All language subtitles for In the Shade of The Conformist

OF THE CONFORMIST

VISUAL-ESSAY BY
ADRIANO APRA

BERNARDO BERTOLUCCI

- Is this the first time
you're seeing the Minister? - Yes.

When 1 explained your plan to him,
the first thing he said was '‘Superb”.

Get to Professor Quadri
and you inspire his faith in you.

You try to discover
who his contacts in Italy are.

- Yes, yes, superb! - And
even more important, spontaneous!

- And also, voluntary. - "Voluntary
agency... -...for repressing Anti-Fascism".

BEFORE }
“THE CONFORMIST"

After two amateur short films,
Bertolucci made his debut in cinema

when he was only 20 as assistant
director to Pier Paolo Pasolini.

His first film as a director
is "The Grim Reaper".

This film is partly indebted to Pasolini
who is the author of the story.

But stylistically he does
everything possible

to break away
from such a foster father.

In telling

possible withesses
to a prostitute's murder,

The Grim Reaper" is rich iin lyrical
sparks and expressive experimentations

which already characterize
the young director

in search of his own film-making.

With his next film,
"Before the Revolution",

Bertolucci asserts
his own vision of the world

and a personal film style,

this time inspired by the
contemporary French Nouvelle Vague

with its audacious infringement of the
expressive codes of classical cinema.

Fabrizio, the main character, the setting
in Parma - Bertolucci's hometown -

the torments of youth
common to the different characters

who are torn apart by contradictions
between the private and the political,

are all elements in which we recognize
autobiographical components

together with the anticipation
of the young generation

who will be the star
of the imminent 1968 unrest.

Albeit today the film establishes itself as
the manifesto of an Italian Nouvelle Vague,

the film failed to attract an audience

and was tepidly received
by most of our critics,

while it got enthusiastic
reviews abroad.

After a difficult period of inactivity,

in which he paid for
the failure of his first two films,

Bertolucci returned to directing
in an anthology film "Love and Anger".

His segment "Agony" has the benefit of the
decisive contribution of the Living Theatre

and its charismatic leader
Julian Beck,

and adopts
a very modern style of play.

A man who is about to die is
haunted by the ghosts of his past life.

At the end of his agony,
we discover he is a cardinal

who has paid for
his sins of temporal power

with this anguished vision.

In "Partner", filmed in the midst
of the '68 student revolts

and loaded with the mood
of that vibrant period,

Bertol a Ol i
s political, personal

and let's say,
psychoanalytical anxieties, explode.

The film is a firework
of stylistic artifices.

Giacobbe, a shy and introvert lecturer
at an academy of dramatic art,

thanks to his extrovert
and aggressive double, finds

the ability to fulfill his love dreams
and his desire to put on a show

where a whole imaginative
world triumphs.

In “The Spider's Stratagem" we see Athos
Magnani returning to his hometown

to investigate
the death of his father,

a hero of the anti-Fascist
Resistance and his namesake.

But he discovers that his father's death
was nothing but a sham hiding a betrayal.

But in the end legend prevails over
truth, at least in other people's eyes.

This film shows Bertolucci's desire to
sublimate, by means of beautiful images,

the traumatic discovery of the dark
side of his father's personality.

The psychanalytical theme revealed

in the character of Gina
in "Before the Revolution",

evoked in the ghosts of "Agony",

performed by the doubles in "Partner"
and "The Spider's Stratagem",

is embodied in the character
of Marcello Clerici in "The Conformist"

and no longer needs
to be made explicit.

THE BIRTH OF THE FILM

The project of The Conformist”
was created suddenly one day

after Mapi Maino,
my companion at that time,

had read the novel by Moravia
all through the night

and told me about it
in great detail.

During that period I was preparing
"The Spider's Stratagem".

When Paramount unexpectedly asked me
to give them an idea for a movie,

I went there, to Paramount
which was called Mars Film in Italy,

and told Luigi Luraschi
about "The Conformist"

although I hadn't even read it then.

So I told him the story which Mapi

had told me in great detail
and very effectively.

The project of
"The Spider's Stratagem" continued,

we spent this beautiful summer of '69

on the plain between Parma,
Mantua and Cremona.

And at last, at the end of the summer,
I set about

editing "The Spider's Stratagem"
with Roberto Perpignani.

One day Paramount
called and told me:

"We have the greenlight for the film
you told us about, 'The Conformist'."

