1
00:00:04,317 --> 00:00:09,185
So, color. Green, white, red, under the tenor's voice.

2
00:00:26,643 --> 00:00:29,782
I was mesmerized by the choreography of this sequence.

3
00:00:29,782 --> 00:00:32,011
Foreigners out of Venice!

4
00:00:33,809 --> 00:00:36,157
It's like a continuous musical movement

5
00:00:36,420 --> 00:00:38,797
where everything blends into the whole.

6
00:00:39,230 --> 00:00:41,684
Italians, Marmora mobilized.

7
00:00:41,684 --> 00:00:44,607
Long live Marmora! Long live Italy!

8
00:00:44,607 --> 00:00:49,743
The entire film is like a musical movement.

9
00:00:51,028 --> 00:00:54,647
All these years, this scene has always inspired me.

10
00:00:56,396 --> 00:00:58,124
The film has several levels

11
00:00:58,124 --> 00:01:00,747
all cohesive in Visconti's style.

12
00:01:01,446 --> 00:01:02,713
Style is everything

13
00:01:03,041 --> 00:01:08,177
such as the emotional abandonment of Countess Livia Serpieri� 

14
00:01:08,677 --> 00:01:10,022
played by Alida Valli.

15
00:01:11,041 --> 00:01:13,051
The countess is on the side of the patriots

16
00:01:13,051 --> 00:01:15,099
trying to expel the Austrians from Venice� 

17
00:01:15,583 --> 00:01:19,082
and politics puts her in the path of the Austrian

18
00:01:19,299 --> 00:01:20,628
Lieutenant Franz Mahler� 

19
00:01:20,628 --> 00:01:22,986
played by actor Farley Granger.

20
00:01:26,113 --> 00:01:29,829
Again, we see the coordination of the actors' movements.

21
00:01:29,829 --> 00:01:30,643
with music.

22
00:01:31,466 --> 00:01:32,996
Here, with Mahler's entry

23
00:01:36,090 --> 00:01:38,491
and the framing is very careful.

24
00:01:42,210 --> 00:01:45,958
The lieutenant is famous for his romantic conquests.

25
00:01:49,218 --> 00:01:53,073
Love and politics are instantly linked.

26
00:01:54,607 --> 00:01:59,621
Visconti portrays the various layers of this universe� 

27
00:02:00,012 --> 00:02:03,541
and makes us understand what lies beneath appearances.

28
00:02:04,662 --> 00:02:05,479
In essence

29
00:02:05,479 --> 00:02:08,066
Seduction of the Flesh is not a romantic film.

30
00:02:09,021 --> 00:02:11,514
But romance plays an important role� 

31
00:02:12,292 --> 00:02:13,348
in the lives of the characters.

32
00:02:16,428 --> 00:02:18,787
Visconti is detailed in the atmosphere.

33
00:02:19,458 --> 00:02:21,034
Here, the moonlight

34
00:02:21,844 --> 00:02:22,671
the solitude

35
00:02:23,772 --> 00:02:25,495
the reflection of light in the water.

36
00:02:27,480 --> 00:02:28,806
See yourself as this woman

37
00:02:28,806 --> 00:02:30,771
in a loveless marriage

38
00:02:31,332 --> 00:02:33,266
I would fall in love easily.

39
00:02:35,533 --> 00:02:37,238
They meet an Austrian soldier

40
00:02:37,238 --> 00:02:39,159
killed by the Italians.

41
00:02:42,141 --> 00:02:43,068
Quickly!

42
00:02:43,672 --> 00:02:45,980
Franz takes the countess out of his sight.

43
00:02:50,690 --> 00:02:52,689
So, she lets her guard down.

44
00:02:55,801 --> 00:02:57,515
We both walk together� 

45
00:02:57,842 --> 00:02:59,360
through the deserted streets.

46
00:03:02,121 --> 00:03:05,550
The narration and music enchant us

47
00:03:06,626 --> 00:03:09,733
and we follow her growing obsession.

48
00:03:09,733 --> 00:03:14,120
There was only unconfessed pleasure.

49
00:03:14,696 --> 00:03:15,710
However

50
00:03:16,289 --> 00:03:17,590
after four days� 

51
00:03:19,684 --> 00:03:22,438
four days spent in vain hope

52
00:03:25,386 --> 00:03:26,349
Style.

53
00:03:27,200 --> 00:03:30,489
Visconti accentuates emotion through style.

54
00:03:31,847 --> 00:03:35,446
Here, the movement of the skirt as she climbs the stairs� 

55
00:03:35,446 --> 00:03:38,642
as if everything was pushing her towards a tragic destiny.

56
00:03:57,141 --> 00:03:59,622
Since then, we have met frequently.

57
00:04:00,632 --> 00:04:03,003
in a rented room� 

58
00:04:03,003 --> 00:04:05,808
provided by Franz.

59
00:04:07,213 --> 00:04:08,305
Please note

60
00:04:09,552 --> 00:04:11,990
There is always some noise in these rooms.

61
00:04:14,802 --> 00:04:16,199
the curtain line...

62
00:04:17,153 --> 00:04:20,099
a butterfly or a fly hitting the glass.

63
00:04:21,626 --> 00:04:23,014
Paul Bowles and Tennessee Williams� 

64
00:04:23,014 --> 00:04:24,762
They made the English version.

65
00:04:27,343 --> 00:04:31,671
And there are moments when the film feels like a Williams play.

66
00:04:32,179 --> 00:04:34,107
It is only noticed with memory.

67
00:04:35,979 --> 00:04:39,087
With here, languor

68
00:04:39,087 --> 00:04:40,656
the sensuality

69
00:04:41,155 --> 00:04:42,739
and resplendence.

70
00:04:43,346 --> 00:04:45,952
Visconti's delicate toe is in this scene.

71
00:04:46,352 --> 00:04:48,691
The shadow of the curtain flying in the breeze

72
00:04:49,067 --> 00:04:52,012
accentuates Franz and Lévia's reciprocal desire.

73
00:04:59,788 --> 00:05:01,943
She cuts a lock of her hair for him.

74
00:05:04,126 --> 00:05:06,676
and puts it in a locket.

75
00:05:08,223 --> 00:05:09,625
What a splendid medallion.

76
00:05:11,814 --> 00:05:13,399
Use it over your heart.

77
00:05:15,110 --> 00:05:17,263
Do you like our accommodation?

78
00:05:17,685 --> 00:05:20,653
She waits and he doesn't appear.

79
00:05:21,719 --> 00:05:24,206
She goes to the Austrian camp looking for him.

80
00:05:24,206 --> 00:05:27,264
She doesn't say she likes it, but she comes anyway.

81
00:05:33,081 --> 00:05:35,574
She realizes she is addicted to him.

82
00:05:36,179 --> 00:05:38,410
no matter how cruelly he treats her.

83
00:05:41,373 --> 00:05:44,345
We stayed in the same apartment for three months.

84
00:05:45,966 --> 00:05:47,124
In Innsbruck.

85
00:05:48,430 --> 00:05:51,757
He spent his days welcoming the girls who came to him.

86
00:05:53,371 --> 00:05:56,693
A man came looking for her. I don't know him.

87
00:05:56,693 --> 00:05:58,658
L�via becomes increasingly careless.

88
00:06:00,481 --> 00:06:03,436
The bolder she gets, the bolder Visconti gets.

89
00:06:04,593 --> 00:06:07,994
She looks everywhere for Franz. He disappeared.

90
00:06:09,772 --> 00:06:11,445
A man is looking for her.

91
00:06:11,691 --> 00:06:13,523
It leaves an indication of where to find it.

92
00:06:14,597 --> 00:06:16,191
I'll come back later, give me the umbrella.

93
00:06:16,460 --> 00:06:19,208
Here, Visconti exchanges style for action.

94
00:06:19,208 --> 00:06:22,268
- What will I say to the count? \ - Whatever you want.

95
00:06:22,268 --> 00:06:23,932
I don't care.

96
00:06:23,932 --> 00:06:25,931
Nothing matters to me, you know?

97
00:06:25,931 --> 00:06:27,270
Be his spy.

98
00:06:28,548 --> 00:06:29,437
Tell him everything!

99
00:06:36,237 --> 00:06:37,888
But it wasn't Franz� 

100
00:06:37,888 --> 00:06:40,911
it was her cousin, a patriot in hiding.

101
00:06:42,112 --> 00:06:44,948
He entrusts you with money for the cause� 

102
00:06:45,302 --> 00:06:46,862
a bag of gold coins.

103
00:06:47,459 --> 00:06:49,469
The fight for independence is about to begin.

104
00:06:50,053 --> 00:06:52,315
We must forget about ourselves.

105
00:06:52,315 --> 00:06:54,841
I don't mind repeating it. Italy is at war.

106
00:06:55,358 --> 00:06:58,671
Our war, our revolution.

107
00:06:59,855 --> 00:07:04,148
For safety, Lévia and her husband move to the countryside.

108
00:07:07,202 --> 00:07:08,164
Suddenly

109
00:07:08,876 --> 00:07:11,230
without warning, Franz appears.

110
00:07:14,236 --> 00:07:16,155
I think I saw someone at the counter.

111
00:07:16,810 --> 00:07:18,130
Yes, it was me.

112
00:07:19,403 --> 00:07:22,633
I can't believe you risked your life just to see me.

113
00:07:23,757 --> 00:07:27,759
Little by little, he regains her affection.

114
00:07:29,485 --> 00:07:32,149
Each visual effect is like a note in a symphony.

115
00:07:33,063 --> 00:07:36,225
the curtains over the bed, the mirror� 

116
00:07:37,019 --> 00:07:39,950
the fresco observing the scene� 

117
00:07:40,529 --> 00:07:41,975
almost like a character.

118
00:07:42,650 --> 00:07:47,081
When I found out that you had run away from me and Venice� 

119
00:07:47,724 --> 00:07:49,878
I just thought about seeing her again.

120
00:07:53,586 --> 00:07:55,267
Is that really what you want?

121
00:07:58,167 --> 00:08:00,473
I thought you were going to ask me to stay.

122
00:08:12,653 --> 00:08:13,622
Franz

123
00:08:14,760 --> 00:08:15,864
Franz.

124
00:08:18,562 --> 00:08:19,265
Franz.

125
00:08:21,021 --> 00:08:22,056
Yes, Franz.

126
00:08:22,451 --> 00:08:25,616
So, we found out why he came.

127
00:08:25,616 --> 00:08:27,423
He paid a doctor

128
00:08:27,869 --> 00:08:30,599
by a report of incapacity for the army.

129
00:08:31,455 --> 00:08:33,993
the doctor declared that he suffered from his heart.

130
00:08:35,146 --> 00:08:37,714
and needed a calm and restful life.

131
00:08:38,886 --> 00:08:42,796
So they sent him back home.

132
00:08:43,764 --> 00:08:45,056
How is it possible?

133
00:08:45,056 --> 00:08:46,948
I told you, buying a doctor.

134
00:08:48,177 --> 00:08:51,266
Franz has no illusions about the glories of war.

135
00:08:52,081 --> 00:08:55,490
He knows that the Austrians and Italians are mere pawns.

136
00:08:56,125 --> 00:08:57,658
in a game of aristocrats.

137
00:08:57,658 --> 00:08:59,124
What is war?

138
00:08:59,124 --> 00:09:02,455
but a method to compel men to think and act

139
00:09:02,455 --> 00:09:04,964
in the most convenient way for those who command them?

140
00:09:06,599 --> 00:09:08,315
War is horrible.

141
00:09:11,074 --> 00:09:12,400
Two thousand florins.

142
00:09:13,914 --> 00:09:15,506
Two thousand florins.

143
00:09:16,122 --> 00:09:17,619
It's impossible.

144
00:09:19,337 --> 00:09:22,924
- Is it more than I'm worth?
- If I found a way� 

145
00:09:23,493 --> 00:09:25,773
- I need to go.
- No!

146
00:09:25,773 --> 00:09:27,004
If I don't show up tomorrow

147
00:09:27,004 --> 00:09:28,798
I will be declared a deserter.

148
00:09:29,028 --> 00:09:30,460
I might be shot

149
00:09:30,695 --> 00:09:32,959
and that way we would solve our problems.

150
00:09:32,959 --> 00:09:34,802
There is no more time.

151
00:09:34,802 --> 00:09:36,424
Wait, Franz.

152
00:09:39,071 --> 00:09:40,416
Wait.

153
00:10:00,805 --> 00:10:02,888
This is the main scene of the film.

154
00:10:04,113 --> 00:10:07,032
Few directors use style so much� 

155
00:10:07,032 --> 00:10:08,826
like Visconti in this film.

156
00:10:12,831 --> 00:10:15,791
He goes to dangerous emotional extremes.

157
00:10:16,407 --> 00:10:18,224
- Are they yours?
- No.

158
00:10:18,224 --> 00:10:19,351
- From your husband?
- No.

159
00:10:19,351 --> 00:10:20,845
Whose are they then?

160
00:10:21,725 --> 00:10:24,023
I can't say, you'd think I'm crazy.

161
00:10:24,661 --> 00:10:26,477
And I'm crazy.

162
00:10:29,081 --> 00:10:30,438
My love.

163
00:10:33,641 --> 00:10:34,946
You shouldn't love me.

164
00:10:38,644 --> 00:10:40,053
Nobody should.

165
00:10:43,980 --> 00:10:46,492
She was totally attached to him.

166
00:10:47,644 --> 00:10:49,911
Because of him, I forgot

167
00:10:50,281 --> 00:10:53,396
brings all those who were in combat.

168
00:11:00,928 --> 00:11:05,261
Visconti wanted to call the film 'Custoza'

169
00:11:05,593 --> 00:11:07,729
in honor of the Battle of Custoza

170
00:11:07,729 --> 00:11:09,815
one of Italy's worst defeats.

171
00:11:10,127 --> 00:11:13,243
He planned this scene and it's all one scene.

172
00:11:13,243 --> 00:11:14,773
The camera moving

173
00:11:15,181 --> 00:11:19,456
to capture the complexity of action on multiple planes.

174
00:11:19,892 --> 00:11:21,898
We didn't notice the camera

175
00:11:21,898 --> 00:11:24,998
just the spectacle of the battle that unfolds.

176
00:11:25,692 --> 00:11:28,106
It seems like a simple scene, but it isn't.

177
00:11:28,712 --> 00:11:31,265
This film had many cuts from the censors� 

178
00:11:31,265 --> 00:11:32,667
most in this part.

179
00:11:32,951 --> 00:11:37,535
This is a complex subject in Italian history.

180
00:11:38,014 --> 00:11:40,370
Historians consider the Risorgimento� 

181
00:11:40,571 --> 00:11:41,806
the independence movement

182
00:11:42,015 --> 00:11:43,438
like an upper class uprising� 

183
00:11:43,438 --> 00:11:45,954
where the patriots were mere pawns.

184
00:11:46,728 --> 00:11:49,755
Visconti wanted to draw a parallel

185
00:11:49,755 --> 00:11:52,456
among the patriots of that time

186
00:11:52,456 --> 00:11:56,122
and the Italian guerrillas of the Second World War� 

187
00:11:56,680 --> 00:11:57,946
and that must have been why

188
00:11:57,946 --> 00:12:01,402
that the studio burned the negatives of these scenes.

