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1
00:00:16,746 --> 00:00:25,129
The film is from 1 975,
that's to say we shot it in 1 975
2
00:00:25,338 --> 00:00:30,927
when it was completed it went to
the Cannes Film festival in 1 976
3
00:00:31,135 --> 00:00:38,184
So what sort of year was 1 976,
or even better, 1 975, for me?
4
00:00:38,601 --> 00:00:41,312
It was a very significant year
5
00:00:41,437 --> 00:00:46,818
One which saw us conclude
this production in a very few months
6
00:00:46,943 --> 00:00:53,616
We managed that thanks to
a producer called Edmondo Amati ...
7
00:00:54,367 --> 00:00:59,372
with whom during spring 1 975,
if I remember correctly...
8
00:00:59,497 --> 00:01:04,168
we went together to speak
with Giorgio Venturini ...
9
00:01:04,502 --> 00:01:08,631
to whom we told the idea,
nothing had been written...
10
00:01:08,756 --> 00:01:15,638
which was indeed that of turning
the Mayerling story upside down...
11
00:01:15,763 --> 00:01:20,727
and making of it a kind of
black fairy tale
12
00:01:20,852 --> 00:01:27,358
To tell what, in Jancsó's head ,
might have been the truth...
13
00:01:27,483 --> 00:01:30,570
thus umasking
a fabrication of history
14
00:01:30,695 --> 00:01:36,409
He really liked this idea and said :
"Get to work right away".
15
00:01:36,534 --> 00:01:42,582
He already had a co-production deal
with Jadran Film ...
16
00:01:42,707 --> 00:01:49,339
so in the late spring, I remember,
we drove all the way to Croatia...
17
00:01:50,131 --> 00:01:56,763
searching locations for 3 or 4 days
with people from Jadran Films
18
00:01:56,888 --> 00:02:01,684
We found this amazing place,
actually in Slovenia, not Croatia...
19
00:02:02,477 --> 00:02:05,188
that's to say,
in what is now Slovenia
20
00:02:05,355 --> 00:02:09,567
So that year was...
21
00:02:10,151 --> 00:02:18,076
It was the year that cemented my
relationship with Jancsó, for sure
22
00:02:26,626 --> 00:02:29,587
H istorical facts are well known
23
00:02:29,712 --> 00:02:34,008
There'd already been 2 or 3 films
made about Mayerling
24
00:02:34,133 --> 00:02:36,928
So what's the official version?
Well ...
25
00:02:37,053 --> 00:02:42,058
that Prince Rodolfo
fell in love with Maria Vetsera...
26
00:02:42,183 --> 00:02:46,771
and since he couldn't marry her,
as he was heir to the throne...
27
00:02:46,896 --> 00:02:54,278
he had to marry the woman
chosen for him by his father
28
00:02:54,404 --> 00:03:04,414
So they lived out their secret affair
in this royal love nest...
29
00:03:04,539 --> 00:03:09,836
as he knew
they could never marry
30
00:03:09,961 --> 00:03:14,048
And so he and Maria Vetsera
committed suicide
31
00:03:14,173 --> 00:03:19,429
This is the historical version
on which a few films had been based
32
00:03:19,554 --> 00:03:25,351
I remember one with
Catherine Deneuve as Vetsera
33
00:03:25,476 --> 00:03:28,229
So what was our idea?
34
00:03:28,354 --> 00:03:38,990
That this story of suicide had been
made up by the Imperial government
35
00:03:39,115 --> 00:03:47,498
Rodolfo's father didn't like his son
because of his liberal ideas
36
00:03:47,623 --> 00:03:56,591
He'd rejected the bourgeois nature
of the Austro-H ungarian empire
37
00:03:56,716 --> 00:04:04,932
so Rodolfo and his lover were killed
by the imperial guards...
38
00:04:05,057 --> 00:04:10,229
under orders from his father
39
00:04:10,354 --> 00:04:19,405
Over the corpses of the two,
the empire made up this love story
40
00:04:19,530 --> 00:04:24,619
This is the idea
which Jancsó had in mind ...
41
00:04:24,744 --> 00:04:27,205
and which we developed
during the film
42
00:04:27,330 --> 00:04:34,378
Obviously, since the film was shot
during the 1 970's - in 1 975...
