The film of the Taviani brothers “Rainbow” came to the Moscow International Film Festival a week after the sad news – the oldest of them, Vittorio, died at the age of 88. About the film tells the youngest author of the “Session” Gordei Petrik.
Directed by “Rainbow” (the original Italian name Una questione privata – “Personal Affair”) is only Paolo Taviani. Vittorio is the co-author of the script. But also alone Taviani continues to shoot what he shot with his older brother – love triangles, which are beautiful women and brave men. This topic does not grow old. Directors have long moved from film to digital, and electronic music has climbed into their orchestral soundtracks – they have taken modernity. But the classical novel form is unshakable, and the plots still have to be searched in the past. In a video message to the audience (this new-fashioned format is also mastered), Paolo exclaims: “Yes, this is again a film about fascists!” And also – this is a screen version of Brother’s favorite book – The Personal Case, Beppe Fenoglio. It turns out that they reached the innermost part only now.
1944 year. Italy’s mountain landscapes are glowing with war. Letters of lovers do not meet the answer: civil war broke the last ties. The partisan, nicknamed Milton (Luca Marinelli), goes in search of love to Fulvia, and with it, the truth that the system hides. Above the battlefield is the fog of war. Life is also war, man is a soldier, running through thorns to truth.
Film Taviani wants to give a very conditional annotation, despite the fact that the “Rainbow” is almost the first in the extensive filmography of directors is a very realistic film. In an interview, Paolo says that this movie is not about war, but about a deadly love impulse. Love Taviani always defeats death, because feeling is not important the course of history. Memories are a key element of the Rainbow. Half of the screen time is given under the yellowish shade of flashbacks – during the war the past can only be light.
Taviani already appealed to the war in “The Nights of St. Lawrence” – the same 1944. But there was a rule of fear, which forced me to surrender for the sake of a brief respite of happiness before death. In “Rainbow” this fear is not present, and even the heroes who have left in guerrillas keep their habitual life rhythm, and death is taken with such dignity, as if they are assured of eternal life.
The girl wakes up next to the dead mother, goes into the house, eats water and returns to the lifeless body. There is no death for the child. The former jazz drummer, becoming a soldier, plays on a broken stick as on drums, pianos and winds. Lovers waltz during the eternal curfew. On scenes of torture or execution, directors try to take the camera as far as possible, not to depict death. Does it exist at all? The answer of the Taviani brothers is read as “no.” Vittorio died, but first he conquered death – you can not see her echoes in the frame. In one of the best scenes of the film Milton runs into the embrace of a thick fog from the army of shooting soldiers in the back. Do not fall. The fog gives hope. In the world of Taviani, the army of soldiers will never be able to catch up with the guerrilla, fleeing towards fate. “I’m alive, Fulvia! You almost killed me! “
At last year’s MIFF showed “24 frames” by Abbas Kiarostami, a film full of sentimental love for life, art, nature, for love itself. However, the film Kiarostami – a testament, the recognition of its own mortality, as a consequence – the antirhythm. And Taviani’s film with every next frame seems to deny death, stops time flowing through fingers. At the exit from the night session of the film at the Oktyabr movie theater, it was possible to find the director of the Moscow International Film Festival and a rare guest of film programs Nikita Mikhalkov. In his eyes, a strong shock was guessed in a childish way: no, the movie does not die, the movie does not die!