Tag Archives: Antonioni

Muerte de un ciclista/ Death of a Cyclist (Juan Antonio Bardem, Spain, 1955)

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 Muerte de un cliclista/Death of a Cyclist is a salutary reminder that even under the most totalitarian of regimes protest is possible. But Juan Antonio Bardem’s triumph is not only due to his making a Communist film at the height of the Franco regime: this film also has a remarkable way of framing the action, quite extraordinary compositions in 4:3 ratio (see below), an evocative use of space, original modes of cutting, and a way of building scenes to daringly extreme close-ups, rhythmically, in a way that conveys all the necessary story information whilst creating tension. It’s not only a landmark in Spanish cinema but a great film tout court.

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Stiking compositions: Maria José hanging from her car, occupying half the frame, whilst a cyclist looks down from the top right hand corner

In his autobiography, Y todavía sigue: Memorias de un hombre de cine,  Bardem insists the film is based on Tolstoy’s Resurrection (p.204). But it bears more than passing similarities to Antonioni’s Cronaca di un amore, which Bardem had by then seen and subsequently acknowledged as an influence: Juan (Alberto Closas) and Maria José (Lucia Bosé) were teenage sweethearts. She left him to marry a richer and more influential industrialist Miguel (Otello Toso) but they’re now once more involved. Returning to Madrid from one of their trysts in the country, they run over a cyclist. They get out of the car to see whether he’s alive and find out he is. But instead of getting help they flee, worried that if others are involved, their affair will be uncovered and their social position ruined.

Back at work, Juan reads in the paper that the cyclist has died. He’s so distraught that he inadvertently fails a female student when she should have passed, a mistake witnessed by great numbers of people in class. What was previously selfishness now becomes murder. At a party, Rafa (Carlos Casaravilla) hints that he knows what’s happened and threatens blackmail. The rest of the film is a combination of tense Hitchcockian thriller, populated by characters suffering from Antonioni-esque ennui and framed in compositions very much influenced by the Italian modernist’s work, and peppered with sequences that owe a debt to Italian neo-realism, particularly in its Spanish variant such as in Surcos. Compare the sequence in Surcos (below) to the one that follows from Muerte de un ciclista.

 

 

The film is an indictment of the Franco regime. The culture depicted is one riddled with corruption. Juan’s brother-in-law is the reason he’s got his post at the University. And he could even be made Dean should he wish to on the basis of this connection. The brother-in-law is satirised giving one of those inflated, smug and florid speeches one so associates with the era. We see the mother who’s had everything in life categorised and measured and has problems understanding that which isn’t. She loves her son, but also understands he doesn’t share her values, not least  her pride in having two sons fallen in the war. We see newsreels as of yore of Maria José, dressing up and looking glam, ostensibly to give money to the poor, whilst we know she let someone die because he was an inconvenience. We’re also shown those in power, like Juan at the university, so careless of those in his charge, he fails his student even without looking at what she’s done and potentially ruins her life. There’s a line spoken by Juan’s sister, at one of those boring cocktail parties that seem to make-up their life, where she jokes that the bracelet Maria José’s husband has given her comes at the cost of a thousand impoverished workers.

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Juan reads the paper whilst his student does her exam

This viewing is the first one I’ve recognised the extent to which the Civil War permeates everything. It’s visible in the bombed out buildings by the tenement flats of the dead cyclist. It’s referred to in conversations with the mother. It’s what interrupted Juan’s love affair with Maria José and gave her the opportunity to marry a richer man. But more importantly, the trenches were Juan fought the war (on the Nationalist side), where he daydreamed of her, are visible from the very place he and Maria José let a poor cyclist die. The culture he fought for, the one his two brothers died to build, is the same one that allows him and his like to walk away from someone they’ve just run over with their car and let die.

