Five days into Bologna and a late start this morning with William K Howard’s Transatlantic at 11.45.
The relentless heat was given a short reprieve yesterday with a couple of welcome showers during the day that saw couples with toddlers and folks with dogs in equal numbers out in the shade of lovely local parks like the September 4, which sits felicitously behind the Cineteca complex just down from our apartment and the other main cinemas. It was here yesterday that we saw the 90 odd minute mega reel of outtakes for Vigo’s sublime L’Atalante curated and narrated in French by Bernard Eisenschitz. The material is compelling and life affirming to those of us who regard the movie as something so unique in the history of cinema. Most of the outtake footage is without sound, but dame fortune left the audio intact for four single complete takes, each shot from a different angle and POV without any cutting of the young street peddler with his enchanting junk wares who sings Maurice Jaubert’s crazy Little “Peddler’s Complaint”. It’s seeing material like this with a near packed house that makes the whole Bologna enterprise worthwhile, notwithstanding the cruel late June heat, which one is tempted to call Le chaleur qui ne Passe jamais, with deference to Nounes, L’Atalante’s producer.
Several other movies of moment. A real doozey of a new 4k DCP of Hawk’s Scarface from Universal. And the chronological first of several Mexican 30s pictures from a cycle of pre Independence era subjects, from Fernando de Fuentes, El Compadre Mendoza from 1932. Here’s a fully realized work of both narrative certainty and highly sophisticated mise en scene with intricatlely framed and lit two shots which take the weight of unspoken narrative transitions with purely visual cadencing. Fuentes is a major find for me.
|Paul Muni, Ann Dvorak, Scarface|