Ritrovati & Restaurati sonori.pdf - Cineteca di Bologna

izing and enigmatic ‘maestro’ who chooses
death for himself and for his children.
(...)
Perhaps Sylvia is the only positive character
of the film, with her animal recklessness,
her defenseless candor, that free
her blissful cries in the night. About his
meeting with Anita, Fellini would write,
‘...that sense of wonder, of sudden astonishment,
of incredulity, that you feel
in front of extraordinary creatures such
as giraffes, elephants, the baobab, I felt
years later, when I saw her coming forward
in the Hotel de la Ville’s gardens ...
I believe Ekberg to be, what’s more, phosphorescent.’
Actually, everything in the film is phosphorescent.
Everything shines: mirrors,
glasses, cars, the dancer covered with
golden leaves. All is precious, glossy, and
fluid - the burning, phantasmagorical
world brought to life by a myriad of characters,
the continuity of movement of the
cameras and of that within the frames.
The via Veneto rebuilt by Piero Gherardi of
Cinecittà is identical to the real thing, but
level, minus the uphill slope! The ultradefined
photography of Otello Martelli, the
hypnotic music of Nino Rota, the richness
of the dubbing, of the film score, with a
thousand voices and a stereophonic variety
of sounds. The power of the film - Fellini’s
genius - lies in its ability to astound
and to surprise us, but also to accompany
us hand in hand while communicating a
sensual and confused sense of abandonment,
a mood that prevails over the harshness
of the content.(...)
La Dolce Vita is also a jab at provincial
and conservative Italy. When the film is
about to be released, the country divides
into two, with denunciations from the pulpits,
family disputes, and outraged press
campaigns in the newspapers. Fellini is
spit on at the first screening in Milan.
Other highly agitated crowd members
shout ‘coward, vagabond, communist’ at
Marcello.
But the anticipation is so great that, for
the very first time, Rizzoli and Amato decide
to raise the price of a ticket to one
thousand Italian liras. The masses, fearing
that the prefects will sequester the
film, break down doors and flood into the
Italian cinemas. It was to be the best boxoffice
receipt of the season, and one of
the best of all time. Fellini hit the mark.
152
Italy wanted to see itself in that seemingly
beautiful and precise mirror that, being a
great illusionist, he had created.
The film has an open ending. Anything
could be read on Paolina’s angelic countenance
- mischief, or even forgiveness.
On that beach - leaving behind the sea
monster that follows Fellini from youth
and that he is still unable to stare in the
face - Marcello is drunk with stories that
have slipped through his fingers because
he is unable to grab hold of them; perhaps
he feels like falling asleep. Fellini, on the
other hand, has identified his counterpart
in Mastroianni, and, in Cinecittà a
home, and is about to free himself from
this burden. The true story, which will
keep him busy for thirty years, the story of
his dreams, is on the verge of beginning.
He will know how to stand up against the
mediatized world - by freeing the unconscious.
Gian Luca Farinelli
L’ASSASSINO
Italia, 1961 Regia: Elio Petri
█ Sog.: Tonino Guerra, Elio Petri; Scen.: Tonino
Guerra, Elio Petri, Pasquale Festa Campanile;
Dial.: Pasquale Festa Campanile, Massimo
Franciosa; F.: Carlo Di Palma; Mo.: Ruggero
Mastroianni; Scgf.: Giovanni Checchi, Renzo
Vespignani; Co.: Graziella Urbinati; Op.: Dario
Di Palma; Ass. op.: Angelo Lannutti, Alberto
Spagnoli; Mu.: Piero Piccioni; Su.: Giovanni Rossi;
Int.: Marcello Mastroianni (Alfredo Martelli),
Micheline Presle (Adalgisa De Matteis), Cristina
Gaioni (Nicoletta Nogara), Salvo Randone
(commissario Palumbo), Andrea Checchi (Morello),
Giovanna Gagliardo (Rosetta), Paolo Panelli
(il detenuto Paolo), Toni Ucci (il detenuto
Toni), Marco Mariani (commissario Margiotta),
Franco Ressel (dottor Francesconi), Mac Roney
(suicida), Max Cartier (il cameriere bruno),
Enrico Maria Salerno; Prod.: Franco Cristaldi
per Vides Cinematografica, SGC, Titanus; Pri.
pro.: 27 marzo 1961 █ DCP. D.: 98’. Bn. Versione
italiana / Italian version █ Da: Cineteca di Bologna
e Museo Nazionale del Cinema di Torino █
Restauro in collaborazione con / Restored in
collaboration with Museo Nazionale del Cinema
di Torino e Titanus
Il restauro digitale de L’assassino è stato
realizzato a partire dal negativo camera
originale e, per il primo e l’ultimo rullo,
da un lavander d’epoca poiché il negativo
originale conservato risulta lacunoso. I
due elementi sono stati scansionati alla
risoluzione di 2K. Per ritrovare lo splendore
originale, il grading digitale è stato
eseguito utilizzando come riferimento una
copia positiva d’epoca conservata dalla
casa di produzione Titanus presso l’archivio
della Cineteca di Bologna. Il suono
originale è stato restaurato digitalmente a
partire dal negativo ottico 35mm da cui
è stato stampato un positivo colonna. Il
restauro ha prodotto un controtipo di conservazione
e un nuovo negativo colonna.
È stato inoltre eseguito - su diversi supporti
di conservazione digitale – un backup
completo di tutti i file prodotti dal restauro
digitale. Le lavorazioni sono state
eseguite presso il laboratorio L’Immagine
Ritrovata nel 2011.
The Assassin was digitally restored using
an original camera negative and for
the first and last reels a lavender print
from the time since the original negative
was incomplete. The two elements were
scanned with 2K resolution. Digital grading
was performed to give the film back
its original splendor using a positive print
conserved by the production company Titanus
at the archives of the Cineteca di
Bologna. The original sound was restored
digitally with a 35 mm optical negative
from which a positive track was printed.
The restoration produced a conservation
duplicate and a new negative soundtrack.
A back-up of all the digital restoration
files was also made on different types of
digital conservation formats. Work took
place at L’Immagine Ritrovata laboratory
in 2011.
Ho sempre tentato di far vivere, secondo
un metodo esistenzialista, la situazione
di un personaggio nella quale si riflettano
le sue contraddizioni interiori, la sua
coscienza di essere un oggetto di fronte
ai soggetti dell’autorità. Mi sono a poco a
poco reso conto che a partire da una nevrosi
rappresentata in termini esistenzialisti
sono arrivato a descrivere puramente e
semplicemente dei casi di schizofrenia...
Nei miei primi film era la nevrosi il contenuto
della normalità, poi fu la schizofrenia.
(…) In Italia, come nel resto del mondo,