189
00:12:04,428 --> 00:12:07,621
Livia is oblivious to the dangers around her.

190
00:12:08,431 --> 00:12:10,147
She needs to go to Franz.

191
00:12:10,147 --> 00:12:13,172
Here, Visconti's palette changes.

192
00:12:14,173 --> 00:12:17,063
the color becomes almost monochromatic� 

193
00:12:17,063 --> 00:12:20,512
and everything seems to be in mourning.

194
00:12:22,480 --> 00:12:24,772
It is the beginning of the film's final movement.

195
00:12:25,304 --> 00:12:28,248
where the colors get darker and darker.

196
00:12:32,527 --> 00:12:34,012
When she meets Franz� 

197
00:12:34,789 --> 00:12:37,024
Things are not quite as she had dreamed.

198
00:12:38,831 --> 00:12:41,187
I stink. You are disgusted.

199
00:12:41,944 --> 00:12:44,065
Cowardice and vice.

200
00:12:49,885 --> 00:12:50,701
Frank!

201
00:12:56,562 --> 00:12:57,706
You are not alone.

202
00:12:58,703 --> 00:13:00,231
Do you want to meet her?

203
00:13:01,135 --> 00:13:04,748
And I paid it with your money, don't you remember?

204
00:13:05,643 --> 00:13:08,822
You thought I was bragging.

205
00:13:10,146 --> 00:13:14,409
You didn't believe that a real lady

206
00:13:14,653 --> 00:13:18,055
like the countess, she could fall in love with me.

207
00:13:22,593 --> 00:13:23,742
Isn't that true?

208
00:13:25,946 --> 00:13:29,156
But she told me that she had never loved

209
00:13:29,795 --> 00:13:31,596
until you know me.

210
00:13:35,667 --> 00:13:36,740
He arrives!

211
00:13:37,287 --> 00:13:38,668
He finished!

212
00:13:39,860 --> 00:13:42,074
I'm not your romantic hero!

213
00:13:45,407 --> 00:13:46,980
And I don't love her anymore.

214
00:13:47,993 --> 00:13:50,381
I wanted the money, I got it and that was it.

215
00:13:57,543 --> 00:13:59,499
Come on, slut!

216
00:14:00,383 --> 00:14:03,234
Twist your neck!

217
00:14:05,575 --> 00:14:07,094
She looks totally helpless.

218
00:14:08,726 --> 00:14:11,311
But she isn't. She is an aristocrat

219
00:14:11,936 --> 00:14:14,694
therefore, she is the one who calls the shots.

220
00:14:16,661 --> 00:14:20,700
In the end, all that remains is mutual self-destruction.

221
00:14:21,726 --> 00:14:24,800
Both were doomed to take part in a tragedy.

222
00:14:25,163 --> 00:14:26,719
that society created for them.

223
00:14:32,178 --> 00:14:33,728
She goes to the street.

224
00:14:38,250 --> 00:14:41,616
And in the end, the look is limited to that� 

225
00:14:42,303 --> 00:14:43,957
the darkness.

226
00:14:49,148 --> 00:14:51,190
Visconti filmed a different ending�

227
00:14:53,517 --> 00:14:58,269
in which Livia walks the streets like a common prostitute� 

228
00:15:00,644 --> 00:15:04,003
and a soldier shouts: Long live Austria!

229
00:15:06,218 --> 00:15:08,223
He is not interested in Franz's story.

230
00:15:08,984 --> 00:15:13,197
And he wants to show Livia's state of mind.

231
00:15:13,576 --> 00:15:16,166
And although the ending is not what Visconti wanted,

232
00:15:16,166 --> 00:15:19,596
and despite the cuts, the film was not compromised.

233
00:15:27,504 --> 00:15:31,500
Seduction of the Flesh is a sensual film until the end.

234
00:15:32,272 --> 00:15:36,193
It was seen as a betrayal of neo-realism.

235
00:15:36,785 --> 00:15:38,878
But over time, it became clear� 

236
00:15:39,250 --> 00:15:41,907
which was an evolution, compared to the first films.

237
00:15:42,466 --> 00:15:43,639
In a way

238
00:15:43,639 --> 00:15:47,553
Seduction of the Flesh represents a neo-realism of the past.

239
00:15:49,017 --> 00:15:52,475
It was a moment when Visconti began to use artifices.

240
00:15:53,475 --> 00:15:54,630
to get to the truth.

241
00:15:58,887 --> 00:16:01,899
Federico Fellini also believed in tricks.

242
00:16:02,370 --> 00:16:06,299
It is synonymous with a certain type of artifice.

243
00:16:06,903 --> 00:16:09,776
Fellini's films are autobiographical.

244
00:16:09,776 --> 00:16:13,544
In those that please me most, emotions are personal.

245
00:16:13,544 --> 00:16:15,526
as if they had actually been experienced.

246
00:16:16,254 --> 00:16:18,597
They have a kind of intimacy

247
00:16:19,184 --> 00:16:22,489
sweet and bitter, but very tender.

248
00:16:24,801 --> 00:16:27,388
Long before he became Fellini

249
00:16:27,948 --> 00:16:30,896
for many, the greatest Italian director� 

250
00:16:31,234 --> 00:16:34,540
before the term 'Fellinian' appeared

251
00:16:34,540 --> 00:16:35,819
he made a film

252
00:16:35,819 --> 00:16:38,199
about his youth in Rimini� 

253
00:16:38,199 --> 00:16:40,379
called� Os Boas-Vidas.

254
00:16:40,854 --> 00:16:43,660
It was his third film, his first big film� 

255
00:16:43,907 --> 00:16:46,645
and it's the film I most identify with.

256
00:16:46,880 --> 00:16:49,407
The film most resembles my youth.

257
00:16:50,204 --> 00:16:52,863
It's the last party of the season.

258
00:16:53,166 --> 00:16:56,285
The Miss Serei election of 1953.

259
00:16:56,777 --> 00:17:00,553
Os Boas-Vidas is the story of five friends in their 30s.

260
00:17:00,553 --> 00:17:01,701
Everyone is there.

261
00:17:02,428 --> 00:17:05,158
And of course us too, the welcome ones.

262
00:17:06,193 --> 00:17:07,862
Alberto�

263
00:17:08,725 --> 00:17:09,749
This is Alberto

264
00:17:09,749 --> 00:17:11,327
played by Alberto Sordi� 

265
00:17:11,561 --> 00:17:13,284
an icon of Italian cinema.

266
00:17:15,020 --> 00:17:16,171
Leopoldo� 

267
00:17:16,171 --> 00:17:18,244
This is Leopoldo, the intellectual.

268
00:17:18,244 --> 00:17:19,824
played by Leopoldo Trieste.

269
00:17:21,097 --> 00:17:21,815
Moraldo� 

270
00:17:22,036 --> 00:17:24,734
This is Moraldo, the youngest of the group.

271
00:17:25,227 --> 00:17:26,992
Fellini's alter ego

272
00:17:26,992 --> 00:17:28,585
played by Franco Interlenghi� 

273
00:17:28,878 --> 00:17:30,047
It's flashing.

274
00:17:30,047 --> 00:17:33,267
Riccardo is played by Fellini's brother

275
00:17:33,978 --> 00:17:35,180
and Faust.

276
00:17:35,180 --> 00:17:38,962
This is Fausto, our leader and our spiritual group.

277
00:17:39,212 --> 00:17:40,678
played by Franco Fabrizi.

278
00:17:41,333 --> 00:17:42,425
Give me a kiss.

279
00:17:43,302 --> 00:17:45,592
- Let me go.
- Give me a kiss.

280
00:17:45,826 --> 00:17:47,310
I said let go.

281
00:17:47,748 --> 00:17:51,083
Let me go, stupid and rude.

282
00:17:52,455 --> 00:17:53,262
Don't you understand?

283
00:17:54,686 --> 00:17:57,103
The beach was deserted, even on Sundays.

284
00:17:57,912 --> 00:17:59,990
but we were going to look at the sea anyway.

285
00:18:04,256 --> 00:18:05,926
What do they do to pass the time?

286
00:18:06,644 --> 00:18:09,112
They play pool, chase girls� 

287
00:18:09,779 --> 00:18:11,261
and make fun of people.

288
00:18:11,468 --> 00:18:13,090
Alberto, leave her alone!

289
00:18:13,090 --> 00:18:14,172
Go away!

290
00:18:14,172 --> 00:18:15,763
Tramps!

291
00:18:18,803 --> 00:18:20,720
They make plans, never realized.

292
00:18:20,720 --> 00:18:23,449
For 10 thousand lire, would you go for a swim?

293
00:18:24,339 --> 00:18:25,960
Basically, they dream.

294
00:18:27,892 --> 00:18:31,025
Let's go. Let's see Giudizio fish.

295
00:18:31,025 --> 00:18:33,305
They live in a village on the coast�

296
00:18:33,305 --> 00:18:36,077
and the only way to make your dreams come true is to leave.

297
00:18:36,413 --> 00:18:38,833
Do you know who Leopoldo looks like? The priest.

298
00:18:40,782 --> 00:18:42,865
Fellini captured it so well

299
00:18:43,215 --> 00:18:45,551
vanity, immaturity

300
00:18:46,906 --> 00:18:49,621
waiting for the next glimpse of joy

301
00:18:49,621 --> 00:18:51,676
to break boredom and sadness.

302
00:18:53,219 --> 00:18:54,440
the desperation to leave

303
00:18:54,748 --> 00:18:57,182
despite the fear of leaving the safety of home.

304
00:19:03,631 --> 00:19:05,503
When I was a teenager in New York� 

305
00:19:06,376 --> 00:19:08,201
I was similar to them.

306
00:19:08,641 --> 00:19:09,639
Alberto.

307
00:19:13,568 --> 00:19:14,041
Alberto.

308
00:19:15,830 --> 00:19:17,951
Don't tell Mom you saw me.

309
00:19:19,250 --> 00:19:21,524
- Listen
- Leave me alone.

310
00:19:23,022 --> 00:19:26,219
Os Boas-Vidas is a series of episodes

311
00:19:26,219 --> 00:19:26,918
in the lives of these subjects

312
00:19:27,592 --> 00:19:30,074
and several of them revolve around the conqueror Faust.

313
00:19:31,401 --> 00:19:33,874
Fausto impregnates Sandra, the miss.

314
00:19:36,957 --> 00:19:39,410
He decides to do the least honorable thing� 

315
00:19:40,474 --> 00:19:42,406
pack your bags and leave at dawn.

316
00:19:43,904 --> 00:19:46,634
They may be men, but they act like children.

317
00:19:47,275 --> 00:19:49,074
and they are treated like that by their parents.

318
00:19:49,743 --> 00:19:51,896
Father! Excuse me, Morabito.

319
00:19:52,270 --> 00:19:54,159
Dad, could you give me 5 thousand lire?

320
00:19:54,858 --> 00:19:58,355
What do you want 5 thousand lire for? To do what?

321
00:19:58,644 --> 00:20:00,492
- To leave?
- No, dad.

322
00:20:00,727 --> 00:20:03,474
You act badly and then you want to leave. I will kill him.

323
00:20:03,713 --> 00:20:04,440
That's how things are

324
00:20:04,440 --> 00:20:08,606
no one thinks it's strange for a father to use a belt on his son

325
00:20:08,843 --> 00:20:10,858
an adult, to punish him.

326
00:20:12,808 --> 00:20:14,665
It's even more humiliating for Moraldo.

327
00:20:15,082 --> 00:20:18,099
because it was his sister, Sandra, who Fausto got pregnant.

328
00:20:18,913 --> 00:20:20,721
He is honored like me, he worked his whole life.

329
00:20:20,986 --> 00:20:21,721
like me� 

330
00:20:22,227 --> 00:20:23,429
and this idiot

331
00:20:24,251 --> 00:20:26,312
to maintain the family with dignity.

332
00:20:26,956 --> 00:20:28,597
You will marry her

333
00:20:29,306 --> 00:20:31,073
even if I drag him to church.

334
00:20:31,992 --> 00:20:33,116
Bastard!

335
00:20:38,803 --> 00:20:41,220
Keep laughing while my father cries.

336
00:20:45,873 --> 00:20:48,104
Fausto and Sandra get married� 

337
00:20:48,806 --> 00:20:49,710
immediately.

338
00:20:50,616 --> 00:20:53,379
They pretend to be happy newlyweds, go on their honeymoon

339
00:20:53,918 --> 00:20:55,431
their first big trip

340
00:20:58,220 --> 00:21:00,590
and they return full of news from the big city.

341
00:21:01,106 --> 00:21:02,806
Faust has arrived!

342
00:21:03,025 --> 00:21:04,402
One of the most wonderful things about the film

343
00:21:04,402 --> 00:21:06,874
and that influenced my films� 

344
00:21:07,264 --> 00:21:10,415
It was how Fellini followed the mood of the characters� 

345
00:21:10,744 --> 00:21:14,252
and recorded little moments in their lives.

346
00:21:23,704 --> 00:21:26,618
It's something that you don't see in conventional narratives.

347
00:21:28,375 --> 00:21:29,263
In this scene� 

348
00:21:29,812 --> 00:21:33,120
time seems to stop for Fausto and his friends.

349
00:21:40,366 --> 00:21:43,466
There is a lightness and conviction in Fellini's touch.

350
00:21:50,412 --> 00:21:51,422
How are you?

351
00:21:51,876 --> 00:21:54,723
- Is this your son-in-law?
- Yes, he's my son-in-law.

352
00:21:54,723 --> 00:21:56,044
The honeymoon is over

353
00:21:56,662 --> 00:21:57,879
- Faust?
- Faust.

354
00:21:57,879 --> 00:21:59,985
they live with Sandra's parents� 

355
00:22:00,219 --> 00:22:02,355
and her father decides that Fausto should work.

356
00:22:02,730 --> 00:22:04,369
- Feel at home.
- When do you start?

357
00:22:04,369 --> 00:22:06,649
- Right now.
- Now?

358
00:22:06,649 --> 00:22:09,231
Yes, so you can practice a little.

359
00:22:09,432 --> 00:22:11,852
Giulia, this is Sandra's husband.

360
00:22:11,852 --> 00:22:13,269
who will work with us.

361
00:22:13,527 --> 00:22:15,102
He starts flirting with other women

362
00:22:16,204 --> 00:22:17,514
including the boss's wife.

363
00:22:20,431 --> 00:22:23,532
The biggest event of the year in Rimini is the carnival.

364
00:22:24,163 --> 00:22:26,378
Everyone waits for carnival.

365
00:22:27,189 --> 00:22:30,142
It's when people put their inhibitions aside.

366
00:22:30,433 --> 00:22:32,831
They dress up and do whatever they want.

367
00:22:35,451 --> 00:22:37,183
Alberto lives with his sister and mother.

368
00:22:38,723 --> 00:22:41,352
Something undeclarable is happening

369
00:22:41,573 --> 00:22:43,364
and is destroying the family.

370
00:22:43,901 --> 00:22:46,333
What happened?
One cries, the other

371
00:22:46,693 --> 00:22:49,266
Mom, what do you have?

372
00:22:49,703 --> 00:22:51,512
Nothing, just a headache.

