Sunday, January 23, 2011

Letter Of Request For Telephone

Il caso Mattei (The Mattei Affair) 1972 Francesco Rosi

Content: 1962 - While the fast at hand protector or the wreckage of the crashed aircraft wander, spread the message like a wildfire - Enrico Mattei (Gian Maria Volonte), the head of largest Italian company ENI, under whose jurisdiction the gas station chain Agip operates, is dead

Mattei, who had fought in the resistance, the Agip should dissolve after the war, actually, but the businessman, the Conservative Party of Italy was closely watched for its potential immediately after the war-battered country and began the resistance against the international oil companies with finesse and perseverance, the company the largest employer in Italy to build ...

"Il caso Mattei" (The Mattei Affair) easy to analyze as a film, its story, the acting performances and Francesco Rosi to assess the nature of the production, can now lead to neither a fair nor satisfactory result. Although the style as a semi - documentation that will provide unprecedented Gian Maria Volonte in the lead role, mixed with real recordings and statements, and constant temporal jumps between the events up to Enrico Mattei's death in 1962 and the date of the making of the film eight years later, not only timeless, but still modern today, is "Il caso Mattei" requires an immense background knowledge to follow the nearly two-hour collage can. But above all, by Francesco Rosi's intention and thus to understand his stance that he in the movie never materialized.

first traces

First, the question of "why?" - Why is dedicated to the communist Francesco Rosi a businessman and manager of the largest built after WW2 Italian company and had good relations with the conservative parties in Italy by Mussolini fascist successor to the party? - And why he begins his film in the early 70s, more than eight years after his plane crashed Mattei - at a time, then, when Italy was shaken by strikes, student unrest and terrorist attacks? (Does the working class to paradise)

In view of the 1971 Elio Petri brought out film "La classe oparaia va in paradiso" and Damiano Damiani's in the same year out have come Confessions di un Commissario di polizia al procuratore della Repubblica (The clan that einmauerte his enemies alive), which is intensively engage with the labor unrest and corruption, the employment impact of an event in the early 60's turned back, but the opposite is here the case.

Rosi, who lets his actions begin immediately after the 2nd World War, went on to find the causes of incidents in Italy at that time present and was not only dangerously close to reality but adopted in principle the development of Italy up to the present - time in advance - movies like Petris "Todo Modo" of 1976, which was devoted to the political secret societies, Damiani "Io ho paura" of 1977, the the links with fascist forces and pointed out the Mafia, but also Rosi's own film about the political influence the judicial "Cadaveri eccellenti" (The Power and the Prize, 1976) were made here by topic already anticipated.

But unlike these fictional films that made use of the resources of the entertainment film, satire, or of the thriller - and those of critics like paranoia was placed under - dedicated to Rosie a real person of the time history , as he put it back in 1962, "Salvatore Giuliano" was doing. How meticulous he was going on here, can be it state that he commissioned in 1970 the journalist Mauro De Mauro order to research a detailed schedule for the last days before the plane crash. De Mauro, a specialist for investigative journalism, had even then reports on the unexplained circumstances in the death of Enrico Mattei, and eight out years later to work. There are several statements from colleagues who confirmed that he had found incriminating evidence of a Mafia conspiracy - including a tape recording - but this information can prove no more. Mauro De Mauro disappeared without trace on Sep 16, 1970, just weeks after Rosi had asked him. Gaspare Mutola confirmed until 1994, a confessed Mafioso that he was kidnapped and strangled.

second The writer - fiction and reality

's a screenplay based on has been rewritten by real events, is certainly quite often in the coming, but that the occasion was only the development of the film for the above phenomena suggest integrated into the action, should be more or less remained unique. It is also to assume either that Francesco Rosi had originally acquired himself a role in his film, nor the close interaction - and thus the associated time shifts - between the movie action to 1962 and the former presence in the early 70s, this type , would become part of the film.

