The light returns and Marco Bellocchio, accompanied by John A. Gili, speaks to the public face of cinema Jean Vigo. The meeting was enthusiastic and seems to be even more impressed by the prestige of the filmmaker. Must be added before its projection in Nice, director Wedding had already been presented at Cannes 2006 in the section "Un Certain Regard." We had the impression that evening, to attend some sort of event (amplified by the problems faced by the film distribution in France). The speeches, all favorable, succeed - even if the relevance is not necessarily mandatory. A spectator shows some reservations. The latter said they had not seen the same film as the others. For him, it is a mere exercise in style. The director, always charming, defends his film. Although not entirely agree with either intervention, one can nevertheless wonder about the intentions of Bellocchio.
It adopts an eclectic approach based on multiplication of improbable situations and a mounting always looking for break. It is the filmmaker's challenge. He wants to surprise the viewer at all costs, for a fantasy and outspokenness that renews each sequence. If inspiration does not fault him, he still manages a time when the will to break the rational structure of the film becomes indigestible. It's stifling, overwhelmed by an incredible procession of scenes, which do not, according to the author, at least formally free. While it is primarily interested in the path - to say the least confusing - the characters. But in fact we are so absorbed by the refusal of any realism that one gradually forgets to look for the narrative coherence of the work. The story is simple. Franco Elica, a famous director, was hired by Prince Ferdinando Gravina di Palagonia to film the wedding of his daughter. The protagonist falls inevitably love with the princess and tries to prevent this union. On this point, we can still congratulate Bellocchio, who reinvented the structure of the tale that explores a new way desire infantilism of his contemporaries, so conveyed in the cinemas. Witness the tragic success, with adults, Harry Potter and company. Overload plaguing the film is all the more regrettable.
The director said that Sicily was treated as an image of the "South" and not in its specificity Regional. It's a surprise, as the movie seems to refer to precisely what characterizes the best in film and literature. The dilapidated, immobility, religiosity. This is not only the world southern Sicily is primarily spoken of Lampedusa, or Roberto Sciascia. The sociopolitical context of the country is also viewed through the prism of Sicily. The players keep saying that it is the dead who order in Italy. The Prince of Salina it not evoked, through other metaphors, this old age and gravity in this The cheetah ? The representation of the island does not seem so vague - not counting the extracts Cavaleria rusticana and all the social imagination that contains Mascagni's opera.
Bellocchio was that, unlike the new wave of filmmakers, he does not "talk about the movie theater." The idea is amazing considering some sequences that involve a reflection on the value of a filmmaker, the manifestation of creativity (see plans in black and white, which represent the images turn Elica unconsciously), or its place in the process of developing a work. In addition, Bellocchio said not to include quotes from movies, unlike Godard. But no one notices it does not, for example, the music of Leaves that movie fans immediately associate with doors at night ? It is not strictly a quote, but the reference (even unintentional) is still present. Not to mention the evocation of Cheetah in dialogue, or the repeated use of Cavaleria rusticana that so many filmmakers have taken before. This whole film thickness would be fortuitous? Would it not put into perspective the film in the cinema? No, really, we have not seen the same movie!
Aurélien Portelli
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