resistanceWithout concealing the cruel reality of reality, using film methods to poeticize simple events, few people can do this creatively like the brothers of the Italian director Paul and Vittorio Taviani. When in “Padre Padrone” (“My Father, My Lord”, 1977), a father angrily ran back to the fields of Sardinia, the evening breeze was blowing Mozart’s clarinet concerto, which seemed to be the same as the clarinet concerto. The son who liberated himself in the hands of men is out of place here. Life wants. The father would drown his son’s radio in the sink, but he could no longer calm his son so easily.
It’s hard to tell which brother came up with such an idea that caused the two to die in 1977. Golden Palm In Cannes. Paolo and Vittorio Taviani not only wear the same type of glasses (as if they want to emphasize that their movie vision has the same appearance), but they also only talked about their decision in the interview on our form. But Paul is responsible for the fact that they even eventually become directors: the brothers will either make a movie or die, and he should tell his father.
The memory of the war becomes an opera
Childhood experience shows that art can only be produced from this absolute decision. Paul Taviani was born in San Miniato, Tuscany in 1931 and grew up in the turmoil of World War II. My father is a lawyer who loves opera and participated in the anti-fascist struggle. A pastor led the brothers to find his sleeping father who was hiding in the bell tower: “We knew at the time that life was not what they told us in school,” Taviani said. In 1944, the fascists massacred the villagers who fled to the church. 55 people were killed and their parents’ houses were destroyed by bombs.
The suffering he suffered together made him merge with his two-year-old brother (he has now lived for three years). When they saw Roberto Rossellini’s war film “Paisà”, they knew they wanted to hide behind the camera. In addition to Italian neo-realism, they were also inspired by Sergey Eisenstein’s Soviet realism. Both art movements turned their attention from the bourgeoisie to the disadvantaged. The Tavias remained until the end, they filmed Shakespeare’s rehearsal of the murderer and the Mafia in the highest security prison for “Caesar Must Die” (winning the Golden Bear in 2012).
The war and the struggle of her father shaped her work for a long time. In “The Night of San Lorenzo” (a special prize from the Cannes jury in 1982), they condensed their experience into magic: in the vast wheat field, a little girl began to pray in front of a barrel in a black shirt, her words , The peasant in “Rome Reconstruction” pierced the fascists with a spear while Wagner ran, turning the memory of war into an opera. Paolo Taviani will celebrate his 90th birthday this Monday.