Even more amazing it is that Rosie has not this obvious murder of an inconvenient witness used for an emotional statement, but this aspect also in the same laconic way integrated, as the other events described. Luigi Squarzina plays the journalist who is shown several times in conversation with Rosie. Here, the film is limited to the real facts and not a moment speculate on possible reasons behind the disappearance. In the same way Rosie did in "Salvatore Giuliano" (Who shot Salvatore G., 1961) or "Le mani sulla città" (Hands over the City, 1964) exercise the highest degree of professionalism in the presentation of events was, he also goes in "Il caso Mattei" in front.

His style combines real and fictional events with the proven grow aware of a possible reality for which there is no direct evidence. To take these scenes the speculative, he supports them with statements of witnesses who remember, at least at that time circumstances or not more searchable information source. Particularly vivid is this approach in the presentation of recent trip to Sicily Matteis, of which he no longer alive back. The scenes in Palermo, where he promises the enthusiastic crowd from the balcony talking jobs and a way out of poverty are staged in a big way and let the face of thousands of witnesses, no doubt about their authenticity. The various dignitaries all Matteis offer, with him on the plane to fly (as opposed to a journalist) declined more or less coherent arguments, may indeed have been realistic, but at this point the role of speculation, without the suspicion that they been aware of an attack on the aircraft knew concretized.

same applies to the statements of people who worked at the local airport, and expressed their ideas, such as striking the aircraft would have been unguarded Matteis, although there had been only recently thwarted an attack.

It is no coincidence that the film ends, because of course, Rosie the function of the last impression, deliberately, but before he leaves a large number of witnesses and examined Experts of the crash is heard, the complete Theses - Bandwidth cover the accident to the limit, without which the film itself to comment specifically refers to. With hands is palpable, as the director tried to prevent too much to accuse him of paranoid speculation, knowing that this is a ultimately impossible task. From today's perspective, in the so-called documentaries no inhibitions have to influence the public in their direction, struck Rosi restraint, despite the myriad of facts and persons he allowed to come here often their say, a played and not a pure documentation rotate wanted.

third The Movie - intention and effect

Rosi was aware even before the disappearance De Mauro to what a hot topic it was in the "Mattei Affair", even if his death was almost a decade back. Perhaps we should say "until a decade" because if you look at the political development of Italy after World War II look, we can see how long changes have been prepared in secret, before they were inescapable reality. The disappearance of the Communist Party of Italy "by a majority-people's party to an insignificant splinter party, was more specifically implemented in the 70's, when one of the Left any terrorist attack to the murder of Aldo Moro (who wanted to work with his left hand together) alone in the shoes pushing what is now refuted in principle, but be prepared, these events have long beforehand - in the face of perfection, particularly in terms of influencing the population even necessarily.

Unlike the later attacks for which have been specifically named causes, shall be the death Matteis, despite many Rosi's film emerged only after evidence and testimony today officially accident. And though the film also devotes this controversy, it is a Another aspect still important to respect the intention of the film. It is the person "Enrico Mattei" itself, the focus is here in the narrative, and thus the design of Gian Maria Volonte, which up to while in the contemporary photographs of the businessman, but ultimately based on its own artistic interpretation. Mattei was a colorful character of the post-war period, who had fought in the resistance on the one hand, on the other hand, after the war is not afraid to work with the Fascist Party and collaborators together. He came from humble beginnings, but quickly worked his way up and got after the war the task of AGIP, a Oil company that was founded by the fascists to handle.

Gian Maria Volonte managed to preserve the strict, purposeful gesture of a successful businessman, also convey but the charming conversationalist and ardent advocate their own beliefs, which allowed him only to go their own way, with which Mattei increasingly powerful enemies procured. His personality is so interesting because they are denied the usual classifications. Through his gestures and membership of the conservative ruling elite of the country, he could take political influence, but he specifically for the Italian population used. Rather than cooperate with the multinational oil companies, he turned to the countries that have been boycotted in the 50s by this - Algeria, Tunisia, Morocco and the Soviet Union. Above all, he designed much fairer contracts with those countries, what the "7 sisters" - as the then oil companies were called - discredited as exploiters.

