Tuesday,
July 25, 2006
Director Roberto
Rossellini: Gone, Not Forgotten by Daughter Isabella.
The
ANNOTICO Report
Roberto
Rossellini was one of the most important directors of Italian neorealist
cinema. He produced a Neo Trilogy, then two
films now classified as the "Transitional films": "L'Amore " (with Anna Magnani)
and "La macchina ammazzacattivi,"
on the capability of cinema to portray reality and truth (with recalls of
Commedia del Arte).
Ingrid Bergman
was brought to
In 1948 Roberto
Rossellini received a letter from Ingrid Berman proposing
a collaboration: << Dear Mr. Rossellini, I saw your films Open City
and Paisan, and enjoyed them very much. If you need a
Swedish actress who speaks English very well, who has not forgotten her German,
who is not very understandable in French, and who in Italian knows only "ti amo", I am ready to come
and make a film with you. Ingrid Bergman >>
This famous
letter begins one of the most popular love stories in cinema lore, with Ingrid
Bergman and Rossellini both at the peak of their popularity and influence, and
in August, 1949,
Bergman became the centre of a major scandal when it was revealed by her
husband, Dr. Peter Lindstrom, that Bergman
had gone to live with Rossellini. This affair caused a great scandal in some
countries (Rossellini was also married) ; the
scandal intensified when the two started having children.
Bergman and
Rossellini started working together the following year in "Stromboli terra
di Dio" (on the
Bergman was unable to work
in
While
Bergman returned to
BRIEF ENCOUNTER
Susan King
July 16, 2006
ISABELLA ROSSELLINI, the 54-year-old actress, model and cosmetics spokesperson,
has been preoccupied lately with thoughts of her father, Italian neo-realist
director Roberto Rossellini, who would've been 100 this year (he died at 71 in
1977).
In a whimsical, thoughtful book called "In the Name of the Father, the
Daughter and the Holy Ghosts: Remembering Roberto Rossellini," she offers
finely etched personal memories of her father, her family and her mother,
actress Ingrid Bergman, including the correspondence between her mother and father
that led to their torrid love affair, three children and six films together.
She's also created an avant-garde short film, "My Dad Is 100 Years
Old," included in the book, in which she transforms herself into her
mother, Charlie Chaplin, Alfred Hitchcock, Federico Fellini and David O.
Selznick and brings these ghosts of films past face-t! o-face
with her father, who is represented in the film by a massive belly. In the
fall, she'll be talking about her father once again at a retrospective of his
work at
*
In your book and short film,
you talk about how contemporary audiences don't remember your father. Why
haven't his films such as "Open City" and "Paisan"
been as accessible as those of directors like Fellini and Vittorio
De Sica?
The films are very difficult to find. My father was more influential than
very popular. He has never been a box-office director. Up to 15 years ago,
every [film] student would see one or two neo-realistic films at school. So
there was a distribution of my father's films in 16mm.
But now these prints are very old and the films have never been transferred to
DVD, so it's even harder for students who are interested in the history of film
to see these films. A problem with film conservatio! n, particularly with directors who didn't work with major
studios, is that they worked with small companies that closed down and went
bankrupt, so it's very difficult to trace the rights, to trace where the copies
are.
We know where the material is, and now we are starting to clear all the rights.
*
Your book and movie are
lovely birthday presents to your father.
There is a lot of material on my dad that is very academic because he's
loved by film historians, but there wasn't a book that was light and filled
with illustrations. Generally, when I am interviewed about my parents I am
asked in the traditional factual approach to interviews. I thought I could
express more what I wanted to say if I could do my own little film. And I really
was using my little film as bait for younger people who don't know my dad to
understand what the intention was of his films.
*
It was clever to explain your
fathe! r's
approach to directing by having him interact with his fellow directors.
I made different directors debate what was film to them to try in a funny way
to show how directors talk about their work. They don't talk about
? at least where I grew up ? success.
They don't talk in terms of careers. They think in terms of expressing
themselves, telling something that is really urgent and needs to be said. That
is what I wanted to express in my film. Most of the time, when you sit down and
talk to press they look at films as business.
*
Is your father as popular as
your mother in European circles?
My mother was more visible [here] because my father's films were not that
popular in the
In
*
The films they made together,
such as "
Their work together was beautiful. They are considered very strong in
*
From your description, he
sounded like a great dad.
He certainly was. I think like a lot of little girls have their own bond with
their dad, but he was particularly tender and really liked children. He had
seven of them. It was a big family.
*
Did you visit him on the
sets?
Yes, a lot, especially when I was! a teenager ? the first jobs when I was out of school were on his sets.
*
Was he as tender on the set?
It was very authoritarian in a way that directors are not anymore. The
directors of that generation, they screamed and yelled on the set the way that
nobody would dare today to do. It was a completely different technique. He was
absolutely the dictator, the great patriarch.
*
Were you able to see your
father much after he and your mother divorced?
I saw more of my dad than my mum. When my parents divorced, I was about 3 or 4.
We lived in
Then we settled in
*
Did your father ever get to
see you perform?
When I first finished school,
I started working with him. Then I got a little job on Italian television and
he was very happy. I was working with Roberto Benigni
and we did a little comedy show together. It turned out to be very successful.
We did that for three years. He was very supportive of that; he died during the
first year.
*
David Lynch's "Blue
Velvet," in which you star, is playing now in
My mom, she would have felt
uncomfortable. My father would not have liked it because of the nudity. He was
very prudish.
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