that became increasingly characterized by realism. But the characters still exist in a quite unreal environment. The film is
FILMS. 4th EDItION ELⅤ ERDUGO ological drama, with action based not on externals but Variety was an international hit; particularly in the United States, the film was both a critical and commercial smash. Most significant of 图 all, it served as a model for an entire generation of filmmakers -Rob edelman Ⅴ ENGEANCE IS MINE See FuKUsHu sUru WA Ware Ni ari EL VERDUGO (Not on Your Life) Italy-Spain, 1964 Director: Luis Garcia Berlanga Production: Naga Films (Italy) and Zebra Films(Spain): black white, 35mm; running time: 1 10 minutes, English version is minutes. Released February 1964, Madrid. El verdugo Screenplay: Luis Garcia Berlanga, Rafael Azcona, and Ennio Flaiano Deneroff, Harvey, in Film Society Review(New York), April 1966 photography: Tonino Delli Conti; editor: Alfonso Santacana; art Hernandez, J, ""Luis Berlanga aujourd et hier, "in Jeune Cinema director: Jose Antonio de la Guerra; music: Miguel Asins-Arbo ( Paris), April-May 1979 Guarnier, Jose Luis, Luis G. Berlanga, in International Fill Cast: Nino Manfredi(Jose Luis ) Emma Penella(Carmen): Jose luis Guide 1981, London, 19 Lopez Vasquez (Antonio ): Angel Alvarez (Alvarez); Jose Isbert Kovacs, K.S., ""Berlanga Life Size, in Quarterly Review of Film (Amedeo); Maria Luisa Ponte(Stefania): Guido Alberti(Govemorof Studies(New York), Spring Prison): Maruja Isbert (Ignazia): Felix Fernandez (lst Sacristan) ambau, Esteve, " Une Chronique noir sur le franquisme: El Verduge Alfredo Landa(2nd Sacristan): Jose Luis Coll(Organist) Cahiers de la cinematheque(Perpignan), winter 1984 Bagh, P. von,""'Pyoveli, in Filmihullu( Helsinki), no. 6, 199 Le bourreau (el verdugo), in a special issue of Avant-Scene du Publications Cinema(Paris), no 465, October 1997. Books Galan, Diego, Carta abierta a Berlanga, Huelva, 1978 El verdugo was the eighth feature film written and directed by Inga, Victoria, 1979 Perez Perucha, Julio, Sobre Luis G. Berlanga, Valencia 1980 Rafael Azcona. The story pivots upon the fate of a pleasant, if Hopewell, John, Out of the Past: Spanish Cinema after franco somewhat timid, young undertaker whose dream is to go to Germany London 1987 and become a mechanic. This dream is thwarted when he happens to meet the executioner in a prison where both of them are plying their trade. In spite of the aversion that the young man(and everyone else) feels for the executioner, he not only ends up marrying the execu- tioners daughter, but even takes over his father-in-laws business. Cobos, J, The Face of'63-Spain, in Films and Filming(Lon El verdugo is a farce or domestic comedy filled with macabre don), October 1963 touches and es of black humor in which the taboos associated Durgnat, Raymond, in Films and Filming(London), November 1965 with death are transgressed. Even the actual mode of execute
FILMS, 4 EL VERDUGO th EDITION 1277 a psychological drama, with action based not on externals but thoughts and feelings. Variety was an international hit; particularly in the United States, the film was both a critical and commercial smash. Most significant of all, it served as a model for an entire generation of filmmakers. —Rob Edelman VENGEANCE IS MINE See FUKUSHU SURU WA WARE NI ARI EL VERDUGO (Not on Your Life) Italy-Spain, 1964 Director: Luis García Berlanga Production: Naga Films (Italy) and Zebra Films (Spain); black and white, 35mm; running time: 110 minutes, English version is 90 minutes. Released February 1964, Madrid. Screenplay: Luis García Berlanga, Rafael Azcona, and Ennio Flaiano; photography: Tonino Delli Conti; editor: Alfonso Santacana; art director: José Antonio de la Guerra; music: Miguel Asins-Arbo. Cast: Nino Manfredi (José Luis); Emma Penella (Carmen); José Luis López Vásquez (Antonio); Angel Alvarez (Alvarez); José Isbert (Amedeo); María Luisa Ponte (Stefania); Guido Alberti (Governor of Prison); Maruja Isbert (Ignazia); Félix Fernández (1st Sacristan); Alfredo Landa (2nd Sacristan); José Luis Coll (Organist). Publications Books: Galan, Diego, Carta abierta a Berlanga, Huelva, 1978. Santolaya, Ernesto, Luis G. Berlanga, Victoria, 1979. Pérez Perucha, Julio, Sobre Luis G. Berlanga, Valencia 1980. Hopewell, John, Out of the Past: Spanish Cinema after Franco, London, 1987. Articles: Cobos, J., ‘‘The Face of ‘63—Spain,’’ in Films and Filming (London), October 1963. Durgnat, Raymond, in Films and Filming (London), November 1965. El Verdugo Deneroff, Harvey, in Film Society Review (New York), April 1966. Hernandez, J., ‘‘Luis Berlanga aujourd’hui et hier,’’ in Jeune Cinéma (Paris), April-May 1979. Guarnier, José Luis, ‘‘Luis G. Berlanga,’’ in International Film Guide 1981, London, 1982. Kovacs, K. S., ‘‘Berlanga Life Size,’’ in Quarterly Review of Film Studies (New York), Spring 1983. Riambau, Esteve, ‘‘Une Chronique noir sur le franquisme: El Verdugo,’’ in Cahiers de la Cinémathèque (Perpignan), Winter 1984. Bagh, P. von, ‘‘Pyoveli,’’ in Filmihullu (Helsinki), no. 6, 1995. ‘‘Le bourreau (El verdugo),’’ in a special issue of Avant-Scène du Cinéma (Paris), no. 465, October 1997. *** El verdugo was the eighth feature film written and directed by Luis García Berlanga in collaboration with his longtime associate, Rafael Azcona. The story pivots upon the fate of a pleasant, if somewhat timid, young undertaker whose dream is to go to Germany and become a mechanic. This dream is thwarted when he happens to meet the executioner in a prison where both of them are plying their trade. In spite of the aversion that the young man (and everyone else) feels for the executioner, he not only ends up marrying the executioner’s daughter, but even takes over his father-in-law’s business. El verdugo is a farce or domestic comedy filled with macabre touches and scenes of black humor in which the taboos associated with death are transgressed. Even the actual mode of execution is the