At that point I had to interrupt
editing "The Spider's Stratagem",

I had to read Moravia's novel

and I did so with great pleasure...

as if I was trying to relive it
within myself, you know.

I read it very quickly and...

and I got to the typewriter
with the novel beside iit,

and I wrote the screenplay for
"The Conformist" in a month.

It was quite a long, rich
and extensive screenplay

in which there was also
a new character, Italo,

as well as some new, different
situations compared to Moravia's novel.

The novel seemed so...

obviously cinematic to me.

I felt it so mine that
I didn't really feel the need

of another voice analyzing it with me.

I felt able to get
into it all by myself.

Alberto Moravia and I were
very close friends,

in some periods we had
dinner together every evening...

I covered myself a little
by saying to him:

"You know, Alberto,
to be truly faithful to a novel

you have to betray it when
you make a film from it, you know."

And he said that I was right.

What is ultimately important
is the spirit,

betrayal starts when you move
from words to images.

The story of a novel
that becomes a film

is a story of great betrayals.

Moravia had gladly accepted,

above all he was interested
in selling his novels as film stories.

One day he told me: "I believe I sold
more than 40 stories for making films."

Actually, he was more interested
in quantity than in quality.

I think some of the movies based on his
novels still seem very good nowadays.

THE CREW

Once I'd finished the screenplay,
things were going very fast,

I handed it in and it was approved.

My cousin and accomplice, Giovanni
Bertolucci, who was my producer

in "Partner", "The Spider's Stratagem"
and "The Conformist",

and I put together a crew for this film
that had for the first time

a certain structural
and economical weight.

At that time there was talk
of hundreds of million liras

but I don't really remember
how much the film cost.

Anyway, it was really great

because the greenlight
forced us to do things very quickly.

Nando Scarfiotti and I decided

to set the first part
of the film at EUR

just to give the feeling
of Fascist Rome.

And we were somewhat engrossed
in the game of fascination

of that demonic place.

If the State doesn't model itself
on the image of the individual,

how will the individual ever model
himself in the image of the state?

Et cetera, et cetera.

That iis, it was the place of a Fascism
trying to emulate Nazism

which in turn had emulated Fascism.

It was all good material
for the film, though.

Put simply, Scarfiotti and I
wanted to show the difference

between Fascist Rome and Popular
Front Paris as much as possible.

I think the material was,
to some extent, in our memory

of cinephiles, in the films
we had watched.

I really loved French cinema
from the late Thirties

as well as American cinema
from the same period,

and I thought I could
finally make a film

in which I could unite
these passions of mine.

Scarfiotti and I looked more
at magazines of that time.

Meanwhile, Gitt Magrini joined
the small initial cell

composed of Giovanni Bertolucci,
Scarfiotti and I.

She was a costume designer
on many Nouvelle Vague films,

like those by Truffaut and Godard.

She also acted in “La notte"
by Antonioni

where she played the role
of Monica Vitti's mother.

She was a very special friend
and an outstanding costume designer.

In “The Conformist" she even
managed to surprise

those belonging to Visconti's circle:

Piero Tosi, Albertelli,
Mauro Bolognini...

Umberto Tirelli,
the costumer, and so on.

Gitt had worked
on "Pierrot le Fou" by Godard,

and though she came from French
cinema, she nevertheless managed

to gain acceptance in the world
of cinema costumers

in Rome at the end of the Sixties.

Giulia, look at this!

Anna, come here!

Then of course there was Storaro

who had just worked with me
on "The Spider's Stratagem"

and was now once again
with me on "The Conformist".

For now, I won't mention anyone else.

This was the initial group

and we started off
with very little preparation

but perhaps with
a lot of interior preparation.

STYLOMETRIC INTERLUDE
1

In this histogram we represent

the 30 scenes which the film can
be divided into, with columns.

Their height indicates
their length in minutes.

The yellow ones
indicate the scenes, set in 1938,

of Marcello Clerici's journey
from Paris to Savoy

which ends with the killing
of professor Quadri and his wife Anna.

The red ones indicate the scenes
set earlier in Rome,

then in Ventimiglia
and finally in Paris.

The blue one indicates Marcello's childhood
memory that can be dated in 1917.

The green ones indicate
the night of 25 July 1943.

The intersections of yellow columns
with red lines indicate the inserts,

during the car trip to Savoy, of
flashbacks relating to the Roman scenes.

The blue-yellow and the blue-red column
indicate the inserts of childhood memories

in the scenes
set in the car and in Rome.