43
00:04:34,504 --> 00:04:39,258
it has the vibe of that time,
of when it was made
44
00:04:39,383 --> 00:04:42,887
the idea that freedom
was naked bodies...
45
00:04:43,012 --> 00:04:47,391
that freedom was
mixed relationships
46
00:04:47,517 --> 00:04:54,482
that you expressed your own
freedom through the body
47
00:04:54,607 --> 00:04:56,609
therefore, through nudity
48
00:04:56,734 --> 00:05:03,199
The film is deeply influenced
by an idea of "the last revolution. . ."
49
00:05:03,324 --> 00:05:07,912
After which there would be paradise
and total freedom
50
00:05:08,037 --> 00:05:19,048
We spoke to the present day
via this historical re-creation
51
00:05:19,173 --> 00:05:25,513
I think that even now
watching the film ...
52
00:05:25,638 --> 00:05:31,477
rather than the anti-romantic view
which the film wanted to impart...
53
00:05:31,602 --> 00:05:35,231
it's more easy to see that 70's vibe
54
00:05:35,439 --> 00:05:42,154
I'd worked with Jancsó for years
and always the same way
55
00:05:42,280 --> 00:05:49,120
We first presented an idea
to that producer
56
00:05:49,245 --> 00:05:54,542
as he was already interested ,
we didn't create a script...
57
00:05:54,667 --> 00:05:59,130
but what is called a treatment
58
00:05:59,255 --> 00:06:09,807
to build the skeleton of a script
through a number of scenes
59
00:06:09,932 --> 00:06:13,436
and from that to formulate
the skeleton of the film
60
00:06:13,561 --> 00:06:23,613
And work from there up to
the final version of the script
61
00:06:24,196 --> 00:06:28,075
But about this I need to say a lot
62
00:06:28,200 --> 00:06:36,334
as Jancsó's method of working,
especially on location...
63
00:06:36,459 --> 00:06:42,131
really showed its full potential
on this film
64
00:06:42,256 --> 00:06:51,766
He's someone who is more influenced
by the location than by the script
65
00:06:52,266 --> 00:07:00,650
Many of the written scenes were
totally changed on location...
66
00:07:01,067 --> 00:07:04,987
because he fell in love
with a tracking shot...
67
00:07:05,112 --> 00:07:10,451
or with something suggested
by one of the actors...
68
00:07:11,077 --> 00:07:15,206
or by the dances, of which
there are many in the film
69
00:07:15,331 --> 00:07:20,461
I often found myself in the hotel
in the evening...
70
00:07:20,586 --> 00:07:24,548
rewriting the dialogues
for the following day...
71
00:07:24,674 --> 00:07:27,843
and then giving the pages
to the actors...
72
00:07:27,969 --> 00:07:30,513
as they got ready
the next morning
73
00:07:30,638 --> 00:07:33,683
Not all of them
were exactly happy about that
74
00:07:33,808 --> 00:07:37,478
They'd already learned
1 0 pages of dialogue...
75
00:07:37,603 --> 00:07:44,276
and then they had to learn
a whole new lot in half an hour
76
00:07:44,402 --> 00:07:48,030
It was very much
a work in progress
77
00:07:48,155 --> 00:07:51,200
That was his general method anyway
78
00:07:51,325 --> 00:07:58,958
But, especially in this film ,
there was a lot of improvisation
79
00:07:59,166 --> 00:08:02,378
Maybe a dance group
arrived from H ungary...
80
00:08:02,503 --> 00:08:05,297
so we would then
shoot the party scene...
81
00:08:05,423 --> 00:08:08,509
the one which starts with the
photography...
82
00:08:08,676 --> 00:08:13,514
where Branciaroli takes a
picture of the imperial group
83
00:08:13,639 --> 00:08:22,314
That for example is a long take
that wasn't in the script...
84
00:08:22,440 --> 00:08:26,902
and which was
completely improvised on location
85
00:08:27,028 --> 00:08:34,493
We used to work
in a rather unusual way...
86
00:08:34,618 --> 00:08:39,290
and I have to say that the actors
especially the leads...
87
00:08:39,415 --> 00:08:46,005
were very understanding
about all this...
