Roberto Rossellini

But anyway, one of the talks about how like Mitsuguchi, oh yeah, it was Ty Gallagher.

He says, like Rossellini, Mitsuguchi gives the illusion that events are occurring beyond his intervention and that he's just trying to film them.

Yeah.

And I brought that up with Rossellini.

I also brought that up with Revett.

who said something very similar where he's like, like, I'm basically trying to create this like world and then, you know, film it from the outside by almost like a documentary, you know, keeping certain aspects of it, et cetera.

It's like where this film becomes a great film, you know, not the more ideological aspects of like loyalty or

anything.

Con dei limiti incredibili.

Ho conosciuto Rossellini.

Mi diceva che loro alla mattina mandavano uno a cercare la pellicola e a secondo quanta pellicola aveva trovato, 30 metri o 50, 300, decidevano cosa girare.

Con 30, 40 metri di pellicola tu al più fai una scena d'amore, un bacio, finito.

L'ispirazione arriva in primo luogo dalla vita e dal mondo che ci circonda.

Lo ha ribadito più volte Renzo Piano durante questo episodio.

Lo sapeva Rossellini quando lavorava coi suoi trenta metri di pellicola scaduta.

E lo sapeva Gianni Berengo Gardin, che si alzava alle cinque per studiare la luce del mattino.

And I believe Billy Wilder had The Lost Weekend.

And we also had a movie from Roberto Rossellini.

So tons of heavy hitters in this festival.

Yeah, and interestingly, most of those things that you named were not among the 11 that tied for the first prize, which was not yet called the Palme d'Or.

And of course, Brief Encounter was that we talked about.

Roberto Rossellini's Rome Open City and Billy Wilder's The Lost Weekend were among those.

But the rest... of these winners were pretty much all movies that I had not heard of and I'm not familiar at all.

One of them, Torment, directed by Alf Sjöberg, was actually written by Ingmar Bergman.

Like they were scared.

You know, Americans, you know, it's, I, I, I've spent a lot of time watching, um, a lot of the Italian New Wave cinema, and one of the beauties of those films, whether it's Rossellini or Fellini or Visconti or any of those directors, they're actually filming in post-war Europe.

That place is bombed to shit, right? I mean, those aren't movie sets, [chuckles] right? That's actually what it looked like.

And when people go to Ground Zero, not anymore, but when they were going to Ground Zero, this is what it looked like.

And, you know, like part of me kind of like bristled at it insofar as, like, it really got under my skin.

I mean, this is kind of how, you know, I wasn't poor like this ever, and I don't, you know, I'm not claiming to have, like, this experience, but, like, you know, we played in the fucking dirt and shit, and, like, there's something about the, you know, like, the looming threat of adulthood that, you know, that's how we opened the film, you know, this, you know, young boy getting kind of, like, lectured by his parents like the US you know fucking step up for your little brother you grab a rock you grab a brick whatever but you defend him yeah no I like the way that this film carries it's um you know of course like I want to point to and and I'm sure I'm fucking sure like if I google that I'm sure that it would come up Like Rossellini or Bicycle Thieves or something that's kind of like, you know, Italian neorealism of just like, here's the world.

And I think it does a really masterful job of like, you know, contriving, of course, through actors and scenes and sets and whatever.

like a mise-en-scene that feels really fucking real um and of course you know the the world isn't um like fully a misery parade though it's like not ideal you know like this um uh this america like there's one there's one needle drop and i think all the needle drops here are so fucking critical the one needle drop about how you know there's this like kind of patriotic you know um idealist like you know uh you know no matter your race color creed or religion it's america and i'm like are we sure about that you know um we sure it's just um the uh rendering of these lives is like aesthetically kind of beautiful in its quietness in its like banality you know the little girl you know listening to music while while you know like holding her doll or like um you know hanging that other little girl hanging the clothes up to dry um um you know, just these, like, these small, like, something like insignificant moments, um, being rendered, and especially in black and white, it has this, like, striking, um, eternal quality to it, um, I think it arrives at this really elegant rendering of, at least in the director's eyes, what life is like for these people at this time.

This may have been the end of the road for Roscoe Fatty Arbuckle, the comedian, and his unprecedented career as an entertainer, but it was just the beginning for Hollywood's scandal.

Just the next year, in 1922, the director William Desmond Taylor was found dead, murdered inside his Los Angeles bungalow.

What followed was a media circus of witnesses and suspects and motives and missing evidence and ultimately no answers.

If Fatty Arbuckle was Hollywood's first great sex scandal, then William Desmond Taylor was its first great murder mystery.

And it's a mystery that remains unsolved to this day.

One of William Desmond Taylor's good friends, the actress Mabel Normand, the last person to see the director alive, was interrogated by the LAPD, but was ultimately eliminated as a suspect in that murder.

Mabel Normand was no stranger to scandal by this time.

She had starred alongside Fatty Arbuckle in some of his films and was a defense witness at his trial.

And they were taking those narratives and fusing it through this post-World War II narrative.

Psyche you know I mean this it is not even 10 years after World War II has ended and they are you know 400 Blows is coming out what 1958 I mean Robert Bresson was making films before that and of course they were looking to the Italian neorealism of Rossellini but Again, it's that fusing it through your own person, your own experience, your own psyche, and saying, this is my story.

This

is what it is to live right now in post-World War II France.

Angela Prudenzi fra poco con me per raccontarvi appunto un po' di, di notizie dietro le quinte su quello che sta succedendo.

E poi chiudia-- ci sarà anche Alessandro Rossellini a parlarci di Viaggio in Italia, il restauro di Rossellini, e poi chiudiamo con il mercato insieme a Carolina, eh, Mancini che è già qui.

Lo sai che fra poco parlerai di mercato in italiano.

Certamente sì.

Tra poco.

Ah.

E gli Oasis, tutti, tutti con-co-colpiti anche positivamente da questo documentario degli Oasis, Miu Miu, Viaggio in Italia di Rossellini, un sacco di cose.

Allora, è arrivato ieri un comunicato stampa a tutti i giornalisti da parte della Biennale, un avviso che dice che fino a cinque minuti dopo l'inizio della proiezione non si può dire una parola sui film.