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Table of contents
They are rich also in the possibilities offered the viewer to understand and make sense of those relationships—as rich as ordinary cinema is poor. Political film insists they are connected and co-determine each other. His films are rarely centered on individuals, but rather on the activities and movements of large groups, out of which individuals emerge and into which they are absorbed.
There is rarely a moment of stasis; the camera and its subjects—whether they be opposing armies in The Red and the White , prison guards and captives in The Roundup , students in The Confrontation , or peasants in Red Psalm —move constantly, vertiginously.
Groups shift sides and allegiances, change roles of domination and repression. The movement of history itself is abstracted and concentrated within the limits of the screen. He expresses these events dialectically, indicating the intricacy of relationships between opposing sides; the shifts, changes in balance, movements, and negations of ideological attitudes; and generating of ideas and events out of their opposite. When Eisenstein confronted the problem of creating dialectical structures in cinematic terms, he solved it through montage, the conflict of shot against shot, so that the elements within one shot contribute to the other, creating a perception that is greater than the conflicting parts.
He avoids montage, cutting only when it is necessary to change an angle, move to a different area, or replace the reel of film in the camera. For him, the dialectical process is fluid and continuous and must be perceived as such. Rather than presenting it as the collision of discrete entities shots , he develops it as the movement of forces, manifested within shots in the activities of his characters.
The world created in his long takes exists on a rolling, featureless landscape, peopled with groups in constant motion, changing sides in a seemingly endless choreography of despair and brutality, victory and celebration.
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The events and the landscape are often ambiguous, though not with the kind of ambiguity that Bazin wanted revealed in his integral, open realism. For like Antonio, this film intermixes a variety of kinds of performance that grow out of folk legend and myth, and like Antonio examines the archetypes of death and resurrection. The groups engage in a series of confrontations in a film that lasts eighty-eight minutes and is divided into twenty-seven shots the average American film contains in the neighborhood of six hundred shots , each shot presenting one element in the shifting of power and domination between the groups.
The peasants move among the soldiers, singing, the women forming a separate group. With too many rich there are even more poor Two more women do the same and the group walks off into the distance, three women with their blouses open, flanked by two female guardians.
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The woman in the middle turns toward the camera, then turns her back again as she and her two comrades remove all of their clothing and link arms in a circle. The omnipresent soldiers yell and run to them, forming a circle, then breaking it and running past them. The female guardians await on either side as the other peasants come up, link arms, and circle the entire group of women. The women disrobing is another act repeated in almost every film. Sometimes it is a mark of humiliation, as in The Roundup, where the women are reduced and diminished by their captors, unclothed and unprotected.
Here it is a sign of defiance and liberation. Karen Jaehne writes,. The human form as the measure of all things offers a cinematic barometer for the uses and abuses of power. It evokes an eroticism in whose presence we too feel naked, vulnerable, and therefore afraid. No matter how beautifully or peaceably juxtaposed, the contoured forms of the human body together with the meticulous uniforms of figures representing authority present such incompatible violence. In a later shot, soldiers pass a revolver from one to the other. One shoots it, wounding a peasant woman one of the three Graces in the hand.
He falls, is kissed by a peasant woman, and rises. In the following shot, the wounded woman appears with her hand raised; on her palm instead of a wound is a red ribbon, a sign of revolution. A man in a leather jacket comes to talk to the peasants. Something odd begins to happen: the man in the leather jacket attempts to continue, but begins rolling over on his side.
This may be the first time in film that a character dies from the internal violence of his own oppressive ideas. In a film that depends on presenting an abstract concentration of history in which events are foreshortened and there is a desire to draw socialist ideas out of the myths of the peasantry and their closeness to the cycles of nature, the events of the film may take on mythic, even magic proportions themselves.
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At one point an old peasant, unable to comprehend fully or accept the new ideas of socialism, cuts his wrist with a meat cleaver. From the death comes a celebration; the peasants combine mourning, feasting, and religious sacrament into a revolutionary act, a movement of solidarity and defiance against the owners and the military. People, deliver yourselves from the universal suppressors of human rights. But do not forgive the tyrants their debts More violence ensues: the peasants are shot down by the troops while celebrating around a maypole itself an ancient symbol of rebirth.
A stream runs red with their blood. The young soldier who was earlier killed and revived kneels in it, baptizing himself. A confusion of shooting, assassinations, and betrayals follows, until the very last shot. This begins with a closeup of a rifle being loaded. The camera pans down bayonet and barrel to other bayonets held at the ready by the soldiers. We see one of the remaining peasant leaders join his surviving, or perhaps resurrected, comrades in a circle, itself encircled by soldiers.
The peasant women, one naked, join each other on the field as the camera observes various symbolic objects and figures: a dead musician lying naked with a dead dove by his fiddle; bloodied white dresses lying pierced by swords on the ground.
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The white gloved hand of the commander raises a drink as a woman in a red dress wanders amidst the soldiers. A military band plays.
Suddenly and quietly she pulls a soldier off his horse, takes his gun, and fires; she kills a soldier, she shoots the lady; one by one she kills all of them. We have no freedom. Anti-leftists may dismiss the film as glorifying revolutionary violence without questioning the outcome of such violence. It may not convince any viewer not already sympathetic to its ideology. No film will do that.
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What it can do is instruct the receptive viewer in Marxist perceptions of history and the ways such perceptions can be aesthetically realized. What is more, Red Psalm demonstrates a strong sense of artistic continuity. In the Renaissance, the humanists integrated pagan mythology into Christian theology. Red Psalm is anxious to integrate pagan mythology and Christian theology into socialism and to show that revolution, rather than being a break with the past, is a radical reabsorption of the past, one that is alert to contradictions, to struggle, and to the need to deny the past at the very moment of attempting to absorb it.
Bertolucci individualizes his peasants and owners, placing them in a context that mixes conventional realism with epic abstraction, and he therefore loses his perspective and is forced into a conclusion in which nothing is concluded. Peasant and padrone remain in constant, even eternal battle. Red Psalm maintains its speculative point of view throughout and its narrative retains a high degree of historical abstraction.
The victory it celebrates at the end is somewhat fanciful, yet it proceeds from a revolutionary conviction inherent in the form and content of the entire film. Films such as Red Psalm and Antonio das Mortes reveal a continuity of revolutionary art from seventeenth-century literature through the drama of Brecht and into the filmmaking of the sixties and seventies. This is a major tradition, though one not often recognized in conventional critical history, and a response to the literature and cinema of despair that predominates in Western culture.
No other Eastern or Western European director indulges in the long take, the complex choreography of movement, or the abstracting and compressing of history to the extent he does. Unlike the Czechs, however, they are not sentimental and tend not to play upon audience sympathies quite as much. In their relatively short period of creative filmmaking, the Czechs indulged in a good deal of experimentation, adapting many techniques from the French New Wave, early Godard and Truffaut in particular.
The father is a musician; he, his wife, children, and grandparents entertain a friend who comes with his lover to play cello in the local orchestra. The film presents scenes of family life, small joys and frustrations, the containments and pleasures of living outside the city and is distinguished by its attempt not to expand or comment upon its observations of unprepossessing middle-class life, to add no intrigue, suspense, or mystery. And no politics: it could take place in any small European town. But he manages as well some small reflections on social and political tensions. The city bureaucrat has not the least interest in the country family, their past or present, and is totally uncomfortable with them.
The family are separated from him by their vitality and warmth, and of all things, by money they are successful wine growers , enough to build a new home for themselves. Rain and Shine becomes a film about differences in occupations and interests, the dullness of government representatives, and a culture splitting its rural and urban traditions while attempting to cover the split with television.