88
00:08:46,130 --> 00:08:54,388
and after some initial resistance,
they really had a lot of fun...
89
00:08:54,513 --> 00:08:57,391
it was a very
theatrical way of working
90
00:08:57,516 --> 00:09:00,644
And as there were
numerous long takes...
91
00:09:00,770 --> 00:09:08,611
we rehearsed a lot before shooting
which was usual for Jancsó
92
00:09:08,736 --> 00:09:12,740
There were many rehearsals
sometimes very lengthy...
93
00:09:12,865 --> 00:09:17,203
sometimes we shot nothing
and rehearsed all day long...
94
00:09:17,328 --> 00:09:20,414
and then we had to wait
for the right light...
95
00:09:20,539 --> 00:09:26,629
since the film was mostly exteriors
so we needed good light
96
00:09:26,754 --> 00:09:30,466
So we'd wait for the right time
and the right light...
97
00:09:30,591 --> 00:09:37,139
to shoot those ten minutes takes
98
00:09:37,556 --> 00:09:40,309
It was really made
out of improvisation
99
00:09:40,476 --> 00:09:44,146
This wasn't the first time
I'd worked as assistant director
100
00:09:44,271 --> 00:09:50,986
On La Pacifista, the first film
I made with Jancsó...
101
00:09:51,112 --> 00:09:57,785
I was also screenwriter
and assistant director
102
00:09:59,245 --> 00:10:02,081
At first he didn't speak Italian...
103
00:10:02,206 --> 00:10:08,546
so I was an interpreter between
him and the actors and the crew...
104
00:10:08,671 --> 00:10:17,179
those who couldn't speak French,
which was the other language he spoke
105
00:10:17,596 --> 00:10:19,140
So what was my role?
106
00:10:19,265 --> 00:10:22,893
That of rewriting
dialogues at nightime...
107
00:10:23,018 --> 00:10:26,814
of being on set
like all the assistants...
108
00:10:26,939 --> 00:10:34,405
of helping actors with their lines,
especially when they improvised
109
00:10:34,530 --> 00:10:38,492
By the way, the film wasn't shot
with live sound
110
00:10:38,617 --> 00:10:44,665
There were some who spoke French
and others Italian or H ungarian
111
00:10:44,790 --> 00:10:51,255
For example Balázsovits, the main actor,
used to say his lines in H ungarian
112
00:10:51,380 --> 00:10:55,259
It was a very cosmopolitan set...
113
00:10:55,384 --> 00:11:00,806
so I had to be in control
of the dialogue as well
114
00:11:00,931 --> 00:11:08,355
So in addition to being an assistant,
I was a mediator, in a sense...
115
00:11:08,480 --> 00:11:12,943
between Miklós and the cast,
between Miklós and the actors...
116
00:11:13,068 --> 00:11:16,030
between him and the crew
117
00:11:16,155 --> 00:11:21,035
I was kind of a custodian
for his secret aspirations...
118
00:11:21,160 --> 00:11:27,208
which I had to transmit
and explain to the others
119
00:11:27,750 --> 00:11:31,795
A work of diplomacy,
if we can call it that
120
00:11:31,921 --> 00:11:37,009
The screenplay had been written
with Lajos Balázsovits in mind ...
121
00:11:37,134 --> 00:11:45,351
since Miklós wanted Lajos
for the role of the Crown Prince
122
00:11:45,476 --> 00:11:54,026
So the main character was in both
our heads when we started writing
123
00:11:54,151 --> 00:11:58,197
All the others came slowly
one by one
124
00:11:59,323 --> 00:12:08,582
After Lajos, Teresa Ann Savoy
was maybe the first actress chosen
125
00:12:08,958 --> 00:12:14,338
We saw her
in a film by Lattuada...
126
00:12:14,463 --> 00:12:18,801
where she was very young,
very pretty, very interesting...
127
00:12:18,926 --> 00:12:22,137
and Miklós
wanted to meet with her
128
00:12:22,263 --> 00:12:26,308
Then, as happens
with any film production...
129
00:12:26,433 --> 00:12:38,696
once the screenplay was ready,
we started to meet actors, agents etc
130
00:12:38,821 --> 00:12:47,371
The core at the beginning was Lajos,
and Lajos remained the strongest core
131
00:12:47,496 --> 00:12:52,710
I have to say
that everything was very easy...
