Section: cinema festival - Page: 034
(12 August, 2006) Courier of the Evening

Documentary of Giuseppe Bertolucci to the Extension that will have like godmother Isabella Ferrari

To Venice an unknown Pasolini, scenes never seen of “Salò”

Extension of the Cinema of Venice: Pasolini returns. It returns with Salò or the 120 days of Sodoma, its last film, exited posthumous in the “75, endured after the tragic one died of the poet-director. An extreme film, nearly indefensible for violence and crudezza, that it transferred the settecentesche perversions of marquis de Sade between the Nazi-fascist of Salò. Villa engages to you to in any case seviziare a group of young people to theirs mercé within one. An atrocious world, dominated from ferocity, corruption, absence of values, consumismo of the bodies, equal to what the writer already saw, already profetizzava. A testament, was said. Endured subject of scandal, endured censorship object. Like always, while still alive and in dead women, Pasolini. Hour, trentun years after, Salò it returns. To the Lido, where the Extension yesterday has announced to have chosen like godmother for the opening and the closing Isabella Ferrari, the 8 september will come introduced next Pasolini ours, 50 minuteren of materials never seen, collected and rimontati from Giuseppe Bertolucci, intelligent and sensitive director, than of Pasolini he was friend and that on witnesses of Pasolini it has realized the recent show, “Na species de the longest corpse, interpreted from Fabrizio Gifuni. “This instead is a short independent film - Bertolucci explains -. Reaching to the material of it arches you of Gideon Bachman, the 9000 photos of scene taken from Deborah Beer, companion of Bachman, only photographer admitted on the set of Salò, we have recomposed the film like one risen of fotoromanzo. Equipped from one long interview to Pasolini realized from the same Bachman”. An unknown rilettura, than reserves not little surprise. “Hardly it touches it, Pasolini recovers to speak to the present. Indeed to the future - Bertolucci assures -. Between the discoveries more interesting escapes from this documentation, two scenes turns from Pasolini but then fallen in phase of assembly: a long sequence on the recruitment of the young victims, with the torturatori that go to scegliergli in trench rising, and the one which, at first, would be due to be the final scene of the film, where all the troupe engaged is looked at to dance, discs of a valve and rock, Pier comprised Paul”. Unexpected onlooker and also the iter of the film, told from Pasolini to Bachman: “The idea was of press agent the Enrico Lucherini, to the search of a new one novelliere erotico after the Decameron - Bertolucci reveals -. The plan came entrusted before to Pupi Avati, then to Sergio Citti. Both then collaborate to the scenario with Pasolini, struck by lightning from the idea to transfer the events in the social Republic and to make of metaphor of its times”. That they are, and also more, ours. “What will say the young people of this your film? ”, Bachman asks Pasolini. And he: “They will not love it absolutely, they have other for the head very”.

Manin Giuseppina