It’s interesting that David Melville Wingrove, in an excellent piece for Senses of Cinema,  assumes Juan fought for the Republicans, whilst I assume he fought for the Nationalists. I based the assumption on the his social class, his mother valuing the ‘glory’ of their name and revelling in a particular Nationalist discourse, his ‘fallen’ brothers,  his position at the university, and the knowledge that such a representation of of an ex-Republican combatant would have been unlikely to be permitted representation. It’s worth saying that on his piece on the film in Antología crítica del cine Español, Casimiro Torreiro cites José María García Escudero, ex and future Director General of Spain’s Ministry of Film and Theatre, writing in the pages of Arriba, a Falangist paper, as naming Juan as ‘one of our ex-combattants (un ex-combatiente nuestro).’

Still, I don’t think the side Juan fought on, so important in the history of the Civil War and it’s aftermath, is ever explicitely stated.The fact that he fought in the trenches on the outskirts of Madrid means nothing as the gun could have been facing in either direction. Upon reflection, it might have been left deliberately open: and whatever side one assumes Juan fought in brings interesting, if different, dimensions to his character, and to the story. Seeing him as a Republican would explain his being the ‘black sheep’ of the family; his needing to rely on the patronage of his brother-in-law; his ennui and immobility during much of the film; and his being fired up by the protests. What’s really important in the film is Juan’s acknowledgment that the war is something that affected everybody, that ‘you can blame everything on it’ and the film’s use of it as a context in which Juan must live his existential crisis and begin to take responsibility for his actions.

If in Death of a Cyclist the rich are lazy, bored, corrupt and careless. they’re also made alluring: the men by loving and having a conscience, Maria José by looking so exquisitely beautiful.  The poor are of course victims at the beginning and shown at the end to have the conscience and sense of responsibility the rich lack. The class that comes off worst here is the middle one, those with position, but who have to work for a living, like Rafa, the blackmailing art critic. What is it that the cinema of this period has against critics? They’re either bitchy (All About Eve) or murderous and perverse (Laura)  and why is evil and deviant sexuality so often associated with modern art as here and in Phantom Lady?

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Villainy and modern art: the film makes sure we see a close-up of the painting (which looks like a Miró) before adjusting so that Rafa can enter the frame.

Juan’s unjust and careless failing of Matilde (Bruna Corrà), the young student has resulted in the students protesting against the faculty (see below). This is shown to us through one of the many brilliant cuts in the film, where Rafa’s blackmail scheme has been foiled and in frustration he throws a bottle through the window of the restaurant where they’re all celebrating a wedding. Cut to a similar window being destroyed but this time at the faculty where Juan works as an assistant Professor of Analytic Geometry. The end of the threat of blackmail is thus inter-linked with the student protest. Certainly, Juan sees it as a way out of the ennui and hopelessness he’s been suffering from: ‘isn’t it wonderful?’ he says to Matilde of the protests against him, ‘This selflessness, this unity, this solidarity…your problem — my unfairness — has become their own…They’ve made me feel young and noble and selfless again’.

 

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The student protest, pointedly designated an ‘insurrection,’ is a turning point in the film. From, this point onward, the tragic denouement is set. But let me linger for a moment on the significance of the film’s representation of this uprising. It was of course illegal. And the sight of the students against the army in front of an institutional building (see above) must have been an extraordinary sight in the totalitarian Spain of 1955.  But the critique is built into the very fabric of the film. See for example, how Juan and Maria José’s secret meetings take place in either the circus or the Church, rendering with an equivalence clearly not noticeable to the censors of the time.

Above: We are shown Juan and Maria José (centre) discussing their murder at the circus (left) and with a mass at church in the background, right: both Circus and Church rendered as equivalent ritual distractions and ideal settings for discussions of crime and murder

Once Juan has his consciousness raised and found a purpose for living, the film returns to the noir structure it started with and denies the adulterous couple the happy ending that had in any case begun as an impossibility. The film returns us to the same setting, the place where Juan once fought for the repressive culture he now lives and in and where he dreamed of Maria José. As you can see below at the beginning (image on the left) Maria Jose is running towards Juan who is running after the cyclist. By the end (centre image), in the same setting, she is walking away from him. The distance between the couple is evident in both frames. By the image on the right however, in one of the many beautiful compositions that characterise this film, she’s descended from being the selfish and careless person who runs away from an accident to someone who actively plans to murder.