373
00:23:02,656 --> 00:23:05,481
Everyone uses their resources tonight� 

374
00:23:05,949 --> 00:23:09,503
for magic and romance that lasts all year round.

375
00:23:12,140 --> 00:23:13,346
 � Alberto.

376
00:23:16,882 --> 00:23:18,442
Do you want a cognac?

377
00:23:18,442 --> 00:23:20,324
No, my head is already spinning.

378
00:23:20,832 --> 00:23:21,570
Goodnight.

379
00:23:23,780 --> 00:23:24,852
Goodnight.

380
00:23:29,169 --> 00:23:31,840
- Are you having fun?
- Yes a lot. Don't you?

381
00:23:46,626 --> 00:23:47,927
Go away!

382
00:23:52,602 --> 00:23:53,573
The next morning

383
00:23:54,505 --> 00:23:55,768
when they open their eyes

384
00:23:57,119 --> 00:23:58,384
they remain in Rimini� 

385
00:23:59,466 --> 00:24:02,587
and they will have to wait a year until the next carnival.

386
00:24:05,888 --> 00:24:08,013
The choice between leaving and staying

387
00:24:09,023 --> 00:24:12,424
The characters don't discuss it much.

388
00:24:13,160 --> 00:24:14,202
It is shown subtly

389
00:24:15,185 --> 00:24:17,805
and sit through every frame of the film.

390
00:24:18,870 --> 00:24:19,994
Alberto.

391
00:24:22,144 --> 00:24:23,484
Goodbye, Alberto.

392
00:24:23,484 --> 00:24:24,493
Frequently

393
00:24:26,712 --> 00:24:28,304
someone really leaves.

394
00:24:29,875 --> 00:24:31,512
Be sensible.

395
00:24:31,778 --> 00:24:34,618
Alberto's sister is the only one in the family who works

396
00:24:35,069 --> 00:24:39,375
she is the only source of income for Alberto and his mother.

397
00:24:40,023 --> 00:24:40,857
Where are you going?

398
00:24:41,740 --> 00:24:43,255
Where is she going?

399
00:24:43,767 --> 00:24:45,346
It's a heavy burden for her to carry.

400
00:24:46,749 --> 00:24:47,526
Olga.

401
00:24:47,526 --> 00:24:48,543
And in the morning

402
00:24:52,687 --> 00:24:53,794
she really leaves.

403
00:24:54,918 --> 00:24:56,930
Olga!

404
00:24:57,978 --> 00:25:01,095
There is no time for reflection, she simply left.

405
00:25:04,464 --> 00:25:07,521
They begin to realize that it's leaving now.

406
00:25:08,667 --> 00:25:10,025
or never again.

407
00:25:17,042 --> 00:25:19,491
Don't cry, mommy. Don't cry.

408
00:25:22,234 --> 00:25:25,710
I will stay here, I will not leave.

409
00:25:27,629 --> 00:25:31,200
She will come back. If he doesn't come back, it's better.

410
00:25:32,396 --> 00:25:33,759
Who would have thought

411
00:25:34,581 --> 00:25:36,436
for the misery she gave us.

412
00:25:37,170 --> 00:25:38,355
Go away!

413
00:25:42,227 --> 00:25:43,612
I'll get work.

414
00:25:46,981 --> 00:25:48,827
- Is that so, Alberto?
- Of course.

415
00:25:49,616 --> 00:25:51,842
- Did you fix anything?
- What?

416
00:25:52,272 --> 00:25:54,826
- Did you fix anything?
- No.

417
00:26:03,626 --> 00:26:04,816
What are you doing?

418
00:26:05,180 --> 00:26:07,520
I didn't sleep last night, I dreamed that we were dancing...

419
00:26:07,520 --> 00:26:09,098
waltz after waltz.

420
00:26:09,705 --> 00:26:11,545
- Take these books away.
- Then help me.

421
00:26:11,545 --> 00:26:13,528
I'll take it myself.

422
00:26:13,528 --> 00:26:14,577
Fausto can't resist.

423
00:26:14,577 --> 00:26:15,850
No!

424
00:26:21,737 --> 00:26:22,488
Ready!

425
00:26:23,009 --> 00:26:24,785
And now, the consequences are serious.

426
00:26:25,114 --> 00:26:27,489
It's sunny outside, but it's cold.

427
00:26:31,447 --> 00:26:32,944
Learn to live...

428
00:26:33,777 --> 00:26:35,588
because I welcomed him as a brother...

429
00:26:36,308 --> 00:26:38,631
and you behave like a scoundrel!

430
00:26:39,870 --> 00:26:42,737
Now go, before I break your face.

431
00:26:45,212 --> 00:26:46,458
For revenge...

432
00:26:47,129 --> 00:26:50,512
Fausto and Moraldo steal a statue...

433
00:26:50,512 --> 00:26:53,276
from your ex-boss.

434
00:26:53,745 --> 00:26:55,227
- What is it?
- It's an angel.

435
00:26:55,824 --> 00:26:57,302
Do you know how much it's worth?

436
00:26:58,587 --> 00:27:00,112
See how beautiful it is.

437
00:27:03,482 --> 00:27:04,513
And they try to sell it.

438
00:27:12,025 --> 00:27:14,859
- Is Mother Superior here?
- For what?

439
00:27:17,083 --> 00:27:19,853
It's an angel made of solid wood.

440
00:27:20,122 --> 00:27:22,524
We can't have him at home anymore.

441
00:27:22,524 --> 00:27:25,741
How beautiful! A golden angel!

442
00:27:25,741 --> 00:27:28,146
Don't be afraid, he is harmless.

443
00:27:28,146 --> 00:27:29,534
I'm sorry, we already have too many.

444
00:27:30,361 --> 00:27:31,328
Sister, listen!

445
00:27:35,325 --> 00:27:37,369
They leave the sculpture with the fisherman Giudizio...

446
00:27:37,793 --> 00:27:39,357
who helped them carry it.

447
00:27:52,445 --> 00:27:53,568
Dad arrived.

448
00:27:56,143 --> 00:27:57,218
Good night, daddy.

449
00:27:58,249 --> 00:27:59,702
Moraldo, come here!

450
00:27:59,988 --> 00:28:02,141
Don't make me come after you.

451
00:28:02,141 --> 00:28:03,696
- What did I do?
- Like, what did you do?

452
00:28:03,696 --> 00:28:07,581
Disgraceful, traitor!
Don't get involved, you guys!

453
00:28:09,145 --> 00:28:10,856
Thieves, out of my house!

454
00:28:11,531 --> 00:28:14,354
- What happened?
- They stole a statue.

455
00:28:14,625 --> 00:28:17,248
- It's not like that...
- How not? Shut up!

456
00:28:18,868 --> 00:28:23,402
And this disgusting man molested my friend's wife.

457
00:28:24,142 --> 00:28:25,068
How embarrassing.

458
00:28:34,351 --> 00:28:36,639
- Sandrina.
- That's all a lie.

459
00:28:36,639 --> 00:28:39,250
I'm amazed that you believed.

460
00:28:39,250 --> 00:28:41,323
And do you raise your voice?

461
00:28:41,541 --> 00:28:45,316
Don't treat me like a child.
I'm 30 years old.

462
00:28:45,989 --> 00:28:48,828
Keep your dinner. You'll never see me again!

463
00:28:49,110 --> 00:28:50,093
Never again!

464
00:29:00,221 --> 00:29:02,189
The film now focuses on Faust.

465
00:29:03,620 --> 00:29:07,239
But Fellini shows what happens to the group.

466
00:29:08,647 --> 00:29:10,571
Leopoldo's dream is to be a writer.

467
00:29:11,460 --> 00:29:13,434
Your idol arrives in town with a piece...

468
00:29:14,021 --> 00:29:15,428
and he takes them to see her.

469
00:29:15,880 --> 00:29:16,991
You really are a tyrant.

470
00:29:18,325 --> 00:29:19,462
Is it true?

471
00:29:19,672 --> 00:29:21,851
Did you like it?

472
00:29:22,635 --> 00:29:24,443
You have this...

473
00:29:25,619 --> 00:29:27,191
and also this.

474
00:29:27,791 --> 00:29:28,923
Commander!

475
00:29:36,520 --> 00:29:39,689
Fausto arranges a meeting with the main actress.

476
00:29:40,172 --> 00:29:42,001
The cry of the hawks comes with the wind.

477
00:29:42,001 --> 00:29:44,446
As if shivered by the cold, Frida turns around.

478
00:29:44,446 --> 00:29:47,040
She is tired, aged.

479
00:29:52,327 --> 00:29:55,901
But Leopold's idol is not quite what he seems.

480
00:29:58,401 --> 00:30:00,288
Are you afraid of me?

481
00:30:00,923 --> 00:30:05,338
From one moment to the next,
your dreams are destroyed.

482
00:30:06,689 --> 00:30:08,839
Poldo, where are you going?

483
00:30:14,402 --> 00:30:18,262
Sandra's illusions about her husband also end.

484
00:30:21,466 --> 00:30:22,759
She runs away with the baby.

485
00:30:28,500 --> 00:30:30,503
And everyone is worried about her.

486
00:30:32,157 --> 00:30:34,017
The rest of the class goes looking for her.

487
00:30:34,735 --> 00:30:36,315
And there's always time for a joke.

488
00:30:36,948 --> 00:30:38,149
Workers!

489
00:30:46,144 --> 00:30:48,609
But their car is always giving problems...

490
00:30:49,966 --> 00:30:51,787
and just at the wrong time.

491
00:30:52,618 --> 00:30:54,260
They're coming!

492
00:30:55,052 --> 00:30:56,814
We were just kidding.

493
00:30:59,818 --> 00:31:01,523
With Fellini, as in life...

494
00:31:01,924 --> 00:31:05,451
Humor always appears in the most serious situations...

495
00:31:05,451 --> 00:31:06,934
and for him, this is easy.

496
00:31:10,841 --> 00:31:12,880
Sandra shows up at her father-in-law's house.

497
00:31:18,580 --> 00:31:20,000
First, the meeting with Sandra...

498
00:31:20,500 --> 00:31:21,223
Stop there!

499
00:31:26,601 --> 00:31:28,115
then the meeting with the father.

500
00:31:29,160 --> 00:31:30,799
Dad, what are you doing?

501
00:31:34,381 --> 00:31:35,111
You were joking.

502
00:31:36,326 --> 00:31:37,278
No, no!

503
00:31:39,860 --> 00:31:42,636
In the end, Fausto begins to value what he has...

504
00:31:43,012 --> 00:31:45,212
and you don't want to waste it.

505
00:31:48,223 --> 00:31:49,767
When I saw...
The Good Lives...

506
00:31:50,332 --> 00:31:52,129
those people touched me.

507
00:31:53,204 --> 00:31:55,108
I wanted to know what happened to them.

508
00:31:59,866 --> 00:32:02,144
Fellini allows one of them to leave.

509
00:32:03,297 --> 00:32:06,043
 � Moraldo, his alter ego.

510
00:32:07,904 --> 00:32:09,624
He leaves his friends alone...

511
00:32:10,480 --> 00:32:12,445
because their life will be there...

512
00:32:12,773 --> 00:32:14,177
and they will live it as best as possible.

513
00:32:15,461 --> 00:32:17,715
Moraldo's departure is poignant...

514
00:32:18,887 --> 00:32:22,583
and the camera movements influenced me a lot.

515
00:32:37,558 --> 00:32:40,206
Os Boas-Vidas... was a great inspiration for my film...

516
00:32:40,669 --> 00:32:45,422
Dangerous Paths, from 1973 and still continues today.

517
00:32:46,947 --> 00:32:52,064
For me, it captures the emotions
of a crucial moment...

518
00:32:53,550 --> 00:32:55,608
when we realize that we can grow...

519
00:32:56,726 --> 00:32:58,106
or be a child forever.

520
00:33:04,644 --> 00:33:10,836
Os Boas-Vidas was successful in 1953 at the Venice Festival.

521
00:33:11,944 --> 00:33:14,424
But after... The Road... and Noites de Cabiria...

522
00:33:15,268 --> 00:33:17,888
Fellini became an acclaimed director...

523
00:33:18,310 --> 00:33:21,257
and each film was bolder than the last...

524
00:33:21,633 --> 00:33:26,562
more stylized, more poetic. So in 1960 he did...

525
00:33:28,249 --> 00:33:29,403
The Sweet Life.

526
00:33:34,037 --> 00:33:35,880
He became more than a director...

527
00:33:37,173 --> 00:33:38,193
he was a master.

528
00:33:39,297 --> 00:33:42,625
The film was a watershed, a milestone...

529
00:33:42,625 --> 00:33:43,888
a revolution.

530
00:33:47,717 --> 00:33:50,021
Where are you going to take this statue?

531
00:33:53,646 --> 00:33:55,032
They want your phone.

532
00:33:56,751 --> 00:34:00,200
Doce Vida... was so successful in Italy and around the world...

533
00:34:00,638 --> 00:34:05,141
that Pietro Germi included him in a scene in his film...

534
00:34:05,490 --> 00:34:08,442
done two years later... Divorce is Italian...

535
00:34:08,978 --> 00:34:11,045
or in English, Divorce Italian Style.

536
00:34:15,865 --> 00:34:18,692
Preceded by scandal, protests and praise...

537
00:34:18,692 --> 00:34:22,814
A sensational film has arrived in the city.

538
00:34:23,828 --> 00:34:26,777
The priest railed against the licentious film...

539
00:34:27,027 --> 00:34:31,022
and urged the faithful to boycott him, but in vain.

540
00:34:31,597 --> 00:34:35,971
There are orgies, wife swapping, striptease.

541
00:34:36,264 --> 00:34:37,544
Let's watch!

542
00:34:50,669 --> 00:34:52,741
For the Sicilians in Germi's film...

543
00:34:52,741 --> 00:34:55,409
The Sweet Life... is your first glimpse of the new morality...

544
00:34:56,427 --> 00:35:00,171
where freedom is infinite and sin has been banished once and for all.

545
00:35:01,670 --> 00:35:05,226
It's like a scandalous transmission from another universe.

546
00:35:08,510 --> 00:35:12,720
It is a luxury mammal, but it has no soul.

547
00:35:13,810 --> 00:35:17,336
Fellini's vision was extravagant, almost unprecedented.

548
00:35:17,963 --> 00:35:21,628
Their talents orchestrated a panoramic vision...

549
00:35:21,862 --> 00:35:25,275
a huge fresco, permeated with a lot of action.

550
00:35:26,467 --> 00:35:29,112
I remember when I first watched it.

551
00:35:29,632 --> 00:35:32,429
Some films had special presentations...

552
00:35:32,429 --> 00:35:35,267
superproductions like... Ben-Hur.

553
00:35:39,434 --> 00:35:41,715
These were special events, like reserved seating.

554
00:35:42,383 --> 00:35:45,025
This is how... A Doce Vida debuted, as a special event.

555
00:35:47,064 --> 00:35:49,762
Only it wasn't an ancient epic, it was something more.

556
00:35:55,105 --> 00:35:57,421
Doce Vida was the beginning of the collaboration...

557
00:35:57,421 --> 00:35:58,851
by Fellini with Mastroianni.

