In October Roberto Galati and I started Film Night in our medieval hamlet Casperia. I was expecting crowds to show up for free films but Roberto knew better. We had about 4 people and turn out has continued to be small unless we turn the night into a potluck dinner party. Then even friends of friends come. We couldn’t publicize our weekly films except by word of mouth, because showing DVDs to a group, even in our own homes, broke intellectual property codes, unless we wanted to pay a stiff tax. Our venue was a beautiful nightspot in the heart of the stone hilltown—elegant, wood-beamed, inviting. But the only other bar owner in town filed a complaint after our first film—why should his competitor get to sell wine and prosecco every Wednesday night, especially when it was against the law to be showing the DVD without proper permission? So for a few more Wednesdays we showed the films in my living room. Then, the senior center let us have their space for a fee of ten euro a night. We had to ask for donations after that. And our several patrons, now used to my living room’s comfortable couches and chairs, complained about the sterile atmosphere in the senior center and also its lack of heat. Some complained about the movie selection, even though we put out a tablet each week asking for suggestions. The tablet is still blank. We were facing the usual ups and downs of running a community activity: low turnout, complaints, and bureaucratic obstacles. But now, into our second semester, the feeling is more relaxed; it’s not upsetting if two people show or our legs start to feel cold an hour into the movie. We’re now just enjoying the movies.
We began in October with contemporary Italian filmmakers, thinking these would lure mainstream moviegoers, but some of the new movies were just terrible, even the ones by known directors such as Mario Muccini and Ferzan Ospetek.
In November, we showed four films from the Commedia dell’Arte genre, three were worth watching and the fourth, Signore and Signori (dir. Germi, 1965) was too sexist for me to enjoy, though it had a crazy energy that took a lot of talent to execute.
In December, we scheduled two by Bertolucci, La Luna and The Conformist, but we couldn’t get hold of the latter so substituted Last Tango in Paris, which was an arresting, throught-provoking art-film but definitely not a good choice for a general audience. I heard shocked exclamations during the viewing.
January and February are devoted to Italy’s Neorealism, a post-World War II genre depicting the poorer segments of society, their tragedy. Bicycle Thief is perhaps best known in the States.
We are now asking for suggestions for a director retrospective for March. I would love to show Jim Jarmusch films, especially as we’ve concentrated on Italian filmmaking so far. Anyone reading this blog is welcome to suggest a retrospective!
The following list is of films worth watching that I’ve encountered during our first year of Serata al Cinema (i.e., some I’ve seen on my own while looking for films for the club). Also I’ll be adding to the list in the months ahead; many newer and “must-see” Italian films have been hard to find in the countryside. It goes without saying that all Bertolucci and Fellini films are worth watching, even the weaker ones, and I won’t be listing all of them here, just a few favorites recently viewed.
New Cinema and the 90s
La Bestia nel Cuore (Don't Tell) (dir. Cristina Comencini, 2005)
Le Chiave del Casa (Keys to the House) (dir. Gianni Amelio, 2004)
Lezioni di Volo (Flying Lessons) (dir. Francesca Archibugi, 2007)
Tutta La Vita Davanti (Her Whole Life Ahead) (dir. Paolo Virzi, 2008)
Factory Girl (dir. Geo. Hickenlooper, 2006)
Malena (dir. Giuseppe Tornatore, 2000)
La Sconosciuta (The Unknown Woman, dir. Tornatore, 2006)
Il Giorno + Bello (dir. Massimo Cappelli, 2006)
Good Morning Night (dir. Marco Bellocchio, 2003)
Io Non Ho Paura (I’m Not Scared) (Gabriele Salvatores, 2003)
La Finistra a Fronte (Facing Windows) (Ozpetek, 2003)
Un Secret (A Secret) (dir. Claude Miller, 2008)
Il Caimano (dir. Nanni Moretti, 2006)
The Son’s Room (2001)
Chaos (dir. Coline Serreau, 2001)
Trainspotting (dir. Danny Boyle, 1996)
Hamam (Sweat) (dir. Ferzan Ozpetek, 1997)
Ferdinand and Carolina (dir. Lina Wertmüller, 1999)
70s and 80s
Enrico IV (dir. Marco Bellocchio, 1984)
Life and Nothing Else (dir. Tavernier, 1989)
Padre Padrone (dir. Taviani Brothers, 1977)
Kaos (1984)
Bicycle Thief (dir. De Sica, 1948
Miracle in Milan (1951)
Umberto D (1952)
Generale della Rovere (1959)
La Strada (dir. Fellini, 1954)
Le Notti Bianche (dir. Visconti, 1957)
Roma Citta Aperta (dir. Rossellini, 1945)
Commedia dell’Arte
Il Sorpasso (dir. Dino Risi, 1963)
Divorce Italian Style (dir. Germi, 1961)
La Grande Guerra (dir. Monicelli, 1959)
Send suggestions!
Gail Spilsbury
Mangiare Bene