Porton, Ellickson and Nanni Moretti.pdf

Rossa has amnesia because for me he seemed to

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Rossa has amnesia because, for me, he seemed to individualize a problem of the Communist Party in Italy - a problem of memory. Cineaste: Historical Memory? Moretti: Yes, a problem with the Communists' relationship with their own past. I wanted to tell the story of the crisisand confusion of the Communist Party, but not in a realistic film. Not in a film where the protagonist wakes up in the morning with a headache or he's divorcing his wife, as if to say that political crisis always goes hand in hand with existential crisis. The public really responded to this movie. This problem with memory, both public and private, that I expressed through a metaphor became a concrete reality with thecrisis within the Communist Party. It was as if the Communists had a desire to cancel out their own past, both the good parts and the bad parts, tomake themselves accepted by society inorder to govern. In my previous films, I had constructed a character with cer- tain constants. He was always on the telephone, he liked soccer, wasa little aggressive, and had a passion for pastry. There were family meals at the table, and he had an obsession with shoes. A dynamic was created between my characters and the other char- acters that functioned in an almost automatic way. I was one side and they were on the other side. I "aspired' to become the artistic director of their private lives, so I scolded them and gotangry with them. As a director, when I told these stories of rage, I didn't want to tell about my strengths, I wanted to recount my weaknesses. I considered my characters and the other characters tobe complementary, like two sides of a coin. Instead, the words that I said as an actor came to be seen as my view as a director. There's frequently this misunderstanding, but it is more com- mon when the director is also the protagonist of the film. I didn't want the public to root for me, as if I was triumphing over the other characters. Now, a few years after Palombella Rossay maybe I see my previous films with a different eye. Perhaps I told a story about amnesia because I wanted to close the door on the character that I had played in my previous films, andstart all over again with a new character that had to be completely constructed from scratch. This new character doesn't exist, because in Caro Diario I play myself and not a new charac- ter. In Palombella Rossa , I remember things in my life through people in the film whom I encounter - the journalist, my daugh- ter, the people that bring me sweets, my old friend from school. It was almost as if they were spectators of my film that remind me of what my old character was like. In Caro Diarioy it would have been absurd to hide myself behind a fictitious character because in the third part, Doctors , there's nothing that's invented. Cineaste: You're gradually stripping layers of excess away from film to film.
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  • Fall '16
  • Deeman
  • JSTOR Terms, Moretti, Cineaste, Caro Diario, Nanni Moretti, PalombellaRossa Moretti

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