558
00:35:59,085 --> 00:36:00,615
They only made five films together...

559
00:36:00,894 --> 00:36:03,581
but the actor and director were in perfect harmony.

560
00:36:04,222 --> 00:36:06,935
To many, they seemed almost interchangeable.

561
00:36:08,194 --> 00:36:11,626
Mastroianni plays a journalist named Marcello...

562
00:36:12,130 --> 00:36:15,339
immersed in the high class of Rome...

563
00:36:15,580 --> 00:36:17,339
where the paparazzi are everywhere.

564
00:36:18,103 --> 00:36:20,535
Screw your 50%!
Go away!

565
00:36:21,065 --> 00:36:24,590
The term paparazzi became popular because of the film.

566
00:36:25,651 --> 00:36:28,588
Marcello considers himself part of society...

567
00:36:28,990 --> 00:36:30,596
without being part of it.

568
00:36:32,204 --> 00:36:34,076
Like many directors of the time...

569
00:36:34,076 --> 00:36:36,355
Marcello, come here!

570
00:36:36,355 --> 00:36:38,897
Fellini wanted to create a modern cinema...

571
00:36:39,324 --> 00:36:41,080
a new genre of narrative.

572
00:36:45,013 --> 00:36:47,460
You're right, I'm wrong.

573
00:36:48,525 --> 00:36:50,205
We all are.

574
00:36:50,205 --> 00:36:51,937
And that's what he did.

575
00:36:52,734 --> 00:36:56,227
Marcello's journey in a futile world...

576
00:36:56,929 --> 00:36:58,490
became a spiritual epic...

577
00:36:59,006 --> 00:37:03,356
a mosaic of Roman cosmopolitan life in all its excess.

578
00:37:05,291 --> 00:37:06,822
I know this perfume.

579
00:37:06,822 --> 00:37:10,018
And of course, there's the soundtrack by Nino Rota.

580
00:37:10,848 --> 00:37:13,373
He worked on almost all of Fellini's films...

581
00:37:14,531 --> 00:37:17,849
and you can't imagine those images without his music.

582
00:37:18,880 --> 00:37:21,782
Federica, the wolf!
She breastfeeds the young.

583
00:37:22,000 --> 00:37:24,059
Anouk Aim�e guides Marcello...

584
00:37:24,262 --> 00:37:26,166
among the characters...

585
00:37:26,166 --> 00:37:27,568
at the village party.

586
00:37:27,568 --> 00:37:30,131
Eleonora, 80 thousand hectares...

587
00:37:30,131 --> 00:37:34,823
two suicide attempts, and a castle in Tuscany.

588
00:37:35,103 --> 00:37:37,070
These are Don Giulio and Nico.

589
00:37:37,694 --> 00:37:40,674
Your Swedish friend, she's still going to be a princess.

590
00:37:41,141 --> 00:37:42,638
Don't make that face.

591
00:37:43,310 --> 00:37:46,008
Do you think we are better?

592
00:37:46,429 --> 00:37:49,331
At least, certain things they do with elegance.

593
00:37:52,888 --> 00:37:55,542
The images are incredible, the rhythm is seductive...

594
00:37:56,196 --> 00:37:57,475
but it's also scary.

595
00:37:58,348 --> 00:38:00,220
I had never seen the dawn.

596
00:38:00,797 --> 00:38:02,763
Shall we eat spaghetti?

597
00:38:04,212 --> 00:38:05,818
There is a little exaggeration of everything.

598
00:38:13,400 --> 00:38:17,425
Steiner is an intellectual played by Alain Cuny...

599
00:38:18,642 --> 00:38:20,410
and it's Marcello's oasis...

600
00:38:20,410 --> 00:38:24,351
its foundation of reality among the unrealism that surrounds it.

601
00:38:28,907 --> 00:38:29,998
Your home is a refuge.

602
00:38:30,451 --> 00:38:33,493
Your children, your wife, your books, your friends.

603
00:38:34,804 --> 00:38:36,457
I waste my days.

604
00:38:36,847 --> 00:38:38,220
But Marcello is confused.

605
00:38:38,939 --> 00:38:40,373
I already had ambition, but...

606
00:38:40,373 --> 00:38:44,382
while Steiner is disillusioned with life.

607
00:38:46,067 --> 00:38:51,246
In a way, the Cold War is at the heart of... The Sweet Life.

608
00:38:51,963 --> 00:38:54,350
With the fall of the Berlin Wall in 1989...

609
00:38:55,053 --> 00:38:59,187
The new generation never experienced the fear of that time...

610
00:39:00,200 --> 00:39:03,632
the feeling that humanity could be wiped from the Earth,

611
00:39:04,506 --> 00:39:07,126
It's difficult to understand the fear that people felt at the time.

612
00:39:10,170 --> 00:39:11,340
To escape the fear...

613
00:39:11,964 --> 00:39:15,909
Fellini's characters launch themselves into pleasure and adventure.

614
00:39:16,973 --> 00:39:18,751
They move away from their feelings.

615
00:39:20,559 --> 00:39:23,132
Everything is fleeting, there is always another pleasure...

616
00:39:24,350 --> 00:39:26,035
somewhere else, with someone.

617
00:39:26,035 --> 00:39:27,219
I love you, Marcello.

618
00:39:32,773 --> 00:39:35,692
I wanted to be your woman, to be faithful to you.

619
00:39:36,318 --> 00:39:41,385
I wanted to be your wife and have fun like a slut.

620
00:39:42,447 --> 00:39:45,223
I'm a bitch, you know, there's no way around it.

621
00:39:45,457 --> 00:39:48,919
I'll always be a bitch, and I don't want to change!

622
00:39:49,424 --> 00:39:53,179
No, you are an extraordinary woman, Maddalena.

623
00:39:55,285 --> 00:39:59,652
Your courage, your sincerity...
I need you.

624
00:40:01,790 --> 00:40:04,212
Your despair
give me strength.

625
00:40:05,410 --> 00:40:07,499
You would be a wonderful companion...

626
00:40:07,780 --> 00:40:10,510
everything can be said to you. You know everything.

627
00:40:12,694 --> 00:40:14,426
Maddalena, did you hear me?

628
00:40:15,049 --> 00:40:16,267
Reply.

629
00:40:17,374 --> 00:40:21,259
Enough of this joke. I want to talk to you.

630
00:40:22,788 --> 00:40:24,146
Maddalena!

631
00:40:24,878 --> 00:40:26,006
Give way!

632
00:40:26,006 --> 00:40:27,748
Let him pass!

633
00:40:28,887 --> 00:40:31,461
Marcelo thinks he can stay unharmed.

634
00:40:31,836 --> 00:40:34,210
- A monstrous thing.
- What happened?

635
00:40:34,210 --> 00:40:36,671
Steiner keeps you focused on what's important.

636
00:40:37,062 --> 00:40:39,526
He killed his two children and then killed himself.

637
00:40:40,619 --> 00:40:41,868
But then, the world falls.

638
00:40:42,900 --> 00:40:43,837
Marcello!

639
00:40:44,396 --> 00:40:47,749
Even if they pay me less, take the photos to your newspaper.

640
00:40:48,077 --> 00:40:49,169
Please!

641
00:40:54,054 --> 00:40:55,034
Feel free.

642
00:40:59,107 --> 00:41:01,899
From the ground to the drilling, it is 1.50m.

643
00:41:04,863 --> 00:41:08,045
From the left wall to the drilling, it is 1.40m.

644
00:41:09,740 --> 00:41:11,251
Did he write something?

645
00:41:11,831 --> 00:41:13,482
Before fulfilling the tragedy...

646
00:41:15,136 --> 00:41:18,616
He discovers the depth of Steiner's despair...

647
00:41:21,079 --> 00:41:22,655
in the worst possible way.

648
00:41:28,340 --> 00:41:31,382
The press waits for Steiner's wife to arrive...

649
00:41:31,382 --> 00:41:32,830
to capture her reaction...

650
00:41:32,830 --> 00:41:35,459
because they know she doesn't know what happened.

651
00:41:35,665 --> 00:41:39,093
Guys, please.
A little understanding.

652
00:41:39,873 --> 00:41:41,047
Talk to them.

653
00:41:42,358 --> 00:41:43,294
This is already exaggeration.

654
00:41:44,397 --> 00:41:46,318
It's the paparazzi at their greatest savagery.

655
00:41:46,909 --> 00:41:49,296
Are you confusing me with some actress?

656
00:41:50,881 --> 00:41:51,787
What are you doing?

657
00:41:52,051 --> 00:41:55,234
- What do you want?
- Enough, go away!

658
00:41:55,561 --> 00:41:58,261
- Marcello, what happened?
- I'm Dr. Lucenti.

659
00:41:58,479 --> 00:42:00,541
We need to talk alone.

660
00:42:00,838 --> 00:42:02,383
Alone? Did something happen?

661
00:42:02,383 --> 00:42:06,014
No, come with me. My car is here.

662
00:42:06,014 --> 00:42:07,016
- Come.
- Why?

663
00:42:07,016 --> 00:42:08,572
- There was a misfortune.
- What?

664
00:42:08,572 --> 00:42:09,712
Don't be scared.

665
00:42:11,121 --> 00:42:12,650
- The children!
- Come with us.

666
00:42:13,850 --> 00:42:14,993
Guys, help!

667
00:42:14,993 --> 00:42:16,605
What happened?
Marcello...

668
00:42:17,010 --> 00:42:19,751
Steiner's act is the end of hope for Marcello.

669
00:42:20,674 --> 00:42:22,482
And between decadence and despair...

670
00:42:23,620 --> 00:42:24,727
nothing remains.

671
00:42:28,643 --> 00:42:32,563
At this point, Marcello becomes one of them...

672
00:42:33,510 --> 00:42:35,166
just another member of the initiates.

673
00:42:43,885 --> 00:42:47,082
The film culminates with a party that turns into an orgy.

674
00:42:55,274 --> 00:42:58,627
Fellini portrays emotional and spiritual chaos.

675
00:43:03,183 --> 00:43:06,271
Everyone has lost their way and nothing remains but the moment...

676
00:43:08,003 --> 00:43:11,907
neither past nor future, just the present.

677
00:43:21,949 --> 00:43:23,701
In the morning, they go to the beach...

678
00:43:24,992 --> 00:43:27,270
look at something brought by the sea.

679
00:43:30,187 --> 00:43:31,403
How horrible!

680
00:43:31,403 --> 00:43:34,617
The mouth is full of jellyfish!

681
00:43:34,997 --> 00:43:36,692
That's been dead for three days.

682
00:43:40,249 --> 00:43:41,356
Marcello!

683
00:43:45,304 --> 00:43:46,676
A girl calls him.

684
00:43:46,975 --> 00:43:48,346
I can't hear.

685
00:43:49,166 --> 00:43:51,867
A girl of a purity that he hasn't seen in years...

686
00:43:54,377 --> 00:43:55,968
but now he is lost.

687
00:44:01,120 --> 00:44:02,086
I'm going.

688
00:44:02,417 --> 00:44:04,150
What's interesting about... A Doce Vida...

689
00:44:04,150 --> 00:44:07,491
It's that although he portrays despair...

690
00:44:08,548 --> 00:44:09,972
he does not convey despair.

691
00:44:11,198 --> 00:44:13,365
There is great joy in Fellini's love for cinema...

692
00:44:13,869 --> 00:44:15,767
consequently, for life itself.

693
00:44:17,936 --> 00:44:20,822
and this love would give rise to something even more surprising...

694
00:44:21,851 --> 00:44:24,660
Eight and a Half... which we'll talk about later...

695
00:44:25,689 --> 00:44:29,484
and for me, Fellini's true landmark.

696
00:44:31,824 --> 00:44:33,822
While... A Doce Vida is panoramic...

697
00:44:34,172 --> 00:44:36,391
Trip to Italy... It's intimate.

698
00:44:36,878 --> 00:44:39,305
While Fellini's film is dramatic and shocking...

699
00:44:40,492 --> 00:44:43,955
Rossellini's is meditative and mysterious.

700
00:44:43,955 --> 00:44:45,906
We could have come by plane...

701
00:44:45,906 --> 00:44:47,464
and we would already be home.

702
00:44:47,464 --> 00:44:48,994
But you should rest.

703
00:44:50,428 --> 00:44:53,629
It didn't occur to me that you would be bored with me.

704
00:44:54,485 --> 00:44:57,588
What does this have to do with?
I'm bored...

705
00:44:57,588 --> 00:44:58,650
because there is nothing to do.

706
00:44:58,854 --> 00:45:01,925
That film touched me when I saw it for the first time.

707
00:45:01,925 --> 00:45:03,113
This is the first time...

708
00:45:04,238 --> 00:45:05,685
that we were alone...

709
00:45:06,324 --> 00:45:07,634
since we got married.

710
00:45:10,240 --> 00:45:11,630
It's true.

711
00:45:12,253 --> 00:45:15,140
But he asked me why he moves me so much.

712
00:45:15,965 --> 00:45:18,820
Because it is different from any other film.

713
00:45:19,368 --> 00:45:20,473
Shall we drink something?

714
00:45:20,910 --> 00:45:24,187
Yes, but not here. Let's go to the bar.

715
00:45:24,765 --> 00:45:26,561
At least there will be other people around.

716
00:45:27,666 --> 00:45:31,052
Why? Would it be so boring to be alone?

717
00:45:31,645 --> 00:45:33,017
I was thinking about you.

718
00:45:34,205 --> 00:45:36,059
You are not happy if we are alone.

719
00:45:38,196 --> 00:45:41,160
It's about the impasse in Alex and Katherine Joyce's marriage...

720
00:45:41,378 --> 00:45:43,502
with George Sanders and Ingrid Bergman.

721
00:45:45,326 --> 00:45:49,366
They see how they moved away when they go to Naples...

722
00:45:49,585 --> 00:45:51,862
sell a house owned by Alex's deceased uncle.

723
00:46:00,754 --> 00:46:02,908
It's not a vacation for them.

724
00:46:03,550 --> 00:46:06,261
Being in a foreign country makes them anxious.

725
00:46:10,255 --> 00:46:12,017
Rossellini doesn't dramatize this...

726
00:46:12,236 --> 00:46:14,794
nothing is dramatized in the film.

727
00:46:15,421 --> 00:46:18,898
He just lets us see their discomfort.

728
00:46:20,918 --> 00:46:22,967
And little by little, gradually...

729
00:46:23,245 --> 00:46:25,474
he makes us realize something...

730
00:46:25,883 --> 00:46:28,031
something that affects the couple.

731
00:46:29,030 --> 00:46:30,371
Wake up, Alex.

732
00:46:30,731 --> 00:46:33,867
You notice that there are always sounds coming through the window...

733
00:46:33,867 --> 00:46:36,269
singing fishermen, street vendors...

734
00:46:36,269 --> 00:46:38,422
people laughing, talking, fighting.

735
00:46:38,422 --> 00:46:39,576
Wake up, it's late!

736
00:46:42,322 --> 00:46:44,194
You sleep well in this country.

737
00:46:44,661 --> 00:46:47,687
Sounds that enter their unconscious and ours,

738
00:46:47,687 --> 00:46:49,671
I was dreaming, but I don't remember what.