As you can see, the insertion of flashbacks
characterizes the first part of the film,

while in the second part
the narrative trend is linear.

In this histogram we
see the scale of shots.

As you can see, shots, from big close-ups
to full shots, are predominant:

here the character prevails
in the shot if compared to long shots,

where, instead, environment
prevails over character.

However, compared to Bertolucci's
previous films, there is a reduction

of big close-ups and an increase
in full shots and medium long shots.

So we could say that in this film
a better balance has been reached

in the distance between the camera
and the characters.

In this histogram
we represent camera movements,

with static shots in yellow.

As you can see in the pie chart,

moving shots are more than
one third of the entire film,

that is a considerably
higher ratio than the average,

confirmed by other films
Bertolucci made,

and worthy of notoriously
“mobile” filmmakers,

such as Max Ophuls
or Vincente Minnelli

or, as regards Italy,
as Giuseppe De Santis.

It should be added that many camera
movements are, so to speak, "active",

that is, they don't follow
the movement of characters,

and are therefore much more visible
than "passive" movements,

i.e. those that merely accompany
the characters in their movements.

The first to be identified
was Jean-Louis Trintignant

who was in Italy to shoot some movies,
maybe with Patroni Griffi

or some other Italian director.

I went to see him,
told him briefly about the film.

I remember our first meeting...

Claudio Masenza acted as a mediator,

he was also a great cinephile
and a close friend of Trintignant.

In short, we liked
each other immediately.

Then I sent him the screenplay

translated quickly
into French, somehow.

And without waiting for his reply

I met Stefania Sandrelli who I had
recently worked with in "Partner".

The role of professor Quadri's wife
was still free,

this anti-Fascist couple, he Italian
and she French, living in Paris.

I was looking someone who could
represent the middle-class woman.

Our first idea was Brigitte Bardot,

perhaps partly driven by my cousin
Giovanni's production impulses.

So we went to see
Brigitte Bardot who...

...treated us with indulgence but wasn't
at all convinced by our proposal.

Exactly during those days in Paris

while Giovanni, Nando Scarfiotti
and I were together

visiting locations for
the French part of the film,

I went to see
"A Gentle Woman" by Bresson.

It was his new film
so I raced off to see it.

And that was the first time
I saw Dominique Sanda.

I met her straight away and
we hit it off immediately.

Actually, things were going very fast
during that summer-winter of '69.

Screenplay, locations, casting:
all in a few weeks.

Well, actually, Trintignant had
these little temptations, as an actor,

of inserting in such a gray character

sudden moments of colour,

rapid moments that
contradict everything.

It must be quick and decisive!
"Camerata"!

The train for Paris
leaves in an hour.

I lost my hat. Where's my hat?
Where is it?

What else are we waiting for?

You must have a plan by now.

You haven't stood
still for an instant.

May I say you ought to be
following him, not his wife.

There's no point in screaming
like that at the birds, you know.

They don't understand
you foreigners. Damn.

He thinks the birds
in Paris are foreigners.

God damn it.

With Gastone Moschin I felt...
I could not imagine anyone

more powerful in his horrible nature
of true Fascist.

How disgusting. I've always said so.

Make me work in the shit, sure,
but not with a coward.

If it's up to me, cowards,
homosexuals and Jews,

they're all the same thing.

If it were up to me,
1'd stand them all against a wall.

The comical aspect
you are talking about

that he probably brought
from his experience

as an actor of Italian comedies,

was extra material that I liked

because moments of comedy
in a movie like that

would have made the academics
raise their eyebrows a little:

"How can there possibly be a
comic touch in such a dramatic film?

Yes, Roland Barthes teaches us
in "The Pleasure of the Text"

that we will reach
the greatest pleasure

when we put comedy
and drama together.

That is, breaking the mould
and give the cards a good shuffle.

I have never shot with storyboards,

I have always improvised,
I just can't help it.

I can't go on the set

as many of the crew would like,

having decided the night before
what would be done the next day.

And I still let myself go
a little bit to what is...

the intuition of that moment.

Since cinema can only be placed
in the present,

I act right in the present.

And the present means improvisation.

I remember all these leaves

which Scarfiotti had put around this little
mansion in the Parioli neighbourhood.

I think we had a fan
on the grips' truck

and he said: "Just take the fan..."

And so the action
of Marcello and his mother

moving away
from that motionless car

is animated by this wind,
by these leaves...