132
00:12:52,835 --> 00:12:56,797
looking back at this film
after many years
133
00:12:56,922 --> 00:13:02,886
The writing, the relationship with
the producers and co-producers...
134
00:13:03,012 --> 00:13:06,390
the choice of both the cast
and the crew...
135
00:13:06,515 --> 00:13:09,518
it all came together
very naturally...
136
00:13:09,643 --> 00:13:17,109
with no great problems on the way
137
00:13:17,234 --> 00:13:25,075
Laura Betti's role, for instance,
who plays the prince's nanny...
138
00:13:25,200 --> 00:13:32,791
Miklós and I were both good friends
with Laura Betti ...
139
00:13:32,916 --> 00:13:38,380
and when we told her
we were working on this film ...
140
00:13:38,505 --> 00:13:42,134
She said : "I want to be there,
I want to do something"
141
00:13:42,259 --> 00:13:49,683
So Laura's role was created for her,
because we knew her so well ...
142
00:13:49,808 --> 00:14:04,740
her excesses, her style of acting,
how she interacted with people
143
00:14:04,865 --> 00:14:11,955
Laura's role was based on Laura,
on how she was in real life
144
00:14:13,874 --> 00:14:20,881
So I would say that everything
came together very easily...
145
00:14:21,006 --> 00:14:25,552
and it was one of the easiest films
that I did with Jancsó
146
00:14:25,969 --> 00:14:30,557
Franco Branciaroli was
a young actor back then...
147
00:14:30,682 --> 00:14:34,019
an up and coming
young theatre actor
148
00:14:34,978 --> 00:14:46,698
He really wanted to meet Jancsó,
very much wanted to work with him
149
00:14:46,949 --> 00:14:50,828
The amazing thing about
those two young actors...
150
00:14:50,953 --> 00:14:53,205
Pamela Villoresi
and Franco Branciaroli ...
151
00:14:53,330 --> 00:14:58,419
who back then were rising stars
of the Italian theater...
152
00:14:58,544 --> 00:15:09,805
they both really wanted
to work with Jancsó
153
00:15:10,139 --> 00:15:14,226
They didn't ask to read anything
154
00:15:14,351 --> 00:15:19,815
We said : "We start next week". . .
"Great, we'll be there next week"
155
00:15:20,023 --> 00:15:31,285
They gave themselves in a very
spontaneous and open way...
156
00:15:31,535 --> 00:15:37,207
to the relationship with the film , with us,
with the troupe and everything
157
00:15:37,332 --> 00:15:45,799
During those 5 or 6 weeks
that we spent on the location...
158
00:15:46,133 --> 00:15:50,637
since then there was only one hotel ,
once we were done shooting...
159
00:15:50,762 --> 00:15:58,312
we went all together to the same hotel
which was close to the film location
160
00:15:58,437 --> 00:16:00,522
We were together all the time...
161
00:16:00,647 --> 00:16:08,405
and it was very much a community,
if I can put it like that...
162
00:16:08,572 --> 00:16:17,331
where everybody worked , ate, slept,
came together, very naturally...
163
00:16:17,456 --> 00:16:22,628
much like the story of the film itself
when I think about it
164
00:16:22,794 --> 00:16:26,548
Another interesting thing in Jancsó's
working method
165
00:16:26,757 --> 00:16:30,135
is that he didn't only begin,
as in this film ...
166
00:16:30,260 --> 00:16:37,935
with Balázsovits as the main character,
or Laura Betti as the licentious nanny...
167
00:16:38,060 --> 00:16:41,522
but he began with the location
168
00:16:41,647 --> 00:16:47,486
So before writing we spent time
looking for the locations...
169
00:16:47,611 --> 00:16:51,907
or the house, because in this case
all the film is set there
170
00:16:52,115 --> 00:17:03,085
So the screenplay was written
based on the photos we took
171
00:17:03,210 --> 00:17:11,051
How the wood looked , how to
pass from interior to exterior...
172
00:17:11,176 --> 00:17:15,973
how dollies could get in and out
and move around
173
00:17:16,098 --> 00:17:18,600
That's how we built the screenplay...
174
00:17:18,725 --> 00:17:23,480
which, as I said , could be changed
during the shooting...