739
00:46:50,418 --> 00:46:53,227
Maybe with the charming Judy, who you met yesterday.

740
00:46:54,318 --> 00:46:55,238
Perhaps.

741
00:46:55,550 --> 00:46:56,518
How foolish.

742
00:46:56,518 --> 00:46:58,982
I never noticed his interest in other women.

743
00:46:59,531 --> 00:47:00,870
Is it really?

744
00:47:03,211 --> 00:47:05,378
Everyone sleeps, as if it were dawn.

745
00:47:05,893 --> 00:47:08,530
It's as if there was a strange presence.

746
00:47:08,530 --> 00:47:09,622
Are you going to sleep?

747
00:47:09,622 --> 00:47:11,401
awaken their senses.

748
00:47:11,713 --> 00:47:14,973
It's painful for them, because they have feelings again.

749
00:47:15,925 --> 00:47:17,422
The temple of the spirit.

750
00:47:18,794 --> 00:47:22,056
Rossellini makes us participate in this experience.

751
00:47:22,647 --> 00:47:23,880
We are witnesses.

752
00:47:24,179 --> 00:47:25,519
Do you remember Charles?

753
00:47:26,303 --> 00:47:28,327
- Which Charles?
-Charles Lewington.

754
00:47:28,644 --> 00:47:29,997
Lewington?

755
00:47:30,588 --> 00:47:31,950
He died two years ago.

756
00:47:33,007 --> 00:47:37,345
He was thin, tall, handsome, very pale and sensitive.

757
00:47:37,983 --> 00:47:40,027
That boy made me think.

758
00:47:40,355 --> 00:47:42,695
- What did the cough indicate?
- That he was an idiot.

759
00:47:43,601 --> 00:47:45,598
He wasn't an idiot, he was a poet.

760
00:47:45,925 --> 00:47:47,064
What difference does it make?

761
00:47:47,422 --> 00:47:51,933
Charles wrote beautiful poems. He fought in Italy, in the war.

762
00:47:52,835 --> 00:47:54,199
Right here, there.

763
00:47:55,725 --> 00:47:58,154
- Did you love him?
- No...

764
00:47:58,654 --> 00:48:00,667
but we got along well.

765
00:48:00,667 --> 00:48:01,946
Good morning, Mrs. Joyce.

766
00:48:01,946 --> 00:48:03,335
- Where are you going?
- To Naples.

767
00:48:03,335 --> 00:48:05,905
The actors don't appear to be acting.

768
00:48:07,323 --> 00:48:09,635
I can borrow the car.

769
00:48:09,635 --> 00:48:13,162
It feels like we're seeing a real-life couple.

770
00:48:13,162 --> 00:48:15,561
I want to go to the museum and it closes at 4am.

771
00:48:15,857 --> 00:48:17,120
I don't want to miss anything.

772
00:48:17,325 --> 00:48:19,165
- Aren't you going to have lunch?
- I already ate.

773
00:48:19,726 --> 00:48:20,677
I need to go.

774
00:48:22,393 --> 00:48:25,717
It's the museum that your friend, what's the name again...

775
00:48:26,168 --> 00:48:27,202
described in verse?

776
00:48:27,202 --> 00:48:28,212
Perhaps.

777
00:48:30,178 --> 00:48:31,180
Gross!

778
00:48:31,180 --> 00:48:34,441
In the museum, the presence that affects them...

779
00:48:35,497 --> 00:48:39,303
that remains in the background is suddenly revealed.

780
00:48:39,553 --> 00:48:43,160
This is a discus thrower, a Greek.

781
00:48:45,078 --> 00:48:48,898
And these are the emperors.
This is Caracalla.

782
00:48:48,898 --> 00:48:53,203
This presence is Italy and its ancient past.

783
00:48:55,267 --> 00:48:57,665
This is my favorite Venus.

784
00:48:58,101 --> 00:49:00,363
She's not as young as the others.

785
00:49:00,899 --> 00:49:01,987
She is more...

786
00:49:02,409 --> 00:49:03,690
more mature.

787
00:49:04,139 --> 00:49:05,544
Don't you agree?

788
00:49:06,140 --> 00:49:11,148
- Maybe, I don't know.
- And this is the statue of Farnese.

789
00:49:12,298 --> 00:49:14,922
She was found in the Baths of Caracalla.

790
00:49:16,041 --> 00:49:18,071
She is 3m tall...

791
00:49:18,355 --> 00:49:20,678
and 2,200 years.

792
00:49:21,455 --> 00:49:23,327
The past is everywhere.

793
00:49:24,123 --> 00:49:27,508
Not that he's in a book. He's alive.

794
00:49:28,038 --> 00:49:29,927
Everyone rests here, except me.

795
00:49:30,768 --> 00:49:32,050
It's wonderful!

796
00:49:32,547 --> 00:49:38,069
Generally, this presence would be
represented by a person...

797
00:49:38,069 --> 00:49:39,741
that would explain everything.

798
00:49:40,912 --> 00:49:42,952
In this film, nothing is explained.

799
00:49:43,576 --> 00:49:46,103
This was Rossellini's scientific vein...

800
00:49:47,109 --> 00:49:48,916
take two people out of their environment...

801
00:49:49,197 --> 00:49:50,400
and see how they react.

802
00:49:50,805 --> 00:49:56,375
The why is less important than how and when.

803
00:49:56,700 --> 00:50:00,085
I'm tired of this country. It makes us lazy.

804
00:50:00,850 --> 00:50:03,190
I want to go back home.
For work.

805
00:50:03,190 --> 00:50:05,420
Finally, you mentioned it.

806
00:50:05,420 --> 00:50:07,371
It's been a while since I said... work.

807
00:50:07,808 --> 00:50:10,241
I think it's better for us to stay away from each other.

808
00:50:10,834 --> 00:50:14,457
I'm going to Capri to wait for the answer about the property.

809
00:50:14,812 --> 00:50:18,042
You'll like Capri now that your friends are there.

810
00:50:18,464 --> 00:50:20,646
Your friends are adorable.

811
00:50:26,250 --> 00:50:27,905
Katherine discovers Italy.

812
00:50:29,088 --> 00:50:30,664
The statues, the ruins...

813
00:50:31,069 --> 00:50:35,517
and all the women she sees are pregnant or with children.

814
00:50:37,387 --> 00:50:40,929
At that moment, it is realized that the couple does not have children.

815
00:50:43,784 --> 00:50:48,402
She goes to the ruins of Cumaen Sibyl, an oracle.

816
00:50:48,744 --> 00:50:51,194
Lovers came to consult the oracle.

817
00:50:52,956 --> 00:50:55,826
They wanted to know their future in love.

818
00:50:56,035 --> 00:50:58,263
She is not prepared
for the purpose that Italy exercises.

819
00:50:59,540 --> 00:51:02,756
She becomes distraught, just like that.

820
00:51:04,095 --> 00:51:07,996
Don't you want to see Sibyl's chambers?

821
00:51:08,509 --> 00:51:10,774
No, thank you. Another time.

822
00:51:14,173 --> 00:51:17,480
Alex tries to resist, he runs away from his feelings...

823
00:51:17,826 --> 00:51:19,478
and is more defensive than Katherine.

824
00:51:21,070 --> 00:51:23,658
The contrast between them is not highlighted...

825
00:51:23,924 --> 00:51:26,264
It's just observed.

826
00:51:26,264 --> 00:51:28,697
When I decided to separate, I had no problem.

827
00:51:29,321 --> 00:51:31,271
The only important thing was my freedom.

828
00:51:34,299 --> 00:51:38,727
You seem to have a lot of problems, a lot of debts.

829
00:51:40,257 --> 00:51:43,252
It's because you love her and are jealous.

830
00:51:43,880 --> 00:51:44,968
Jealousy?

831
00:51:47,267 --> 00:51:49,649
Instead of alternating dramatic peaks...

832
00:51:49,649 --> 00:51:52,986
Rossellini lets the small details accumulate.

833
00:51:54,192 --> 00:51:56,357
Everywhere, at the same time.

834
00:51:56,808 --> 00:52:00,755
These small details and events are the film.

835
00:52:01,005 --> 00:52:02,518
See, there are sparks.

836
00:52:02,814 --> 00:52:08,120
-Pompeii was destroyed by a rain of ash.

837
00:52:08,120 --> 00:52:10,087
- Like these?
- Exactly!

838
00:52:11,537 --> 00:52:12,910
Alex returns to Naples...

839
00:52:13,145 --> 00:52:15,065
but he won't go to his wife right away.

840
00:52:15,953 --> 00:52:17,045
Goodnight.

841
00:52:20,367 --> 00:52:22,566
Where do you want to go?

842
00:52:24,033 --> 00:52:25,129
To your house?

843
00:52:26,403 --> 00:52:27,776
Are you in a hotel?

844
00:52:28,732 --> 00:52:30,007
Where are we going?

845
00:52:31,523 --> 00:52:32,581
Nowhere.

846
00:52:32,987 --> 00:52:35,686
Let's go for a walk and I'll leave you wherever you want.

847
00:52:41,744 --> 00:52:46,174
This scene, where singing permeates the soundtrack...

848
00:52:46,528 --> 00:52:51,364
and dialogue matters less
that the feelings behind it...

849
00:52:51,972 --> 00:52:54,156
It is the essence of... Travel to Italy.

850
00:53:06,438 --> 00:53:07,121
Alex!

851
00:53:10,069 --> 00:53:12,361
I just wanted to make sure it was you.

852
00:53:13,485 --> 00:53:16,610
- Who did you think it was?
- I slept heavily.

853
00:53:16,902 --> 00:53:20,194
I got so much sun today that I was exhausted.

854
00:53:20,194 --> 00:53:21,742
I fell asleep soon.

855
00:53:23,689 --> 00:53:25,233
Did you have fun?

856
00:53:25,997 --> 00:53:27,245
It was good.

857
00:53:28,883 --> 00:53:30,210
What boat did you return on?

858
00:53:31,878 --> 00:53:33,376
At five o'clock.

859
00:53:34,472 --> 00:53:36,823
What have you done so far?

860
00:53:39,367 --> 00:53:40,598
I was in Naples.

861
00:53:41,925 --> 00:53:43,561
Do you want to know anything more?

862
00:53:44,778 --> 00:53:45,979
Of course not.

863
00:53:47,117 --> 00:53:50,534
- Can I go to bed?
- Of course.

864
00:53:56,229 --> 00:53:57,756
- Will you do me a favor?
- Yes

865
00:53:58,911 --> 00:54:01,080
Ask them to call me at 11am tomorrow.

866
00:54:01,579 --> 00:54:03,216
And don't let anyone bother me.

867
00:54:03,216 --> 00:54:04,808
I haven't been sleeping well.

868
00:54:06,680 --> 00:54:07,414
It's fine.

869
00:54:08,708 --> 00:54:09,831
- Goodnight.
- Goodnight.

870
00:54:22,499 --> 00:54:25,763
She is touched by the lives that have passed through there.

871
00:54:29,332 --> 00:54:31,706
It's not just for the history or the relics...

872
00:54:32,607 --> 00:54:35,369
but for real people, who enjoyed life...

873
00:54:35,977 --> 00:54:40,049
and they suffered as she suffers, as everyone suffers.

874
00:54:41,515 --> 00:54:43,464
Rossellini once said...

875
00:54:44,479 --> 00:54:45,915
"Death does not exist here.

876
00:54:47,290 --> 00:54:49,081
There is something alive in Italy.

877
00:54:49,676 --> 00:54:51,265
It's a different civilization.

878
00:54:52,123 --> 00:54:54,526
Things have a different meaning here."

879
00:54:55,212 --> 00:54:56,835
My brother died in Greece, in the war.

880
00:54:57,459 --> 00:54:58,722
He was buried there.

881
00:54:59,408 --> 00:55:02,856
I come to pray for him here. That comforts me a little.

882
00:55:05,571 --> 00:55:08,909
I pray for something else too. I really want...

883
00:55:09,971 --> 00:55:13,433
have a child. You understand me, don't you?

884
00:55:15,664 --> 00:55:17,786
I'm tired of these pilgrimages.

885
00:55:17,786 --> 00:55:19,813
What a scandal, just because I took the car.

886
00:55:20,219 --> 00:55:22,766
Everything you do seems meaningless.

887
00:55:23,167 --> 00:55:25,866
If that's what you think, let's make a resolution.

888
00:55:26,241 --> 00:55:28,596
Okay, let's get divorced.

889
00:55:29,188 --> 00:55:30,114
Good morning.

890
00:55:31,548 --> 00:55:34,665
I came to get them. Let's go to Pompeii.

891
00:55:35,213 --> 00:55:36,911
They will make a mold...

892
00:55:37,223 --> 00:55:39,500
in the space left in the lava by a body.

893
00:55:39,500 --> 00:55:41,716
- I'm very sorry.
- You need to go.

894
00:55:41,996 --> 00:55:44,841
Imagine seeing the shape
of a man like him...

895
00:55:45,086 --> 00:55:47,021
when death surprised him.

896
00:55:47,340 --> 00:55:50,337
It's a great experience, and few people see it.

897
00:55:51,511 --> 00:55:55,944
It's the first time they've gone to a ruin together.

898
00:55:57,417 --> 00:56:00,014
It was here that they found a hollow space.

899
00:56:01,753 --> 00:56:04,999
When they find a space, they make holes...

900
00:56:05,641 --> 00:56:07,602
and through them, the plaster is thrown.

901
00:56:08,057 --> 00:56:10,385
The plaster fills the space left by the body...

902
00:56:10,385 --> 00:56:12,551
which disintegrated.

903
00:56:14,240 --> 00:56:17,734
Buried bodies and objects
more than two thousand years ago...

904
00:56:17,734 --> 00:56:18,954
are rebuilt like this.

905
00:56:21,971 --> 00:56:23,467
You can already see something.

906
00:56:24,309 --> 00:56:25,142
What is it?

907
00:56:27,276 --> 00:56:31,128
Let's see...
looks like a leg.

908
00:56:38,636 --> 00:56:40,060
Here's an arm.

909
00:56:41,727 --> 00:56:44,550
And two more legs.

910
00:56:45,844 --> 00:56:46,958
Must be an adult.

911
00:56:52,818 --> 00:56:54,196
There's the head.

912
00:56:55,022 --> 00:56:57,485
You can see the skull with the plaster around it.

913
00:57:03,187 --> 00:57:07,011
Now the bones and teeth, all very well preserved.

914
00:57:13,099 --> 00:57:15,359
Two people exactly as they were when they died.

915
00:57:15,813 --> 00:57:17,139
A man and a woman.

916
00:57:24,088 --> 00:57:25,925
Maybe husband and wife, who knows?

917
00:57:27,469 --> 00:57:29,248
They may have died together.

918
00:57:33,679 --> 00:57:34,947
What happened to Mrs. Joyce?

919
00:57:35,352 --> 00:57:36,205
I don't know.

920
00:57:37,616 --> 00:57:40,077
Katherine? What it was?
What happened?

921
00:57:42,344 --> 00:57:44,673
This is too much.
I can't take it anymore.

922
00:57:45,731 --> 00:57:47,857
Take me home, I want to go.

923
00:57:47,857 --> 00:57:49,131
I don't want to stay here anymore.

