12) when, while meditating among the tombs, surprised and surrounded by frivolous boys ready to pick a quarrel, intent on harassing him, he departs “literally leaping over the tomb (…) and out of their midst”. Cavalcanti serves the visual image for lightness, as he “raises himself above the weight of the world” (pg. That is the Italo Calvino’s lightness of thought, so well described in Six Memos for the Next Millennium. And if it is true that “the story includes in its plot a variety of subjects and objects”, then this image, as narrated, at the same time, tells itself a metaphor. A director and an actress: it is not pure chance when it’s about Rivette, always paying attention to the oscillations between stage pretence and reality. And it is not pure chance just on this set Rivette, overlapping his own characters, has been immortalized walking on skylight roofs.
#Leggerezza italo calvino movie
In the movie Paris nous appartient ( Paris belongs to us) director Gérard Lenz (played by Giani Esposito) to interpret it and again, forty years later, on an ironical key, it will be reproposed in the movie Va savoir (2001) by the actress Camille (Jeanne Balibar). 7)Ī walk on the roofs of Paris: a sequence of dazzling intensity, here it is, coming back many times in the French artist’s work and life.
As well as a mask that hides the face, but also reveals it.”(p. “We are all persuaded that fiction contains a truth that, somewhere and somehow, crosses and intersects with reality. Some considerations about “storytelling through images” by the philosopher Franco Rella perfectly suit to his work. It is a matter of facts if he felt it so clearly to express a deep “need” that would have underlied all his research: the “necessity of the story” .
Who knows if Jacques Rivette (1928), in 1958, starting off the movie Paris nous appartient ( Paris belongs to us) forecasted that it would have been the first of his never-ending “cinematographic reflections” on the status of the image and its ability to tell reality.
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