Rafa is the blackmailer. But as in so many noirs, Maria José is the femme fatale and the true villain of the story. She’s the one who’s driving when they run over the cyclist. The film often deploys unexpected cuts, through her, so as to show the lover when the husband is expected or vice-versa. She’s the one who married for money, avows her love to whichever man she’s with, and tries to hold on to her social position and worldly goods no matter the cost. If Juan changes from pointless ennui to self-liberation inspired by social protest, her trajectory is from that of careless selfishness to outright murder. It is interesting that we see her in newsreels collecting money for charity (see below left) but often, and throughout the film, pictured in, next to, or in font of a bed (see below right). In spite of the film’s left leanings it still hasn’t progressed to the point where it doesn’t blame the woman for everything.

As is shown in every frame visible in this post, the compositions are extraordinary. The other remarkable aspect of the film is the editing, constantly surprising and most effective. In the clip below, for example, note the associative cut, on smoke. Juan exhales the smoke in his bedroom, Maria José blows it away but then we notice that she is not with Juan but in her own bedroom at home, as she leans over, and we’re shown he husband entering the picture. It’s brilliant and one of many examples of unexpected and inventive cuts on action, on things, across people and spaces, even a liberal use of jump cuts.

 

The scene above deserves its own blog post. But I here simply want to show it to you as a way of bringing the discussion of framing, composition, and editing together in an extraordinary scene in which we are shown Rafa telling the husband of his suspicions. The flamenco blocks out the dialogue, the editing rhythmically raises tension. What is being said? How does it affect them? The camera goes from close-ups back to showing the guilty couple in a social setting, the tension builds through the increase in the close-ups, systematically, whilst occasionally returning them and us to the knowledge that their personal drama is being played out in public. It’s a great scene and characteristic of the cinematic brilliance evident throughout this great film.

 

The DVD is available on a great print through Criterion.

 

José Arroyo

L’eclisse in a few words and images

The affair is ended. Money’s made and lost. Empire’s over but colonial relations return as the not-so-repressed oversexed stereotypes, and in black-face. I wish I didn’t love you. I wish I loved you more. But then maybe one shouldn’t love at all. One is fundamentally alone. Even when you have feelings for someone as gorgeous, rich and uncomplicated as Alain Delon, and he’s crazy about you, human relationships are like kissing someone through glass. None of it matters anyway because the Atom bomb will get us all.

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Hasta la vista Paco — The end of the affair.
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Money’s made and lost

 

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Empire’s over but colonial relations return as the not-so-repressed oversexed stereotypes, and in blackface.

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One is fundamentally alone. Human relationships are like kissing someone through glass.
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None of it matters anyway because the atom bomb will get us all

Hanna Leiß has done a wonderful essay on how, ‘Vertical lines in the background of the image composition visually separate the two lovers in each and every shot from each other,’ which can be seen here:

https://mubi.com/notebook/posts/filmadrid-mubi-the-video-essay-l-eclisse-lines

José Arroyo

Cronaca di un amore: A Investigation of a Woman Under Suspicion

 

The first image we see in Cronaca di un amore after the credits is that of a woman in a bathing suit, beautiful alluring (see above. The images are in the order they appear in the film). The first line we hear is ‘The usual story eh’ followed by ‘no, it’s not the usual story. It’s not suspicious. In this case, the lady is faithful’. We’re told of how these photos were taken when she was a student in college. How she had a middle-class upbringing — her father’s a professor– and how she’s now an elegant society woman married to Enrico Fontana (Ferdinando Sarmi), a rich industrialist who owns over twenty companies. Her name is Paola (Lucia Bosé). The husband found that cache of photographs and they made him jealous. He wants to know what kind of a woman he married.What did she do before? What kind of friends did she have? There’s a man in one of the pictures but the picture doesn’t reveal his face. The detectives are charged with finding out her secrets so that the husband may know without asking her.  The husband’s investigations start off the narrative, ironically drive his wife into the arms of that very man in the picture, and drive her to thoughts of murder that the investigation will reveal are not unknown to her. The narrative set-up, like so many investigations of women under suspicion in film, is that of noir, and Paola is the femme fatale.