924
00:57:50,665 --> 00:57:53,079
Finally, his eyes
they open too.

925
00:57:53,721 --> 00:57:55,329
I understand how you feel.

926
00:57:56,098 --> 00:57:57,576
I was touched too.

927
00:57:58,733 --> 00:58:00,266
But try to control yourself.

928
00:58:00,872 --> 00:58:02,856
Did this affect you too?

929
00:58:06,258 --> 00:58:09,050
I saw so many strange things today...

930
00:58:09,788 --> 00:58:11,535
but I didn't have time to tell him.

931
00:58:13,967 --> 00:58:15,658
There are things I didn't tell you.

932
00:58:19,948 --> 00:58:23,458
I'm sorry I was stupid
with you this morning.

933
00:58:24,956 --> 00:58:27,765
Why?
Our situation is clear.

934
00:58:28,580 --> 00:58:29,843
We have already decided.

935
00:58:30,573 --> 00:58:32,366
You don't need to make excuses.

936
00:58:33,837 --> 00:58:36,734
- Doesn't that bring back memories?
- Stop!

937
00:58:37,172 --> 00:58:39,499
You will continue
to repeat that?

938
00:58:41,122 --> 00:58:43,275
Enough sarcasm.

939
00:58:43,557 --> 00:58:45,473
We decided to divorce and it's resolved.

940
00:58:50,561 --> 00:58:51,950
Life is very short.

941
00:58:52,916 --> 00:58:54,714
That's why we need to take advantage of it.

942
00:59:10,145 --> 00:59:10,963
Miracle!

943
00:59:14,632 --> 00:59:16,152
Alex! Alex!

944
00:59:17,172 --> 00:59:19,839
When they are sure they must separate...

945
00:59:20,285 --> 00:59:23,171
they are thrown into the chaos and passion of life.

946
00:59:37,311 --> 00:59:39,464
They think this is the end of their marriage...

947
00:59:40,281 --> 00:59:42,772
but it's just the end of the journey.

948
00:59:44,163 --> 00:59:45,254
What do they find there?

949
00:59:46,554 --> 00:59:47,487
Each other.

950
00:59:59,087 --> 01:00:02,222
It's difficult to convey the emotion at the end of this film...

951
01:00:02,897 --> 01:00:07,373
because to feel it you need to watch the whole film and absorb it.

952
01:00:08,433 --> 01:00:12,708
The film was a failure when it premiered in Italy in 1953...

953
01:00:12,988 --> 01:00:15,208
and for many it is the end of Rossellini as a director.

954
01:00:16,374 --> 01:00:19,327
But he had a great influence on the history of cinema.

955
01:00:19,828 --> 01:00:21,889
Because the only ones he pleased...

956
01:00:22,298 --> 01:00:24,766
were the critics of the magazine Cahiers du Cinema...

957
01:00:25,025 --> 01:00:27,927
who were directors of the Nouvelle Vague...

958
01:00:27,927 --> 01:00:28,976
in the 60s...

959
01:00:29,570 --> 01:00:31,472
Jean-Luc Godard, François Truffaut...

960
01:00:31,472 --> 01:00:34,726
Eric Rohmer, Claude Chabrol, Jacques Rivette...

961
01:00:34,934 --> 01:00:36,774
and their mentor, Andr� Bazin...

962
01:00:36,774 --> 01:00:39,720
one of the first to recognize Rossellini's greatness.

963
01:00:40,691 --> 01:00:44,264
For them... Trip to Italy was revolutionary...

964
01:00:44,799 --> 01:00:46,651
the beginning of something new in cinema.

965
01:00:46,980 --> 01:00:49,312
He inspired a new kind of direction...

966
01:00:49,312 --> 01:00:51,051
improvised, experimental...

967
01:00:51,660 --> 01:00:53,907
without the trappings of filming studios.

968
01:00:54,768 --> 01:00:56,002
According to Godard...

969
01:00:56,241 --> 01:00:58,574
Rossellini proved that to make a film...

970
01:00:59,152 --> 01:01:02,003
All it takes is two people in a car and a camera.

971
01:01:03,284 --> 01:01:06,247
After... Trip to Italy, there was no going back for Rossellini.

972
01:01:06,564 --> 01:01:09,091
He made two more conventional films...

973
01:01:09,091 --> 01:01:11,119
but he seemed unmotivated.

974
01:01:11,811 --> 01:01:13,276
For all intents and purposes...

975
01:01:13,636 --> 01:01:15,758
he abandoned the traditional narrative for good.

976
01:01:16,759 --> 01:01:19,611
Trip to Italy was not only unpopular...

977
01:01:19,611 --> 01:01:21,672
but it was reviled when it debuted.

978
01:01:22,127 --> 01:01:26,152
But he inspired so many directors who understood him...

979
01:01:26,437 --> 01:01:29,740
that influenced the history of cinema...

980
01:01:30,059 --> 01:01:32,034
as much as more famous films.

981
01:01:32,300 --> 01:01:35,920
He was a reference for the work of Michelangelo Antonioni.

982
01:01:40,508 --> 01:01:42,729
In the early 60s, there was a lot of debate.

983
01:01:43,084 --> 01:01:45,118
People took sides, fervently.

984
01:01:45,425 --> 01:01:47,530
On the other side was... The Sweet Life.

985
01:01:47,904 --> 01:01:51,087
On the other... The Adventure, by Michelangelo Antonioni...

986
01:01:51,743 --> 01:01:55,315
two unique and totally different views of the world.

987
01:01:56,345 --> 01:01:59,059
While... A Doce Vida was like a big circus...

988
01:01:59,643 --> 01:02:03,287
The Adventure... was mysterious, distant.

989
01:02:03,958 --> 01:02:06,360
And when Fellini's film was accessible...

990
01:02:08,162 --> 01:02:11,459
Antonioni's was intricate, difficult to decipher.

991
01:02:13,986 --> 01:02:17,605
The Adventure... needed to be absorbed differently.

992
01:02:19,052 --> 01:02:21,125
The first time I saw it, I was intrigued.

993
01:02:22,502 --> 01:02:23,834
What wasn't I seeing?

994
01:02:24,500 --> 01:02:27,042
So I saw him again and again.

995
01:02:28,072 --> 01:02:32,585
He bewitched the public, at least he bewitched me.

996
01:02:33,448 --> 01:02:36,649
The more I watched it, the more it became...

997
01:02:37,148 --> 01:02:39,186
a strong emotional experience.

998
01:02:40,578 --> 01:02:44,287
He portrayed a world very far from mine...

999
01:02:44,864 --> 01:02:47,497
a world of rich people, with idle time.

1000
01:02:48,295 --> 01:02:51,365
And so much time and money were just a trap...

1001
01:02:52,456 --> 01:02:53,938
which they could not get out of.

1002
01:02:54,858 --> 01:02:56,687
I felt sorry for them...

1003
01:02:57,074 --> 01:02:59,320
because they wanted to escape their lives.

1004
01:03:00,509 --> 01:03:02,638
And there was Antonioni's framing...

1005
01:03:03,504 --> 01:03:05,189
detailed and precise.

1006
01:03:05,782 --> 01:03:07,939
He focused on the landscapes...

1007
01:03:08,157 --> 01:03:11,290
and the spaces around people...

1008
01:03:12,271 --> 01:03:14,408
echoing the sense of isolation and loss.

1009
01:03:15,249 --> 01:03:17,653
His use of black and white was something new...

1010
01:03:18,303 --> 01:03:21,251
everything in the frame was precise, defined...

1011
01:03:22,108 --> 01:03:25,338
and this helped to express the emotional emptiness...

1012
01:03:25,649 --> 01:03:27,755
of the characters' lives...

1013
01:03:28,243 --> 01:03:29,554
I love her, isn't that enough?

1014
01:03:29,805 --> 01:03:31,469
Antonioni did something incredibly bold.

1015
01:03:31,469 --> 01:03:33,012
No, it's not enough.

1016
01:03:33,672 --> 01:03:35,227
He introduced a woman named Anna...

1017
01:03:35,852 --> 01:03:37,006
played by Lea Massari...

1018
01:03:38,237 --> 01:03:40,031
who seemed to be the heroine of the film.

1019
01:03:40,873 --> 01:03:42,907
Then, on a stopover on an island...

1020
01:03:43,683 --> 01:03:45,741
she just disappears...

1021
01:03:46,656 --> 01:03:47,622
from friends...

1022
01:03:49,059 --> 01:03:51,166
for the rest of the film.

1023
01:03:52,430 --> 01:03:54,019
This was incredible, unthinkable.

1024
01:03:54,019 --> 01:03:55,174
Anna!

1025
01:03:57,919 --> 01:04:00,598
Hitchcock did something similar with Janet Leigh in... Psycho...

1026
01:04:01,579 --> 01:04:03,203
but unlike him...

1027
01:04:03,670 --> 01:04:06,979
Antonioni did not explain what happened to Anna.

1028
01:04:13,108 --> 01:04:15,046
Anna!

1029
01:04:15,920 --> 01:04:18,623
Her friend, Claudia, played by Monica Vitti...

1030
01:04:18,979 --> 01:04:22,004
and Anna's lover, Sandro, played by Gabriele Ferzetti...

1031
01:04:22,331 --> 01:04:23,454
go look for her...

1032
01:04:23,809 --> 01:04:27,348
and... The Adventure... becomes a road movie.

1033
01:04:28,098 --> 01:04:30,987
This is the adventure of the title.

1034
01:04:34,415 --> 01:04:37,300
Halfway through, they end up getting involved.

1035
01:04:38,891 --> 01:04:40,920
Which is not an unprecedented situation in films.

1036
01:04:41,809 --> 01:04:45,049
What is unprecedented is that as the film unfolds...

1037
01:04:45,828 --> 01:04:48,418
they forget about Anna.

1038
01:04:49,199 --> 01:04:50,029
And so do we.

1039
01:04:52,060 --> 01:04:55,281
Antonioni leaves things loose, undecided...

1040
01:04:55,987 --> 01:04:56,920
uncertain...

1041
01:04:57,891 --> 01:05:00,921
as if the characters didn't control their emotions.

1042
01:05:02,206 --> 01:05:03,625
This was unheard of.

1043
01:05:04,253 --> 01:05:07,093
The film went through moral indecision.

1044
01:05:08,227 --> 01:05:10,984
In a way, that made me anxious.

1045
01:05:12,441 --> 01:05:13,871
But it also fascinated me.

1046
01:05:14,871 --> 01:05:19,110
Likewise, the reading rhythm of the film.

1047
01:05:20,189 --> 01:05:23,485
This slowness was bold and full of drama.

1048
01:05:34,430 --> 01:05:35,807
They become a couple...

1049
01:05:37,219 --> 01:05:38,817
and they don't stop looking for Anna...

1050
01:05:39,358 --> 01:05:41,215
but the search is indifferent.

1051
01:05:41,536 --> 01:05:44,641
It's another excuse for them to stay together.

1052
01:05:46,372 --> 01:05:48,494
See what fantasy, what movement.

1053
01:05:51,438 --> 01:05:54,184
They were concerned with the scenographic effects.

1054
01:05:54,997 --> 01:05:56,585
What extraordinary freedom.

1055
01:05:57,405 --> 01:05:59,511
Sandro is a man without ambition.

1056
01:06:00,307 --> 01:06:02,459
He gave up on being a great architect...

1057
01:06:02,797 --> 01:06:04,029
at the beginning of your career.

1058
01:06:05,433 --> 01:06:08,038
Any sign of ambition in others...

1059
01:06:08,273 --> 01:06:10,929
especially among young people, it is unforgivable.

1060
01:06:12,945 --> 01:06:14,075
Excuse me...

1061
01:06:14,862 --> 01:06:17,110
- You did it on purpose.
- On purpose?

1062
01:06:17,325 --> 01:06:19,783
Why? No, frankly.

1063
01:06:20,454 --> 01:06:21,500
Come on, let's go.

1064
01:06:27,335 --> 01:06:31,264
Everywhere, he is assaulted by incredible architecture.

1065
01:06:33,931 --> 01:06:36,016
He can't articulate his frustrations...

1066
01:06:36,953 --> 01:06:40,779
he just takes them out on whoever is next to him.

1067
01:06:41,086 --> 01:06:43,832
- No, Sandro, please.
- Why?

1068
01:06:44,061 --> 01:06:45,358
There is no reason.

1069
01:06:47,274 --> 01:06:48,833
It seems like I don't know him.

1070
01:06:50,112 --> 01:06:52,219
Are you not happy?
It's a new adventure.

1071
01:06:53,641 --> 01:06:56,478
- Like this?
- It's a joke.

1072
01:06:58,038 --> 01:06:59,398
You can't be played with.

1073
01:07:00,830 --> 01:07:03,965
Antonioni shows two people clinging to life.

1074
01:07:05,353 --> 01:07:06,465
Why don't you want to?

1075
01:07:07,167 --> 01:07:10,479
She wants to love someone and someone who loves her...

1076
01:07:11,379 --> 01:07:13,972
but he doesn't know how to love...

1077
01:07:14,794 --> 01:07:15,652
nor be loved.

1078
01:07:17,627 --> 01:07:19,177
Antonioni doesn't make this explicit...

1079
01:07:19,718 --> 01:07:21,684
he lets us intuit...

1080
01:07:22,510 --> 01:07:24,959
feelings under appearances.

1081
01:07:26,957 --> 01:07:31,979
Claudia has no objective, she is almost unfinished as a person.

1082
01:07:33,632 --> 01:07:37,049
The world she and Sandro wander through...

1083
01:07:37,049 --> 01:07:39,217
It's similar to the world of... A Doce Vida...

1084
01:07:39,860 --> 01:07:41,264
but from another point of view.

1085
01:07:45,323 --> 01:07:47,549
Unlike Marcello, in Fellini's film...

1086
01:07:48,175 --> 01:07:50,263
Antonioni's characters are inside this world...

1087
01:07:51,433 --> 01:07:52,449
trapped in it.

1088
01:07:53,533 --> 01:07:55,299
My skirt fell apart.

1089
01:07:58,758 --> 01:08:01,646
The last stop of the trip
It's a party for a rich friend.

1090
01:08:03,542 --> 01:08:07,075
Claudia is sleepy and Sandro goes alone.

1091
01:08:09,252 --> 01:08:10,650
Goodnight my love.

1092
01:08:14,455 --> 01:08:15,588
Say you love me.

1093
01:08:19,181 --> 01:08:21,675
- I love her.
- Say it again.

1094
01:08:24,346 --> 01:08:25,818
I don't love her.

1095
01:08:28,831 --> 01:08:29,981
I deserve this.

1096
01:09:03,371 --> 01:09:06,233
When it dawns and Sandro hasn't returned yet...

1097
01:09:07,140 --> 01:09:10,247
Claudia wakes up the hostess, hoping she knows something.

1098
01:09:12,951 --> 01:09:15,565
- Where is Ettore?
- He must be sleeping.

1099
01:09:15,783 --> 01:09:17,540
I'm afraid Anna has returned.

1100
01:09:17,875 --> 01:09:20,713
I feel like she's back and that they're together.

1101
01:09:21,198 --> 01:09:23,573
What came over you?
We would know.

