Porton, Ellickson and Nanni Moretti.pdf

Caro diario heralds the emergence of a mellower

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Caro Diario heralds the emergence of a mellower Moretti, and the film's essayistic format allowsthis iconoclastic director to unabashedly explore his personal and political obsessions with a series of interrelated digressions. In fact, this film is nothing but a string of digressions, andMoretti's amalgam of memoir, semidocu- mentary, and political commentary succeeds in being both witty and insightful despite what initially seems like a suspiciously narcis- sistic vantage point. The film's three discrete chapters allowthe actor/director to offer often scathing, and sometimes gentle, indict- ments of his fellow Italians. Otherwise unrelated topics such as the current vogue for nihilistic film violence, the self-absorption of baby boomers, and the inefficiency of the medical bureaucracy, areunit- ed under Caro Diario 's far-ranging satirical umbrella. The film also includes a moving visit by Moretti to the site of Pier Paolo Pasolini' s murder, and despite the fact that itis difficult to imagine two more dissimilar directors than Moretti and Pasolini, the younger director's ambivalent view of popular culture has a surpris- ing kinship with the views espoused by the man responsible for Salo and Porcile. The film's final chapter is a fictionalized account of Moretti's own bout with cancer, and the upbeat conclusion to this narrative of medical woe provides a cautiously optimistic conclusion to Caro Diario 's bemused account of Italy's recent political and social travails . In recent years, Moretti has moved in several new directions. His production company, Sacher Films, has produced films by impor- tant young directors such as Gianni Amelio and Daniele Luchetti. Moretti also starred in Luchetti's incisive attack on Italian political CINEASTE 11 This content downloaded from 128.114.163.7 on Sat, 4 Jan 2014 14:54:47 PM All use subject to JSTOR Terms and Conditions
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corruption II portaborse, and has expressed a desire to star in additional films by other directors. Bearing gifts of local Manhattan pastry , Cineaste interviewed Moretti last fallduring Caro Diario 's American premiere at the New York Film Festival During the discussion , he periodically checked on the New York audience's response to his film , and was an animated interviewee who delighted in snapping photographs of his questioners . Simultaneous translation was provided by Julia Panely. - Richard Porton Cineaste: Self-reflexive films like Caro Diario and your earlier Golden Dreams are part of an influential cinematic tradition. Were you always interested in making films that deal with the process of making films? How does this component of your work influence your preparation for a film? Nanni Moretti: I carried certain things with me from my first short films in Super-8mm. I was always the director and the star, always making fun of my sur- roundings. In my early scripts, I became fond of a horizontal structure without a strong dra- matic core. Thiswas especially true ofI Am Self-Sufficienty Ecce Bombo , and GoldenDreams.
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