It is precisely the intuition
of that moment.

It's a shot that...

Paul Schrader, for example,
who loved this film,

tried to do it again
in another movie.

It's a shot that had,
so to say, many tributes,

that was born, without my knowing it,
almost like a quotation:

the quotation of itself.

WE DIDN'T ASK BERTOLUCCI

...a talk by Italo Montanari.

Italy and Germany,
two strongholds of light

in the course of centuries.

Their unparalleled
encounters mark a turning point

in the course of world history.

again, these two peoples are
rediscovering their ancient virtues.

Virtues that embody
similarity and reciprocity

that have been long forgotten,

that which Goebbels calls "the
Prussian aspect' of Benito Mussolini,

and which we call
"the Latin aspect' of Adolf Hitler.

Italy and Germany, bringing
the world two great revolutions,

the Anti-Parliamentarian
and the Anti-Democratic.

Dlaaes eta obatan Of PP
Please, stay seated, Clerici.

Is there any news for me?

Violets? Violets, monsieur?

Do you want violets?

These are real Parma violets.

- They're really from Parma?
- Absolutely.

Let me have one.

Thank you.

"Ye prisoners of starvation!"

"Arise ye prisoners of starvation

Awake ye wretched of the Earth

For justice thunders condemnation

A better world in birth

No more tradition's chains
shall bind us

Arise ye slaves no more in thrall

The earth shall rise
on new foundations

We have been naught,
we shall be all.”

1 Aaal ~iit Miss #5 29
Look out, I'm shooting.

THE EDITING

The film was shot in two stages:

one before Christmas "69
and the other,

a period of just two-three weeks,
in January-February 1970.

My cousin Giovanni said:
“1 will be the producer.

So I almost want to impose
a new editor on you."

Actually, I worked a lot with Roberto
Perpignani, we were so alike, so close.

The idea was meeting
someone new to guide me

towards a new type of editing,
with a new kind of editor

and a new film, and perhaps with
a new way of filming on my part

compared to my previous films.

The new editor was Kim Arcalli who
was a pretty legendary character:

he was in the G.A.P.
(Patriotic Action Groups) in Venice,

then he went to the mountains,

at 17 he was a political commissar
in a Garibaldi Brigade.

He showed me a photo of him at 17
with Stalin-like moustachios.

Obviously he had lied,

he said he was 21 and
in fact he looked this age.

Instead he was 17, maybe 16.

Anyway, he had been editing
for a few years in Rome.

He left Venice but certainly didn't
lost a very strong Venetian accent.

He was incredibly rich from
an intellectual point of view.

Kim, who unfortunately
passed away very early, in 1978

after we had begun writing
the screenplay of "Luna" together,

started taking me to
the editing room in a new way.

He worked on the material
of "The Conformist"

not trying to “insert”
that moment of cinema

which I had sought
and desired to achieve.

It was as though he took me by the hand
to search in the recesses of the film

for those beautiful things,
the possible combinations

of material that maybe
I hadn't thought of putting together.

It was like discovering new things in
the film which even I didn't know about.

So, on one hand, it feels
like you're losing control of the film

because maybe there are beautiful
things which you hadn't even noticed

and editing points them out to you.

This iis still the thing
I thank Kim for,

the thing he helped me to discover:

that through a certain cut
between two shots

maybe you betray the spirit that was
intentionally behind those two shots

but you create a new one
that originates right from this fusion

that had not been envisaged.

The name "sequence shot" means
that there are no cuts within it.

On the other hand, I liked
to challenge Kim's talent

to see if he could cut
the sequence shot

and create something
new and different.

Dottore Marcello!

But we have to be there.
We have a certain responsibility.

Fancy that!

Stop!
Stop!

Stop!
Stop!

I was frankly very uncertain

as to whether to tell
the film chronologically

or to insert the whole story
into something that actually is

the journey Marcello Clerici,
the conformist,

makes by car with the OVRA agent.

You've got to try
and understand women.

Say she had decided to stay
in Paris. She could have, no?

"Animula vagula blandula
hospes comesque corporis.”

- I'm sorry, 1 didn't get that.
- It's nothing. It's Latin.

Kim pushed me a lot to at least try

the version with the flashbacks.

I must say that it seemed
to work very well

so we went on in that way.

STYLOMETRIC INTERLUDE
2

This diagram shows
the film's progress

following the length
of each shot.