1102
01:09:24,609 --> 01:09:25,771
Go to sleep.

1103
01:09:27,407 --> 01:09:29,506
A few days ago, when thinking
that Anna was dead...

1104
01:09:30,369 --> 01:09:32,144
I felt dead too.

1105
01:09:34,083 --> 01:09:35,525
Now, I don't even cry.

1106
01:09:36,647 --> 01:09:38,242
I fear she is alive.

1107
01:09:46,645 --> 01:09:48,488
There is a force that drives the film.

1108
01:09:49,229 --> 01:09:52,719
Antonioni makes us feel the
weight of life on the characters...

1109
01:09:53,854 --> 01:09:55,113
their inertia.

1110
01:09:55,944 --> 01:09:57,551
With his rigorous style...

1111
01:09:57,551 --> 01:09:59,586
every action, every object...

1112
01:10:00,001 --> 01:10:02,714
It is embedded in our consciousness.

1113
01:10:36,715 --> 01:10:37,960
Dear...

1114
01:10:41,850 --> 01:10:44,454
Won't you leave me a memory?

1115
01:10:45,417 --> 01:10:47,320
Just a small souvenir.

1116
01:12:17,277 --> 01:12:18,419
In this final image...

1117
01:12:19,328 --> 01:12:23,676
Antonioni realizes the suffering of being alive.

1118
01:12:25,192 --> 01:12:27,156
As if they were both exposed...

1119
01:12:28,529 --> 01:12:32,208
and only the consciousness of their loneliness remained.

1120
01:12:33,603 --> 01:12:35,270
That image haunted me at the time...

1121
01:12:35,841 --> 01:12:38,426
and it haunts me to this day.

1122
01:12:47,006 --> 01:12:49,299
The Adventure... was the first film in a trilogy...

1123
01:12:49,627 --> 01:12:50,953
and in every film...

1124
01:12:51,322 --> 01:12:54,258
Antonioni worked with new possibilities...

1125
01:12:54,839 --> 01:12:57,063
emotional, visual and thematic.

1126
01:12:57,675 --> 01:12:59,453
The second film was... The Night...

1127
01:12:59,936 --> 01:13:02,511
with Marcello Mastroianni and Jeanne Moreau.

1128
01:13:03,046 --> 01:13:06,810
The third film, Eclipse... is the boldest.

1129
01:13:08,038 --> 01:13:11,782
All over the world, directors were trying new things...

1130
01:13:12,207 --> 01:13:14,014
expanded the horizons of cinema.

1131
01:13:14,517 --> 01:13:16,898
Jean-Luc Godard
with... Harassed... Living Life...

1132
01:13:17,118 --> 01:13:18,841
John Cassavetes
with... Shadows...

1133
01:13:18,841 --> 01:13:20,907
Luis Bu�uel
with... Viridiana...

1134
01:13:20,907 --> 01:13:23,345
Ingmar Bergman with...
Silence and... Persona...

1135
01:13:23,684 --> 01:13:25,946
Oshima with... The Cruel
Youth History...

1136
01:13:26,206 --> 01:13:28,188
Glauber Rocha with...
Antonio das Mortes...

1137
01:13:28,499 --> 01:13:30,466
Imamura with...
The Bug Woman...

1138
01:13:30,466 --> 01:13:32,570
and Alain Resnais
with... Hiroshima, My Love...

1139
01:13:32,570 --> 01:13:34,019
and... Last Year
in Marienbad.

1140
01:13:34,814 --> 01:13:38,087
Every week someone went further...

1141
01:13:38,804 --> 01:13:40,076
surpassing his last film.

1142
01:13:40,784 --> 01:13:42,311
I think they influenced...

1143
01:13:42,311 --> 01:13:44,528
and teased each other...

1144
01:13:45,444 --> 01:13:46,501
stimulating each other.

1145
01:13:47,828 --> 01:13:50,445
I remember being impressed by... Eclipse.

1146
01:13:52,632 --> 01:13:54,613
He was an evolution in the narrative.

1147
01:13:55,961 --> 01:13:59,731
In fact, he was less
a story than a poem.

1148
01:14:01,447 --> 01:14:04,127
Eclipse... is about a Milanese woman,
role of Monica Vitti...

1149
01:14:04,458 --> 01:14:06,653
who has a romance with a stockbroker...

1150
01:14:06,653 --> 01:14:07,889
played by Alain Delon.

1151
01:14:12,725 --> 01:14:14,601
More than the characters from... The Adventure...

1152
01:14:15,238 --> 01:14:16,405
they are lost.

1153
01:14:18,456 --> 01:14:20,952
They seek intimacy, but don't give themselves away.

1154
01:14:22,603 --> 01:14:25,614
Antonioni highlights the impersonality of this world.

1155
01:14:27,366 --> 01:14:29,715
Love seemed impossible.

1156
01:14:30,763 --> 01:14:32,677
It was like planting flowers in concrete.

1157
01:14:37,439 --> 01:14:41,620
There is barely time to mourn the death of a colleague.

1158
01:14:42,539 --> 01:14:45,983
The rhythm of life, in the materialistic world, does not allow this.

1159
01:14:46,641 --> 01:14:49,046
A minute of silence, like in football.

1160
01:14:49,599 --> 01:14:50,548
Did you know him?

1161
01:14:50,962 --> 01:14:54,171
Yes, but a minute here costs billions.

1162
01:15:01,629 --> 01:15:03,027
Antonioni said...

1163
01:15:03,324 --> 01:15:05,571
"I look for traits
of feelings in men."

1164
01:15:06,204 --> 01:15:09,284
Traces of feelings...

1165
01:15:13,801 --> 01:15:17,189
That is, what is left of emotions in modern life.

1166
01:15:20,745 --> 01:15:24,334
Analyzing his films, these traits can be seen.

1167
01:15:26,220 --> 01:15:29,382
And you can see what's underneath his indifference.

1168
01:15:30,192 --> 01:15:31,145
Al�?

1169
01:15:35,104 --> 01:15:36,182
Al�!

1170
01:15:38,473 --> 01:15:39,605
Compassion.

1171
01:15:46,246 --> 01:15:49,501
The couple always finds themselves in the same place...

1172
01:15:50,650 --> 01:15:55,162
on the corner, under a tree,
close to a construction...

1173
01:15:55,816 --> 01:15:57,858
surrounded by modern condominiums.

1174
01:16:09,881 --> 01:16:12,062
What are we going to do?
Are we going somewhere?

1175
01:16:12,924 --> 01:16:14,002
Let's go.

1176
01:16:15,576 --> 01:16:17,693
- My house?
- It's your home.

1177
01:16:21,834 --> 01:16:24,183
One day, they arrange a meeting.

1178
01:16:25,700 --> 01:16:28,176
They are trying to move the relationship forward...

1179
01:16:29,467 --> 01:16:32,512
but they lose the will to commit.

1180
01:16:41,737 --> 01:16:42,936
Neither appears.

1181
01:16:46,925 --> 01:16:48,209
But the film continues.

1182
01:16:53,633 --> 01:16:55,993
Do you hope that something
dramatic happens...

1183
01:16:57,656 --> 01:16:58,695
but it doesn't happen.

1184
01:17:05,498 --> 01:17:09,284
The camera keeps showing us things...

1185
01:17:10,626 --> 01:17:12,841
things around Delon and Vitti...

1186
01:17:13,879 --> 01:17:17,733
the fence, the piece of wood
floating in the water barrel...

1187
01:17:19,176 --> 01:17:20,385
the pedestrian crossings...

1188
01:17:22,349 --> 01:17:23,395
the construction.

1189
01:17:25,957 --> 01:17:28,386
It's not as simple as "life goes on"...

1190
01:17:28,744 --> 01:17:30,716
which means people keep going.

1191
01:17:31,911 --> 01:17:33,128
At the end of... Eclipse...

1192
01:17:33,958 --> 01:17:37,928
Antonioni just leaves time staring at us.

1193
01:17:51,451 --> 01:17:55,658
The world is a shell
around the absence of both...

1194
01:17:56,340 --> 01:17:57,793
who didn't go to meet.

1195
01:18:01,464 --> 01:18:04,226
In other words, it's not what you see.

1196
01:18:04,785 --> 01:18:06,439
It's what you can't see.

1197
01:19:00,540 --> 01:19:02,460
It's a scary way to end a movie.

1198
01:19:03,162 --> 01:19:05,166
But it was also liberating.

1199
01:19:06,036 --> 01:19:07,717
The last seven minutes...

1200
01:19:08,273 --> 01:19:13,361
show that the possibilities
of cinema has no limit.

1201
01:19:55,782 --> 01:19:59,636
Maya, let's try to amuse these annoying people!

1202
01:20:00,440 --> 01:20:02,379
Good evening, ma'am. Allow me?

1203
01:20:04,741 --> 01:20:07,769
Would you like every young man
interested in cinema...

1204
01:20:08,099 --> 01:20:10,293
had the experience
that I had at that time.

1205
01:20:10,857 --> 01:20:12,696
Being young, open to everything...

1206
01:20:13,071 --> 01:20:16,767
go to the cinema and not
just fulfill your expectations...

1207
01:20:17,565 --> 01:20:20,187
but overcome them, over and over again.

1208
01:20:22,111 --> 01:20:25,391
We all have a movie
determining factor, a personal milestone.

1209
01:20:26,265 --> 01:20:28,457
I think... Eight and a Half, by Fellini...

1210
01:20:29,119 --> 01:20:29,947
It was my milestone.

1211
01:20:31,237 --> 01:20:34,232
There was no turning back
for Fellini after, The Sweet Life.

1212
01:20:34,771 --> 01:20:39,661
But... The Sweet Life was just the calm before the storm.

1213
01:20:40,402 --> 01:20:42,944
At... Half past eight, he took a gigantic step.

1214
01:20:43,520 --> 01:20:44,830
He reinvented himself...

1215
01:20:45,147 --> 01:20:49,062
and with that he reinvented everything
what we knew about cinema.

1216
01:20:51,022 --> 01:20:53,962
You make a movie
shake the world and then?

1217
01:20:56,077 --> 01:20:57,845
Everyone is waiting for the next one...

1218
01:20:58,291 --> 01:20:59,538
Pay attention to every word...

1219
01:20:59,538 --> 01:21:01,749
wondering what your next step will be.

1220
01:21:03,713 --> 01:21:06,757
Everyone thinks they know him, understand him...

1221
01:21:06,757 --> 01:21:10,480
that possess it, because you touched them.

1222
01:21:12,765 --> 01:21:14,800
In short, there is pressure.

1223
01:21:16,126 --> 01:21:20,385
Pressure from the public and fans,
of critics and enemies...

1224
01:21:21,000 --> 01:21:22,450
and the producer...

1225
01:21:22,688 --> 01:21:24,984
because time is money.

1226
01:21:25,771 --> 01:21:26,865
And acid of everything...

1227
01:21:27,876 --> 01:21:29,566
pressure from yourself.

1228
01:21:33,682 --> 01:21:37,878
Sorry for bothering you
so early. How are you?

1229
01:21:38,159 --> 01:21:40,187
So, Fellini
did something unprecedented...

1230
01:21:41,627 --> 01:21:43,951
a film about his artistic dilemma.

1231
01:21:44,804 --> 01:21:51,206
What do you prepare us?
Another hopeless film?

1232
01:21:49,100 --> 01:21:51,269
- Is this your first time?
- Yes.

1233
01:21:51,622 --> 01:21:53,339
The hero was a director, Guido...

1234
01:21:53,571 --> 01:21:54,977
role by Marcello Mastroianni...

1235
01:21:55,579 --> 01:21:57,298
which is in artistic crisis.

1236
01:21:57,793 --> 01:21:59,649
He's blocked, he's exhausted...

1237
01:22:00,342 --> 01:22:03,308
he needs to deliver the film
and no inspiration comes to him.

1238
01:22:06,638 --> 01:22:08,137
Guido goes to a spa.

1239
01:22:09,366 --> 01:22:12,575
He wants to take refuge from everything
and everyone around you.

1240
01:22:18,908 --> 01:22:20,297
He needs peace...

1241
01:22:20,570 --> 01:22:23,578
for the number film
eight and a half take shape.

1242
01:22:25,217 --> 01:22:27,437
Like Fellini,
Guido makes seven films...

1243
01:22:27,437 --> 01:22:30,594
and one episode of another,
hence the title... Eight and a Half.

1244
01:22:34,631 --> 01:22:37,251
He seeks what every artist seeks...

1245
01:22:38,704 --> 01:22:39,700
your muse.

1246
01:22:41,183 --> 01:22:42,696
She's always around.

1247
01:22:44,028 --> 01:22:48,527
He only has glimpses of her
and cannot grasp it.

1248
01:23:07,673 --> 01:23:09,389
She seems to float...

1249
01:23:10,030 --> 01:23:12,244
the way he films
and cuts this appearance.

1250
01:23:15,559 --> 01:23:16,836
Thanks.

1251
01:23:17,781 --> 01:23:21,732
Sir, the glass.

1252
01:23:24,975 --> 01:23:28,332
Eight and a Half... is a tapestry of Fellini's dreams...

1253
01:23:28,697 --> 01:23:32,067
memories, fantasies
and everyday pressures...

1254
01:23:32,738 --> 01:23:35,673
forming a torrent
visual of consciousness...

1255
01:23:35,673 --> 01:23:37,702
what a surprise
the viewer.

1256
01:23:38,191 --> 01:23:39,286
I don't want to take a shower!

1257
01:23:39,286 --> 01:23:40,412
Come here.

1258
01:23:40,688 --> 01:23:42,438
Come here, naughty one.

1259
01:23:42,640 --> 01:23:44,577
Come here, come here.

1260
01:23:48,084 --> 01:23:49,912
As in Proust,
there is no plot...

1261
01:23:50,648 --> 01:23:53,505
because it is research
autobiographical...

1262
01:23:54,178 --> 01:23:58,066
in search of the feeling of heat
what we felt in childhood...

1263
01:24:00,600 --> 01:24:03,145
but who is on the run like the muse.

1264
01:24:06,794 --> 01:24:07,667
Above all...

1265
01:24:08,618 --> 01:24:10,178
Eight and a half...
It's an experience...

1266
01:24:10,865 --> 01:24:15,204
where images resonate
like in a dream.

1267
01:24:15,730 --> 01:24:18,099
The nicest boy in the world.

1268
01:24:18,099 --> 01:24:19,751
You don't fool me.

1269
01:24:21,330 --> 01:24:23,554
You are pretending to sleep.

1270
01:24:26,460 --> 01:24:28,050
Sleep well, my beauty.

1271
01:24:29,138 --> 01:24:30,172
Close your eyes.

1272
01:24:41,484 --> 01:24:42,463
It was stimulating...

1273
01:24:43,321 --> 01:24:46,426
because it was unpredictable
what would happen later.

1274
01:24:47,165 --> 01:24:50,271
Finally, you gave up
to understand where I was...

1275
01:24:50,271 --> 01:24:52,657
what was a dream,
memory or reality...

1276
01:24:53,296 --> 01:24:54,563
and surrendered.

1277
01:24:54,443 --> 01:24:55,352
Guido...

1278
01:24:56,487 --> 01:24:58,514
- Do you love me?
- Of course.