175
00:17:23,605 --> 00:17:31,572
but it was a strong framework
for costing the production...
176
00:17:31,697 --> 00:17:41,665
and gave an idea of the style,
how the camera would move...
177
00:17:41,790 --> 00:17:47,921
and was a big help for the actors
to see the theatrics...
178
00:17:48,046 --> 00:17:54,845
how they had to move, enter,
exit, even change costumes...
179
00:17:54,970 --> 00:17:59,016
and then get back into the same take
with different clothes
180
00:17:59,141 --> 00:18:01,727
Kind of like in the theatre, as I said
181
00:18:02,436 --> 00:18:09,776
The location really was
another character in the film
182
00:18:09,901 --> 00:18:13,530
as on that location we built...
183
00:18:13,655 --> 00:18:21,330
I remember an idea that came up
during the planning...
184
00:18:21,455 --> 00:18:25,834
as there was this beautiful park
in front of the villa...
185
00:18:25,959 --> 00:18:31,089
we had the idea, which
then happened in the film ...
186
00:18:31,214 --> 00:18:37,638
of having a painter, a friend of ours,
create a trompe l'oeil...
187
00:18:37,763 --> 00:18:46,396
and to paint a scene of the park
on an inner wall of the castle
188
00:18:46,521 --> 00:18:50,317
So you'd come in from the park...
189
00:18:50,442 --> 00:18:55,572
and there was a painting of the park
on the wall in front of you
190
00:18:55,697 --> 00:19:01,828
She went there some months before
to create that huge fresco...
191
00:19:01,953 --> 00:19:11,380
some kind of a trompe l'oeil,
which was very funny in the film
192
00:19:11,505 --> 00:19:18,553
The time we are talking about
Yugoslavia was a communist country
193
00:19:18,679 --> 00:19:21,390
where no private property existed
194
00:19:21,515 --> 00:19:32,401
so this abandoned castle
belonged to the state...
195
00:19:32,609 --> 00:19:39,032
and the hotel we lived in
was property of the state as well
196
00:19:39,157 --> 00:19:47,290
There was kind of a fight between
Laura Betti and the hotel manager...
197
00:19:47,416 --> 00:19:50,585
because she wanted
to have dinner in her room
198
00:19:50,711 --> 00:19:55,048
It was a basic place and
we usually ate in the restaurant
199
00:19:55,549 --> 00:19:59,678
The hotel manager told Laura...
200
00:19:59,803 --> 00:20:05,392
that the rules forbade the option
of having dinner in her room
201
00:20:05,517 --> 00:20:12,691
She got angry, so he called
the head of the Party in that village...
202
00:20:12,816 --> 00:20:15,861
which I think was called Ormož
203
00:20:16,194 --> 00:20:22,534
He threatened to walk out
if Laura didn't leave the hotel
204
00:20:22,659 --> 00:20:25,078
So it was . . . they were ...
205
00:20:25,203 --> 00:20:32,085
this was Eastern Europe,
there was no private property
206
00:20:32,210 --> 00:20:39,176
The Jadran company showed us
this totally empty castle...
207
00:20:39,301 --> 00:20:42,429
with no furniture or anything
208
00:20:42,554 --> 00:20:47,392
It was maybe some kind of an
abandoned Imperial property
209
00:20:47,976 --> 00:20:56,610
And so the producers rented it
for pre-production and shooting
210
00:20:56,735 --> 00:21:05,786
As it was far from the village,
they also let us use the park...
211
00:21:05,911 --> 00:21:15,045
where we put costume shops, make-up
rooms, a kind of open air stage...
212
00:21:15,170 --> 00:21:20,592
with all the services the
production needed around the set
213
00:21:21,384 --> 00:21:29,392
Miklós Jancsó's grand passion
was moving great crowds around
214
00:21:29,518 --> 00:21:36,191
He used to feel awkward with just
two or three people talking...
215
00:21:36,316 --> 00:21:44,282
he needed to be able to see
huge crowds around him
216
00:21:44,407 --> 00:21:51,873
He did it in his H ungarian films
and he did it in this one
217
00:21:51,998 --> 00:21:58,547
H is passion was to have people
moving the camera around ...