It highlights the rhythm of editing
which is relatively slow:

the average shot length is
in fact 10 seconds and 4 tenths.

However, this rhythm is much faster

than that of Bertolucci's
two previous films.

Compared with the films
edited by Franco Arcalli,

before his debut with Bertolucci,

"The Conformist" proves to be slower.

In other words, in "The Conformist"

the balance between the
tendency to use sequence shots,

typical of Bertolucci's previous films,
and splintered editing,

introduced by Arcalli, finds
its point of balance.

In this other diagram
the 637 shots from the film

are seen from top to bottom.

The red line - or trendline -
which crosses them

highlights the fluctuation of the
rhythm from one scene to another.

As can be seen, this line entails
3 areas where the rhythm slows down.

In effect, though on one hand
the film de-constructs

the typical narrative structure
which films of that period had,

on the other it preserves the traditional
rhythmical structure in three movements.

By making a comparison with
"Before the Revolution"

- which has a slightly higher average
shot length: 11 seconds and 8 tenths -

the similarities with
"The Conformist" are highlighted.

In this case too, there is
a rhythmic structure in 3 movements.

What is more, it can be noted
that in both films

the rhythm of the finale is increased:

the middle class marriage
in "Before the Revolution"

and the night of 25 July 1943
in "The Conformist".

Both of these closing scenes,
which distinguish themselves

from the rest of the film
both narratively and rhythmically,

form a sort of gloss over it.

I think there was
a French co-production

so I was pushed, besides
engaging Trintignant and Sanda,

to seek some collaborators in France,
and I was very happy about that.

In this way I was able
to get to Georges Delerue

who I liked very much and listened to many
times in Truffaut's and Godard's films.

I met him, he understood
the film perfectly

and I think he had everything
going for him.

The music he composed
was so right for the film,

so close to the spirit with which,
I think, I made the film.

There was also great irony regarding
the time in which the film was set

and also some little refinements
due to the period.

They must stop dancing.

2
4
B

They're both so pretty.

I remember when we recorded the music
for the guinguette in the studio,

the popular dance hall

where the conformist
and the others go dancing

and Sandrelli and Sanda
embark on a tango.

I remember how amused Delerue was

and how he went looking
for those kinds of...

...small accordions,
some sorts of bandoneons...

That is, the whole philological
structure of the music of that age.

“Chi & piu felice di me" was almost
part of a choice relating to screenplay.

The screenplay says "Trio Le Rondinelle",
but in reality is the "Trio Lescano".

It's just the memory,
the nostalgia for the Trio Lescano,

perhaps regarded somewhat ironically.

As a child, I listened
to the radio a lot

like all the children
who were born in war time...

There was a whistling,
which separated the radio programs,

that had always fascinated me.
It was a very articulate,

somewhat Rococo whistling...

As there was a sequence with the radio
of that time at the beginning of the film,

I finally got to mention,
include this whistling

that separated radio programs
from each other.

And with a touch of humour
and comedy as well:

there is a whistler who lowers
himself to the microphone

and makes that perfect whistle
we always heard on the radio.

"Mystique of an Alliance”

In short, in good movies
many things happen

by chance or even by mistake.

I chose “Come I'ombra", the music
for the last shots of the film,

at the last moment, at the time
of going to the sound mixing,

it wasn't in the original
score for the film.

I chose that song

fro J Np A
om
LJ t
IS
(
iA
ng
9 st
el
ne
“A to

"You weary shadow
walking away from me..."

Then the lyrics of the song
somehow fit

that shot,
that moment in the film.

But it's purely accidental,
it's not premeditated.

And perhaps
it is even better like that.

I can't remember if Alberto's
novel had already mentioned

the dialogue between the two
characters, when they met in Paris

and dug out one of the
professor's lectures on Plato's cave

at Rome university.

I re-read that myth and
it seemed perfect for the film

and I thought it would be right
to shoot it with the help of shadows.

MAD Professor,
Remember, Professor,

as soon as you used
to enter the classroom

we bad to shut the windows.

You couldn't stand all that light,
that noise.

Later, I understood
why you used to do that.

All these years, you know what remained
most firmly imprinted on my memory?

Your voice.

Marcello summarizes the myth
of the cave in a few words.

And while I was shooting I realized

that what he is describing
is cinema after all.

I mean, it's the device of cinema:

you have a cave
with enchained prisoners

with their backs to the entrance
who are looking at the end of the cave.

Behind them, in the open air,
there's a fire.