1279
01:24:59,076 --> 01:25:02,055
Fellini, with his authority,
I was saying...

1280
01:25:02,757 --> 01:25:04,303
"Come on, trust me."

1281
01:25:13,068 --> 01:25:14,335
It was overwhelming...

1282
01:25:14,335 --> 01:25:16,811
even when portraying
anxiety and regret.

1283
01:25:18,738 --> 01:25:20,330
You're my mother, aren't you?

1284
01:25:23,048 --> 01:25:26,056
How much I cried, son.
How much I cried.

1285
01:25:26,056 --> 01:25:27,615
Father, wait. Don't go away.

1286
01:25:29,040 --> 01:25:29,946
Listen, dad...

1287
01:25:30,706 --> 01:25:32,620
I wanted to ask you
many things.

1288
01:25:32,620 --> 01:25:34,868
You see
How is the ceiling low?

1289
01:25:35,636 --> 01:25:38,799
I wanted it higher.
It's horrible, son.

1290
01:25:40,380 --> 01:25:42,021
I wanted it to be different.

1291
01:25:42,257 --> 01:25:44,802
Commander.
He was bothering...

1292
01:25:49,140 --> 01:25:51,803
How are you?
How is my son?

1293
01:25:52,650 --> 01:25:55,423
Don't let yourself be moved.
Stay tuned.

1294
01:25:57,625 --> 01:26:00,775
As? Is he not well?

1295
01:26:01,774 --> 01:26:04,593
It's sad to realize
of having been so wrong.

1296
01:26:04,593 --> 01:26:05,486
I?

1297
01:26:05,928 --> 01:26:08,950
Your mother prepared something
for you to take.

1298
01:26:09,579 --> 01:26:11,634
Cheese, two peaches.

1299
01:26:12,358 --> 01:26:14,444
Don't worry about me.

1300
01:26:14,726 --> 01:26:16,354
I understand
what do you mean.

1301
01:26:17,728 --> 01:26:20,746
You want to show the confusion
that a man carries.

1302
01:26:21,207 --> 01:26:23,972
But it is necessary to be clear,
the public needs to understand.

1303
01:26:24,460 --> 01:26:26,488
In... Half past eight...

1304
01:26:26,488 --> 01:26:29,215
Fellini creates in front of the public.

1305
01:26:29,987 --> 01:26:32,374
The creative process is the structure.

1306
01:26:32,904 --> 01:26:35,674
If what you say matters,
should interest everyone.

1307
01:26:36,193 --> 01:26:39,553
Why wouldn't you worry
whether the public understands or not?

1308
01:26:40,172 --> 01:26:41,575
For two and a half hours...

1309
01:26:42,417 --> 01:26:44,667
one observes his psyche,
the soul.

1310
01:26:46,208 --> 01:26:48,659
The camera is almost
always on the move.

1311
01:26:49,846 --> 01:26:51,778
In a way, it's a film
about movement...

1312
01:26:52,293 --> 01:26:57,599
restless, hypnotic,
beautiful in itself.

1313
01:26:58,542 --> 01:27:03,852
Attention, please.
Guido, His Eminence awaits you!

1314
01:27:05,737 --> 01:27:07,263
Repeating.

1315
01:27:07,762 --> 01:27:10,634
Guido,
His Eminence awaits you.

1316
01:27:10,634 --> 01:27:14,109
The visual design of the film
 It's unique, pure Fellini.

1317
01:27:14,109 --> 01:27:17,214
Mr. Moraldi, get dressed quickly.
The Cardinal is waiting.

1318
01:27:17,683 --> 01:27:19,292
Tell him everything.
Don't hide anything.

1319
01:27:19,534 --> 01:27:22,387
And make a recommendation
to me. To me, doctor.

1320
01:27:24,815 --> 01:27:28,247
It's a unique opportunity.
The Cardinal, how lucky.

1321
01:27:28,247 --> 01:27:31,029
He can authorize everything,
until my divorce in Mexico.

1322
01:27:31,029 --> 01:27:33,338
I need to get a divorce in Mexico.

1323
01:27:33,654 --> 01:27:35,262
He will not refuse you anything.

1324
01:27:35,262 --> 01:27:39,263
Show yourself devout, kneel.
Kiss his ring, cry.

1325
01:27:39,263 --> 01:27:40,902
I marvel
with scenes like this...

1326
01:27:40,902 --> 01:27:45,286
difficult to film, 
but the result is so good...

1327
01:27:45,286 --> 01:27:46,409
which seems to be very easy.

1328
01:27:46,679 --> 01:27:49,146
Guido, please
we are in your hands.

1329
01:27:49,146 --> 01:27:50,474
Please.

1330
01:27:53,135 --> 01:27:55,824
When it debuted...
Eight and a Half... caused controversy.

1331
01:27:55,824 --> 01:27:57,128
The effect was dramatic.

1332
01:27:57,342 --> 01:27:58,580
Just five minutes.

1333
01:27:58,580 --> 01:28:00,555
Each had
your interpretation of the film.

1334
01:28:01,998 --> 01:28:06,223
But a dream can only be
explained in the light of a dream.

1335
01:28:09,528 --> 01:28:12,377
Eminence,
I'm not happy.

1336
01:28:14,924 --> 01:28:17,023
Why do you
Should I be happy?

1337
01:28:17,773 --> 01:28:19,769
That's not your mission.

1338
01:28:21,801 --> 01:28:25,360
Who said we came
to the world to be happy?

1339
01:28:26,072 --> 01:28:28,302
Origene wrote...

1340
01:28:29,937 --> 01:28:33,168
"Outside the Church, there is no salvation."

1341
01:28:39,219 --> 01:28:43,013
And like in a dream,
the climate changes violently...

1342
01:28:43,013 --> 01:28:44,122
Look at him!

1343
01:28:44,122 --> 01:28:45,091
without warning.

1344
01:28:45,596 --> 01:28:47,447
Guido has arrived!

1345
01:28:49,182 --> 01:28:51,993
Good evening, ladies.
Close it, it's cold.

1346
01:28:52,525 --> 01:28:53,287
There is a storm.

1347
01:28:53,584 --> 01:28:56,470
Women are the center
from Guido's universe...

1348
01:28:56,939 --> 01:28:57,866
and Fellini too...

1349
01:28:59,520 --> 01:29:01,420
and their humanity terrifies him.

1350
01:29:01,751 --> 01:29:03,388
Get me out of here!

1351
01:29:05,516 --> 01:29:06,795
Are you happy, girls?

1352
01:29:08,168 --> 01:29:09,666
Isn't it what you always wanted?

1353
01:29:10,011 --> 01:29:11,101
Certainly!

1354
01:29:11,327 --> 01:29:13,210
Who is the most beautiful man in the world?

1355
01:29:13,756 --> 01:29:17,189
Nadine, what did you say
in Copenhagen?

1356
01:29:17,189 --> 01:29:20,456
We invite
the passengers on this flight...

1357
01:29:20,456 --> 01:29:22,871
to spend the night
in Copenhagen.

1358
01:29:22,871 --> 01:29:26,463
He can love them, use them,
ignore them or worship them...

1359
01:29:26,819 --> 01:29:27,911
but you can't control them.

1360
01:29:28,383 --> 01:29:29,740
I get it, he's a hypocrite.

1361
01:29:29,740 --> 01:29:32,674
Guido, make an exception
to Jacqueline.

1362
01:29:32,946 --> 01:29:35,457
Are you also coming to bother me?

1363
01:29:35,457 --> 01:29:38,931
Just one more year. Please, Guido!

1364
01:29:39,169 --> 01:29:41,427
- There is no extension.
- Study the regulations.

1365
01:29:41,427 --> 01:29:43,526
Anyone who exceeds the age limit...

1366
01:29:43,526 --> 01:29:46,151
move to the upper floor,
and will be well treated.

1367
01:29:49,054 --> 01:29:50,906
It's not fair!

1368
01:29:51,624 --> 01:29:54,383
Fellini is brutally sincere
about yourself...

1369
01:29:54,610 --> 01:29:55,592
in... Half past eight...

1370
01:29:56,282 --> 01:29:58,110
especially in this sequence.

1371
01:29:58,798 --> 01:30:00,291
You are a monster!

1372
01:30:00,901 --> 01:30:04,691
He is not afraid to show himself,
flaws and all.

1373
01:30:05,831 --> 01:30:08,063
Down with the tyrant!
Down with Bluebeard!

1374
01:30:08,690 --> 01:30:11,884
We have the right to be
loved until the age of 70.

1375
01:30:14,388 --> 01:30:18,351
Guido putting down the rebellion
of women is very funny.

1376
01:30:18,351 --> 01:30:19,705
He doesn't know how to make love!

1377
01:30:20,079 --> 01:30:23,292
- Kisses and words, that's all.
 - And he falls asleep.

1378
01:30:23,224 --> 01:30:27,358
It's dangerously funny,
Fellini plays with the public.

1379
01:30:27,639 --> 01:30:32,163
He knows that it is
offensive, but it goes all the way.

1380
01:30:39,068 --> 01:30:40,159
What an extraordinary man!

1381
01:30:40,159 --> 01:30:41,828
Excuse me...

1382
01:30:41,828 --> 01:30:44,812
He needs to do this,
does it almost every night.

1383
01:31:00,528 --> 01:31:01,246
Control.

1384
01:31:01,585 --> 01:31:05,561
The creation process becomes
a runaway train...

1385
01:31:07,482 --> 01:31:08,389
coming your way.

1386
01:31:08,968 --> 01:31:10,619
Come here, clown.

1387
01:31:10,835 --> 01:31:13,146
To make a good film,
It takes time.

1388
01:31:13,458 --> 01:31:15,411
And that's rare for a director.

1389
01:31:16,030 --> 01:31:17,387
- I called six times.
-I know.

1390
01:31:17,591 --> 01:31:18,807
It's impossible to concentrate...

1391
01:31:18,807 --> 01:31:22,248
someone always gives you
an opinion or observation.

1392
01:31:22,555 --> 01:31:24,568
Don't give me a hug,
distresses me.

1393
01:31:24,568 --> 01:31:26,356
Dialogues, babbling, fights...

1394
01:31:26,356 --> 01:31:29,262
furious voices shouting
in your head.

1395
01:31:29,262 --> 01:31:32,954
I will understand the character.
I need to live with it.

1396
01:31:32,954 --> 01:31:35,642
It's all the voices,
except the one you should listen to...

1397
01:31:36,384 --> 01:31:37,123
your own.

1398
01:31:37,578 --> 01:31:39,169
There is a lack of political inspiration.

1399
01:31:39,948 --> 01:31:42,602
I've been there for 30 years
in this profession...

1400
01:31:42,602 --> 01:31:45,498
and I made films that you can't even imagine.

1401
01:31:45,699 --> 01:31:48,876
- I was never afraid of anything!
- Why are you screaming?

1402
01:31:49,126 --> 01:31:52,292
I'm leaving the film.
I don't want to be an obstacle.

1403
01:31:52,589 --> 01:31:54,075
You need young people.

1404
01:31:54,539 --> 01:31:57,742
But be careful, you too
It's not the same anymore.

1405
01:31:59,391 --> 01:32:01,139
He's saying...

1406
01:32:01,437 --> 01:32:04,629
that you are unable to do
a love story.

1407
01:32:05,081 --> 01:32:06,301
She's right.

1408
01:32:10,036 --> 01:32:11,301
You're right.

1409
01:32:12,484 --> 01:32:15,973
I want to create order, I
I want to create order.

1410
01:32:17,614 --> 01:32:19,203
The film does not have a resolution...

1411
01:32:19,439 --> 01:32:22,045
because the artistic process
it doesn't have an end point.

1412
01:32:24,328 --> 01:32:27,168
We've been waiting for you for three days.
Winter has already arrived.

1413
01:32:27,415 --> 01:32:29,283
You need to move on.

1414
01:32:30,510 --> 01:32:32,616
Guido understands this, in the end.

1415
01:32:33,028 --> 01:32:36,144
He's lost, he has nothing to say.

1416
01:32:38,963 --> 01:32:41,908
Reply.
I sustained your crisis.

1417
01:32:41,908 --> 01:32:43,326
I've been paying for everything for months.

1418
01:32:43,326 --> 01:32:45,629
If you don't film, 
I will destroy it.

1419
01:32:45,629 --> 01:32:47,504
Now he will respond!

1420
01:32:49,015 --> 01:32:50,419
I put it in my right pocket.

1421
01:32:54,899 --> 01:32:57,129
I don't know how many times I saw... Eight and a Half...

1422
01:32:57,571 --> 01:33:00,811
and I don't know how to say
how much he influenced me.

1423
01:33:04,118 --> 01:33:06,525
I am moved by what Fellini does in this film.

1424
01:33:08,754 --> 01:33:11,256
Eight and a half... showed
what it means to be an artist.

1425
01:33:13,037 --> 01:33:15,938
The need to create is so strong...

1426
01:33:16,770 --> 01:33:18,657
which is the source
one of the greatest joys...

1427
01:33:19,432 --> 01:33:20,946
What an incurable romantic!

1428
01:33:21,324 --> 01:33:22,501
and the greatest fears.

1429
01:33:23,284 --> 01:33:24,855
Guido! Guido!

1430
01:33:25,638 --> 01:33:27,929
Where are you going, bastard?

1431
01:33:37,429 --> 01:33:42,141
Perhaps, above all,
it was the cinema experience.

1432
01:33:42,720 --> 01:33:43,734
Open up!

1433
01:33:45,856 --> 01:33:46,886
Everyone get down!

1434
01:33:47,909 --> 01:33:50,011
Talk to each other.

1435
01:33:51,350 --> 01:33:54,302
Fellini made a film
about a movie...

1436
01:33:54,881 --> 01:33:57,765
that could only exist
as a film and nothing more.

1437
01:34:01,533 --> 01:34:05,325
Eight and a Half... is the purest
expression of love for cinema.

1438
01:34:39,126 --> 01:34:41,326
When I started to
make this documentary...

1439
01:34:41,326 --> 01:34:44,182
I wanted to give my opinion on Italian cinema.

1440
01:34:44,841 --> 01:34:47,352
And also arouse interest
of the youngest for him.

1441
01:34:47,955 --> 01:34:52,823
History is something that is
transmitted between people...

1442
01:34:53,339 --> 01:34:55,339
and I learned that
watching these films.

1443
01:34:55,976 --> 01:34:58,674
The best way to stay alive
the history of cinema...

1444
01:34:58,988 --> 01:35:02,046
 � share mine
enthusiasm and experience.

1445
01:35:03,169 --> 01:35:06,104
For young people,
 the history of cinema is mandatory...

1446
01:35:06,104 --> 01:35:07,214
as homework.

1447
01:35:07,214 --> 01:35:08,896
People like a movie...

1448
01:35:08,896 --> 01:35:10,675
when they hear about him.

1449
01:35:11,117 --> 01:35:14,064
I just want to tell you.
I saw these movies...

1450
01:35:14,684 --> 01:35:16,493
I didn't read about them
or studied them at school.

1451
01:35:16,719 --> 01:35:19,233
They influenced me and
you should see them.

1452
01:35:21,090 --> 01:35:21,981
Thanks.