Porton, Ellickson and Nanni Moretti.pdf

Moretti carodiario is not a documen tary even the

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Moretti: CaroDiario is not a documen- tary. Even the third part which has no- thing fictional in it at all is not a docu- mentary. Although surely it's the faithful chronicle of one year of my life and there is nothing invented, there is very def- initely the choice of a Mariella Valentini lends a sympathetic ear toNanni Moretti in Palombella Rossa. 12 CINEASTE 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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Moretti portray» the neurotic, egotistical filmmaker protagonist in his 1981 film. Sogni d'Oro [Golden Dreams). Moretti's water-polo playing Communist in Palombella Rossa (1989) is stricken with amnesia and can't remember the Party line. style and ofa form and a tone. There is also a way of acting, a way of framing, a way of editing, and the choice of music that is not documentarylike. One of the three parts, Islands , is completely invented. There aresome things that arereminiscent of my previous films, but in the other films I was more aggressive and hysterical in my confrontations with other people. Instead, in Islands I listen and smile in silence. Surely in Caro Diario , for the first time, I appear completely in the first person. Until a few years ago, my work took one road. I made films as a director that were "autobiographical." They were films about my world - my social and political environment. I played the part of the protagonist, but interpreting the part of a fictitious character in a fiction film. Then my work took two separate roads. On one hand, the autobiographical aspect of my work became more autobiograph- ical,and I finally arrived at Caro Diario.On the other hand, another part of my work is new and different. I'm alsoa produc- er now, but I don't just list my name as the producer. I really involve myself in the making offilms. I have a movie theater in Rome. I made a documentary film, La Cosa. These are two roads that are parallel to each other. Until a few years ago, including the views of Rome in the first part of Caro Diario would never have occurred to me. In the last part, Doctors, there is a glimpse of my own chemotherapy session shot in 16mm. Atthat time, I didn't know I would incorporate this footage into a fiction film. Every once in a while I film cer- tain things, either events in my personal life or public events, not knowing how they will be utilized in the future or whether they will be utilized at all. Sometimes this footage remains in the moviola because it's not interesting. When I began to make Caro Diario , I remembered that I had shot this chemotherapy session, and it seemed right to insert it inthe film. Cineaste: Did La Cosa, your film on the Italian Communist Party, emerge from these impromptu filming sessions? Moretti: I started this documentary film on the downfall of the Communist Party somewhat by chance. After the fall of the Berlin Wall, the secretary of the Communist Party suggested that we change the name and also the nature of the Communist Party in Italy.
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