Two characters with some statues
pass in front of the fire.

The fire casts the shadows of these
statues on the back of the cave.

This is exactly
the mechanism of cinema.

Then imagine, in 1969-70
it was nice to think and say

that cinema was actually
invented by Plato.

The enchained prisoners of Plato.

And how they resemble us.

- And what do they see?
- What do they see?

You who come from Italy
should know from experience.

They see only the shadows
the fire makes

on the back of the cave
that faces them.

Shadows.
The reflections of things.

What the professor tells Marcello is:

in this moment in Italy you aren't seeing
reality, but the shadows of reality.

I clearly remember that
Storaro and I decided to shoot it

using the shadows
that come and go

in order to illustrate
the myth told by Marcello.

The discovery that the myth
of the cave had a device

very similar to that of cinema
really... thrilled us.

I started undergoing my never-ending
analysis at the beginning of '69.

The Spider's Stratagem" was written
during these early periods

of great discovery of something new.

It was as though psychoanalysis
gave me an extra lens

which I could equip my camera with.

I have to say that psychoanalysis
somehow helped me

to understand these characters better, or
maybe to have a relationship with actors

which was different from that of
the director who... is imposing,

and more similar to that of the director
who listens, observes and proposes again.

I remember that in analysis we talked
a lot about the film story.

I had just had enthusiastic
moments typical of a beginner.

But I must say I ended up
changing how the story ends

precisely because of psychoanalysis.

The ending by Moravia shows
the conformist and his family,

consisting of his wife
and two children,

fleeing from Rome after 25 July
to try to find

P vey ry VEY)
a quiet place not ravaged by war.

A fighter plane sees their car driving
through the Lazio countryside

towards Ciociaria
which Moravia knew well,

it goes down, fires at them
and they all die.

Then I felt this ending
was a little bit...

It seemed to me that there was
this deus ex machina

illing the characters in the film,
killing the characters in the film,

especially our hero.

So I wondered:

"Perhaps it would be even stronger
for Marcello's character,

if on that night of 25 July
when Fascism collapses,

he also has a revelation.

He becomes aware from the few things
he sees around him

and particularly from the reappearance
of a minor character

but who is very important
in Marcello's life:

the homosexual chauffeur
who kidnapped him at some point.

Marcello thought he had Killed him
and realizes he had not.

He realizes that his feeling different,
and therefore a murderer,

had led him to try to be
like everyone else,

thus to conform to everyone else.

I shall play for you the last part
of a foxtrot by Maestro Delerue.

What do you get
out of working for the OVRA?

1 get the feeling I'm finally back

to the normal state
I mentioned to you.

- What's a normal man like in
your opinion? - A normal man!

For me, a normal man is one

who turns his head to look at
a beautiful woman's bottom

and discovers he's not
the only one to have turned his head.

At least 5 or 6 others
have done the same,

and he is glad if he finds people
who are like him, his equals.

That's why
he likes crowded beaches,

football, the bars downtown...

And immense rallies
in Piazza Venezia.

He likes people similar to himself

and does not trust
those who are different.

That's why a normal man is
a true brother, a true citizen,

- ...a true patriot.
- A true Fascist.

This is the story of "The Conformist":

the story of someone who,
feeling or being different,

acts with a very strong will

to try to be like other people,
like everyone else.

Just in the very last
seconds of the film,

perhaps Marcello has
this insight, this intuition...

He realizes that everything
was based on imagination,

on a very strong feeling of guilt.

And that perhaps his diversity is
more sexual, profound and latent

than that of having being a murderer,
something we will never know for sure.

"You weary shadow
walking away from me..."

What are you missing in life?

Maybe you go looking for love

that this heart can't give you

Long is the road
of the unknown fate

and its path doesn't shine with dew

Shadow, don't get lost in the sun

that burns the heart
with its warmth.

Don't go on,
the destination is uncertain,

tell me again: "You are love"

Stand by my side once again

Brief is the charm of youth

"You weary shadow
walking away from me..."

What are you missing in life?

Maybe you go looking for love

that this heart can't find for you

- Manganiello.
- Yes, Dottore.

- I've just had a fantastic dream.
- You did?

I was in Switzerland.
And you were taking me

for an operation in a hospital
because I was blind.

Switzerland. It's beautiful.

And Professor Quadri
did the operation.

The operation was a success
and I was leaving soon

with the wife of the Professor.
And she loved me.

Switzerland.