A uffällig are the many allegations of corruption, luxury and personal influence the media, Mattei accompanied during his tenure. Rosie devotes a complete chapter to this aspect by having him take over a fictional journalists observations. His intention is clear, because even if Mattei stood to gain from his wealth, is its performance, an ailing company into the largest company in Italy, ENI to build, and the associated creation of many jobs for the poor, over such worldly, Detail unproven allegations, Mattei also said the open. These are significant for a method that the reputation of complex personalities that are not unassailable in every respect to deteriorate, to minimize their impact, which was not the case Mattei.

Whether why was the plane crash was an assassination or an accidental misfortune is, therefore, seems superficially trivial, because the few people came to meet his death will not, is beyond doubt. There are proven to statements that are quoted in the film, a failed attack on the plane and Matteis fear of death, knowing that they had it in for him. And yet the aspect of the targeted removal of that person, which the film does not ultimately doubts, is essential for the intention Rosi, because for him it is a proof that conservative forces ensure any complexity to undermine any special way that Italy could have gone after the war. The close and multi-faceted design of the figure "Enrico Mattei" is so important because it illustrates how little the man thought in conventional railways, as reflected in gestures, behavior and intention not stick to the prescribed social norms, from whatever point of view considered.

His death was also the chance to destroy a special path leading to a pacification of the Italian company would have to lead - not designed for no reason Rosie the film at a time when the opposite was increasingly felt, not only in Italy. He could not know that Aldo Moro few years later a man would be murdered, who also dared to go a special way, and seemingly forever to bring together warring factions to try. Also it came with a selfless act that allowed for a moment, personal feelings aside, but ultimately no match for stakeholders not only had a bearing, which was not located on the division of power. Anyone who has seen modern Italy, who knows at that time won.

4th criticism

"Il caso Mattei" is a formally very consistent film that his intense intellectual groundwork is noted at any time. This applies to the screenplay by Rosi and Tonino Guerra, and Gian Maria Volonte interpretation, which is why the film is a high level of abstraction and require prior knowledge. Unlike similarly designed as the "Salvatore Giuliano", who devoted himself to the conditions in Sicily includes "Il caso Mattei" not only a large time span, the start time of its construction for more than a quarter century lay back, he also devoted himself to a person and an environment that most viewers are likely to be foreign. As Rosi on embellishing details largely abandoned, private moments and almost completely segregated from the weight put on an intensive language gesture, he no easier access to a topic, which attracted widespread attention, not in 1972.

was owed this design, not an exaggerated claim or intellectualized art's sake, but for the intention of compelling complexity. Francesco Rosi took a clear opinion, but he developed into a form that attempted to also to convince dissenters. As you can see by the murder of Mauro De Mauro to Rosie was so on dangerous ground, but he also realized that a film meant the end no immediate danger as long as no clear evidence of there alleged hypotheses can be raised, so fit the evidence were also taken together.

is anyway "Il caso Mattei" lived moral courage, the film far above similar films designed lifts away. The quality and internal stress of the film only reveals itself slowly, but sustainable, because even without knowledge of actual or historical background Relationships is clear to every observer that the resistance faced by Enrico Mattei faces are, in general - and run at any time and everywhere, that promising developments to be nipped in the bud.

"Il caso Mattei" Italy 1972, Director: Francesco Rosi , writer: Francesco Rosi, Tonino Guerra, ; Starring: Gian Maria Volonte , Luigi Squarzina, Gianfranco Ombu, Edda Ferronao, Luciano Colitti, Running time: 110 minutes

- further discussed in the blog films by Francesco Rosi :

"Le mani sulla città " (1964)


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