The clip above is our first sight of Paola in motion. The detective has been digging dirt in her home-town. A girl who we will later find out was Guido’s girlfriend fell in an alevator shaft whilst Guido and Paola were present. Did they do it? They were in love. Is Paola capable of murder? The detective’s digging has brought Guido back to Paola, to warn her. How do you picture a woman potentially capable of murder?  Note how we see her coming out of the opera, draped in white fur, dripping in jewels elegant, beautiful; in one fluid shot that pictures her first with her husband, then her elegant society friends. It’s her birthday she reminds him. Then her gaze wonders left and as the film cuts to show us what she sees, out of the past, framed against an industrial billboard, comes Guido (Massimo Girotti) her old love ,her accomplice; from her former world and from another class. Her whole mood changes. Already in the car she’s lying and manipulating. She’s a beautiful lady with a lot to lose. It’s a magnificent, expressive star entrance. A beautiful woman capable of killing for love and perhaps worth dying for.

 

José Arroyo

 

 

 

 

Cronaca di un amore/The Story of a Love Affair 2

I’ve just seen Antonioni’s Cronaca di un amore, which I found wonderful. But I’ve still to process it. For the time being, I can’t get over the extraordinary beauty of Lucia Bosé in the film and the eye-popping things she’s wearing. The clothes are by Ferdinando Sarmi, whom I’ve never heard of, and probably with good reason. They’re not ‘good’ or ‘original’ designs. But they sure look arresting, expensive and beautiful on Lucia Bosé. The jewels are by Corsi whom I’ve likewise never heard of. The hats are uncredited, which is a good thing as they are ridiculous. Was it Nancy Mitford who asked why a new hat always inspired either titters or violence? Massimo Girotti is the man in the picture and Antonioni does not film him with the same love as Visconti did in Ossessione. So permit me this fan swoon, and I’ll get to the film proper in another post. Screen Shot 2018-06-11 at 19.40.13.png

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José Arroyo

Antonioni’s London in Blow-up

Antonioni’s London in Blow-up  is exciting, artistic, inclusive, open-minded and a bit queer. It’s  full of different kinds of people but with an accent on youth, photography, music, art and fashion. It values old things. Grey cement blocks and old red-brick buildings are the backdrop to new and exciting ways of being with new, more open-minded attitudes to sex that are still anchored in ages-old sexism and in which the pull of a certain kind of realism  is over-ridden by a clash of modernist impulses, conveyed graphically. It’s a place of unsolved murders where mimes cavort, justice is sought,  but alienation dominates, albeit in green spaces. Why do I think this? See below:

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Cement blocks as backdrops to new ways of being

 

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Nuns and Beefeaters (It’s an Italian’s London)

 

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Rolls Royce convertibles against old bric
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Veroushka
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photography, fashion, the thrust of the camera; new sex, old macho posturings

 

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graphic designs; modernist studios rendered from old places
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fashion
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ART
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Queers
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Antiques
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Green parks and smart tayloring
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An old realism for old people suffering from old hardships
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People from all over the world
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Anti-nuke protests for peace
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Vanessa Redgrave
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Murder revealed; murder unsolved.
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Jane Birkin, nude, in a frolicksome threesome
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Sarah Miles, having sex with one but looking at another
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gigs
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Busy streets with cool shops
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Flower power parties
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Drugs
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Old buildings with great views of the Thames
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Mimes playing tennis in green parks
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Alienation in green and pleasant fields.

José Arroyo

Dubbing the voice of Francisco Rabal

IMG_0906 2.jpgWatching so many French gangster films recently has made me aware of how many of these films one thinks of as ‘French’ were actually European co-productions, often with Italy — Maigret tend un piège, Maigret voit rouge, Le tueur — sometimes even with the US: e.g. Le clan des SiciliensI’d not given it much thought until seeing Llanto por un bandido (Carlos Saura, Spain/France/Italy, 1964) which is known as La charge des rebelles in French. I’d bought it as a Lino Ventura film — a mistake, as he’s only in the first twenty minutes or so – and not realising that it was the French version of the celebrated Spanish film Llanto por un bandido.

