Federica Pythons
Goodbye Mario Monicelli, director, and intellectual companion
"How is yours? Who works for more than fourteen hours a day every day for life? Who throws the blood and sweat? And then take it to the factory, it's yours! "In 1963, Mario Monicelli running mates, films set in the late nineteenth century Turin. Please, find and watch that movie, or at least go and look for the intellectual discourse - a wonderful Marcello Mastroianni - the workers of the textile factory. Look at him now.
and then start thinking about its relevance. Think Pomigliano. Even to this day I feel sad. Sad and shocked by the news of the death of Mario Monicelli. A great director. A companion. A clear mind able to probe the defects of our country and to do so - something quite rare and difficult - with the irony that we will not find in any Another Italian filmmaker. His filmography is huge and really made the history of Italian cinema. Who does not remember Cops and Robbers, Unknown thieves, The Great War, Army Brancaleone, Friends, The Marchese del Grillo. And again: The girl with the gun, popular novel, Dear Michael, We hope that both female. And the two lives of Mattia Pascal, Pirandello's film adaptation of the work, with an amazing Mastroianni. And still much, much cinema.
I mention only the most popular titles, and I recalled two of his films that I love most, and perhaps much less remember, comrades, in fact, and Mattia Pascal. But in my mind at this moment there are thousands and thousands of frames of his films, for example the episode of Boccaccio 70, an episode that talked about a short-sighted and poor distribution cut from the copy of the film abroad. Boccaccio 70 is an episodic film of '62. Worked there, as well as Monicelli, Fellini (remember the episode of the moralist Peppino De Filippo troubled by the graces of Anita Ekberg? The most famous of the four episodes, maybe the poster of the movie), De Sica and Visconti. Well, the Monicelli episode, adapted from a story by Calvin, was about a couple of workers desperate for home. When found, after many adventures, they can not practically to see because of work shifts that do not ever meet them.
The Italian distribution of the film, evidently thinking that this episode that spoke of poverty would give a bad image of the country, decided to cut the episode Monicelli from copies destined for foreign markets. The moral of the story? Obviously, the three fellow authors of the other episodes in protest did not go to the Cannes Film Festiva and it was known throughout the world. And there is another film, say less, certainly less known to the general public that comes to mind: We want the colonels. It 's a film of '73 with Ugo Tognazzi star, an ironic comedy that echoes the Borghese coup attempt in 1970. I think it means to remember Monicelli remember his work.
There is a better way. And do not think he would have appreciated the rivers of words that now fills the pages of newspapers. He did not want to be called Maestro (the teachers are in school ...). He did that until the last had the clarity of recall efforts ("Long live you live your strength, long live the working class, long live the job. We need to build a Republic where there is justice, equality and right to work that things are different from freedom, "said long ago for young people). He who speaks of his father's suicide years ago, said: "Life is not always worth living, if it stops being true and dignified not worth it." He would not appreciate a lot of words. So let's not forget tomorrow by selling one of his films. Let us remember without words but with his images. This means remembering a filmmaker. Hello Mario!
From site www.esserecomunisti.it