218
00:21:58,672 --> 00:22:01,299
in these endless long shots
219
00:22:01,424 --> 00:22:12,352
So the dancing and orgy scenes were
organised in quite a scientific way
220
00:22:12,853 --> 00:22:18,441
A beautiful corps de ballet
came from H ungary
221
00:22:19,317 --> 00:22:25,407
Some very good musicians
came from Croatia...
222
00:22:26,157 --> 00:22:33,290
This aspect of the film ,
the choreographic part...
223
00:22:33,415 --> 00:22:37,752
was organised exactly
as in a theatre show
224
00:22:37,878 --> 00:22:40,130
We organized the crowds...
225
00:22:40,255 --> 00:22:44,342
and rehearsed it like theatre
for an entire day or even two
226
00:22:44,593 --> 00:22:52,475
The main actors were then
introduced into the mix...
227
00:22:52,601 --> 00:22:57,564
entering these scenes, with the
dialogue, movements and so on
228
00:22:57,689 --> 00:23:01,192
Setting that up was always
a work in progress
229
00:23:01,318 --> 00:23:05,322
So we'd start with
the broader choreography...
230
00:23:05,447 --> 00:23:11,161
and then fill it with the moving dolly,
the ballet, any singers...
231
00:23:11,286 --> 00:23:17,876
and then the actors
who go in and out of the scene...
232
00:23:18,001 --> 00:23:22,756
and bring the dialogue
and develop the story
233
00:23:23,048 --> 00:23:27,844
It was Cannes Festival 1 976,
I remember it very well
234
00:23:28,345 --> 00:23:34,809
The film played
without any controversy...
235
00:23:34,935 --> 00:23:41,942
even if the film was such that it
could have been called outrageous
236
00:23:42,067 --> 00:23:46,529
Actually in Cannes
nobody batted an eyelid
237
00:23:46,655 --> 00:23:50,367
On the contrary I remember
that in the auditorium ...
238
00:23:53,119 --> 00:23:57,040
Cannes is
a rather seasoned festival ...
239
00:23:57,165 --> 00:24:04,422
and I remember that some of the
judges really liked the film
240
00:24:04,547 --> 00:24:11,346
They wanted to meet with Jancsó
and to honor him
241
00:24:11,554 --> 00:24:17,143
Tennessee Williams was on the jury,
and he really liked the film
242
00:24:17,268 --> 00:24:21,064
Then the film was released
and it was seized at once
243
00:24:21,856 --> 00:24:25,110
It was tried for obscenity
244
00:24:25,235 --> 00:24:28,905
Back then
attitudes were very different...
245
00:24:29,948 --> 00:24:34,744
and we all got sentenced
for making pornography
246
00:24:36,538 --> 00:24:44,337
The producer, the distributor,
the director of course, and me
247
00:24:45,088 --> 00:24:47,799
Then there was an appeal process
248
00:24:48,049 --> 00:24:53,096
All charges were dropped
and the film was released again
249
00:24:53,430 --> 00:25:05,108
The film was released in September
and seized after a week...
250
00:25:05,233 --> 00:25:11,448
then released again 6 months later
after the trail and the appeal process
251
00:25:11,573 --> 00:25:16,202
Back then this kind of film
was regularly seized ...
252
00:25:16,327 --> 00:25:19,164
after only 3 or 4
days in the cinema
253
00:25:20,290 --> 00:25:23,460
Pasolini's Arabian Nights...
254
00:25:23,585 --> 00:25:28,256
and of course Last Tango in Paris,
which was the first to be seized
255
00:25:28,381 --> 00:25:35,263
As I said before,
this film was made in the 1 970's...
256
00:25:35,388 --> 00:25:44,105
and so it carries with it an idea
that was very common back then
257
00:25:44,606 --> 00:25:49,986
For sure it is a film that talks about the
uprising of sons against fathers...
258
00:25:50,111 --> 00:25:59,329
and for sure it tells how these sons,
as I might have said already...
259
00:25:59,454 --> 00:26:08,880
had the idea that freedom could be
expressed through the body...
260
00:26:09,005 --> 00:26:17,055
and that this freedom would be
stronger than their fathers' power
261
00:26:18,014 --> 00:26:22,519
This is a very common theme
of those years...