Seeing it made me realise that the price of hearing Lino Ventura in French was not hearing co-star Lea Massari in Italian, and worst of all, not hearing one of the most glorious and expressive voices in the cinema, the sound of Francoist Spain, not just in its pejorative and critical aspect, but as expressed in that deep hoarse voice, a sound produced by smoke, wine, sun, and the punishment of a lifetime of pronouncing a j with a Castilian accent, the sound of clearing your throat after a cold, the sound of cleansing your respiratory system so you can breathe through all the bullshit of Francoist culture, the sound of pain, and feeling and love too. All of that is missing from the French version. All of that is the sound of Paco Rabal’s voice.

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Paco Rabal’s is the first face we see in Antonioni’s L’eclisse. But it is not his voice we hear

Llanto por un bandido in French makes one weigh aspects of filmmaking. On the one hand, we must be grateful, because without the financing made possible by co-productions, these films might not have been able to be made. On the other hand, the loss of actors’ voices, particularly great actors with great voices, is not negligible.

To make you aware of the price we pay when these voices are erased by co-production agreements, I wanted to show you four distinctive instances of Rabal’s voice, the first in a landmark film of the era, where Rabal plays a radio announcer and sounds like the archetypal one (I’m afraid I could not get sub-titles but listen to the sound); then half a decade later as an embodiment of changes in Spain for Buñuel in Viridiana; much later, in the late 80s,  for Almodóvar in Tie Me Up, Tie Me Down, his voice having deepened and made more expressive with age, and the director making full use of it and also what Rabal then represented for Spanish audiences; in the middle of this period, in 1967, again for Buñuel, this time in Belle du jour but in with Rabal speaking his own broken French, mixing it in with Spanish phrases and adding to the general seedyness of his character, Hyppolite de Murcia. Finally, an exchange with Lino Ventura, where Ventura speaks with his own voice and we realise all that is lost when instead of the sounds we know so well, that voice comes out of Rabal’s mouth, in French. It’s a sadness.

 

Historias de la radio (José Luis Sáenz de Heredia, Spain, 1955)

 

end of Viridiana (Luis Buñuel, Spain/Mexico, 1961)

 

 

Rabal and Abril in Tie Me Up, Tie Me Down (Pedro Almodóvar, 1989)

 

Rabal speaking French with his own voice in Buñuel’s Belle de jour (France/ Italy, 1967)

 

Ventura, Rabal and others in La charge des rebelles (Carlos Saura, Spain/Italy/ France, 1964)

 

****

After writing this post, Melanie Selfe directed me to  a superb piece in Camera Obscura entitled ‘The Name above the (Sub)title: Internationalism, Co-production, and Polyglot European Art Cinema’ (Issue 1.46 pp. 1-44). There, Mark Betz begins by citing Jean-Marie Straub  arguing in 1970 that ‘

Dubbing is not only a technique, it’s also an ideology. In a

dubbed film, there is not the least rapport between what you

see and what you hear. The dubbed cinema is the cinema of

lies, mental laziness and violence, because it gives no space

to the viewer and makes him still more deaf and insensitive.

In Italy, every day the people are becoming more deaf at

an alarming rate.

Betz then roundly refutes that argument and goes on to explore how :

European art films have thus been left free to carry on as

signifiers of stable national cinemas and identities or as gleaming

expressions of their auteur’s vision, somehow not blurred by

the quite specific determinants of cross-national cooperation that

leave their marks everywhere on the film, from its budget to its

shooting locations to its cast to its sound track.

My viewing over the last month highlights all of those marks and substantiates Betz’s arguments and the underlying multi-layered and complex relations that underpin co-productions in general and the art cinema variant in particular.

I’d add also the more personal understanding that, whatever the pleasures of what is gained, here that of the work itself, one always yearns and desires that which one loves and seems lost. For me, in this specific instance, the aspect that relates to sound, and specifically the sound of Paco Rabal’s voice.

 

José Arroyo