262
00:26:22,644 --> 00:26:26,397
that through nudity
we might reach heaven...
263
00:26:26,523 --> 00:26:29,943
as if going around naked
was enough to be free
264
00:26:30,068 --> 00:26:36,866
This was the illusion of those years,
the dream of those years
265
00:26:36,991 --> 00:26:44,791
This film , like many of that time,
reflects this last frontier...
266
00:26:44,916 --> 00:26:48,837
before total freedom ,
the last border to tear down
267
00:26:50,630 --> 00:26:57,220
In the idea of these rioters . . .
These young people...
268
00:26:57,428 --> 00:27:03,059
opposing the imperial , or at least
centennial power of their fathers...
269
00:27:03,184 --> 00:27:05,937
against this absolute
and inexorable power...
270
00:27:06,062 --> 00:27:11,526
they had no form of protest
except the riot
271
00:27:11,651 --> 00:27:14,946
The action of these sons
was not a revolution, but a riot...
272
00:27:15,071 --> 00:27:18,324
and these are
two completely different things
273
00:27:18,449 --> 00:27:24,664
Maybe the film expresses
this idea of a riot against the fathers...
274
00:27:24,789 --> 00:27:27,667
knowing that it can't be anything
but an example
275
00:27:27,792 --> 00:27:32,463
For sure it is not a war,
but rather a form of protest...
276
00:27:32,589 --> 00:27:40,388
and for all one's objections,
one also knows the biggest risk...
277
00:27:40,513 --> 00:27:43,349
is that of losing,
and losing one's own life
278
00:27:43,474 --> 00:27:47,145
The protagonists probably
understood all this
279
00:27:47,270 --> 00:27:51,149
I remember a scene,
after they have been killed ...
280
00:27:51,274 --> 00:27:58,865
dead under the white sheets
281
00:27:58,990 --> 00:28:02,076
it's been a few years
since I last saw the film ...
282
00:28:02,202 --> 00:28:06,998
but I have some images from the film
clearly present in my eyes
283
00:28:07,123 --> 00:28:15,089
and some kind of Jesuit priest comes,
tells a fabrication of history...
284
00:28:15,215 --> 00:28:20,929
and reconstructs what never happened
which will be taken as the truth
285
00:28:21,054 --> 00:28:26,768
So, right there is the very essence
of Jancsó's cinema...
286
00:28:26,893 --> 00:28:29,062
in this film and in others...
287
00:28:29,187 --> 00:28:30,813
That's his cinema...
288
00:28:30,939 --> 00:28:40,323
his "riotously pessimistic" way,
of making sense of the world
289
00:28:40,448 --> 00:28:44,077
which is in all of his cinema,
not only this film
290
00:28:44,202 --> 00:28:48,957
Having shot six or seven films
with Miklós...
291
00:28:49,082 --> 00:28:55,922
written them and lived through
the process of making them ...
292
00:28:56,089 --> 00:29:03,179
although the H ungarians never allowed
this film to be released there...
293
00:29:03,304 --> 00:29:12,605
in Private Vices Public Virtues
Jancsó was fully himself...
294
00:29:12,730 --> 00:29:14,816
more than in any other film
295
00:29:14,941 --> 00:29:20,029
It deals with the obsessions
which appear in all of his films...
296
00:29:20,154 --> 00:29:23,241
but here with no restrictions...
297
00:29:23,366 --> 00:29:26,035
neither political
nor commercial
298
00:29:26,160 --> 00:29:27,954
He was truly free
299
00:29:28,079 --> 00:29:37,463
And since I lived through all of the
professional and creative challenges
300
00:29:37,588 --> 00:29:42,302
when I watch the film now,
it really moves me...
301
00:29:42,427 --> 00:29:51,144
when I see the talent he had
to express what he wanted ...
302
00:29:51,269 --> 00:29:55,732
in countries where he had to use
metaphors to make films...
303
00:29:55,857 --> 00:30:01,195
or in our country, where we
have to please the producers
304
00:30:01,321 --> 00:30:05,783
In this film he didn't
have to please anybody else...
305
00:30:05,908 --> 00:30:09,996
and I think that is
the beautiful legacy of this film
306
00:30:10,121 --> 00:30:13,916
and that's what I feel
when I watch it now
28426
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