Anima Persa / Âmes perdues ( Lost Souls ) - FI 1977 - Director: Dino Risi - Book: Dino Risi, Bernardino Zapponi, based on a novel by Giovanni Arpino - photography: Tonino Delli Colli - Music: Francis Lai - Edited by: Alberto Gallitti - Producer: Pio Angeletti, Adriano De Micheli - Actor Students: Danilo Mattei (Tino), Vittorio Gassman (Fabio Stolz), Catherine Deneuve (Sofia pride), Anicée Alvina (Lucia), Michele Capnist (Il Duca), Ester Carloni (Annetta) and others - Studio: Dean film, Les Productions Fox Europe - Format: VistaVision (1,96:1), 35 mm - Length: 100 min. - First performance: 20/01/1977 (Italy).
with Venice, as so often in the movies, grief. Picturesque shimmering modern buildings, the water of the lagoon opaque garbage on top drives. ! Become How dirty is our city, "complains one of the protagonists in Dino Risi's Anima Persa ( Lost Soul ; 1977). And, yes, the city is dirty, and it bears on top of that all kinds of dark secrets of its inhabitants. Venice as a state of mind, as sad-morbid swamp, which selectively breaks children and their parents to death: How has Nicolas Roeg Venice in his masterpiece Do not Look Now ( If not Look Now take ; 1973 ) is used, a British-Italian giallo thriller motifs. had before him including Aldo Lado here his exquisitely photographed Mörderhatz Chi l'ha vista morire? ( The Child - The city is a nightmare ; 1972) rotated from which Roeg was inspired obvious. Even Visconti Morte a Venezia ( Death in Venice, 1971) celebrated the decadent decline, the sickness aestheticized again and most sophisticated in the extreme high side. Even Americans like Paul Schrader, a Calvinist should also, two decades later in The Comfort of Strangers ( The Kindness of Strangers , 1990 ) staging Venice in this way, even if he squares admits at least a touch of radiance. The murderous activities of the Venetians was with him, of course, his film also based on almost imitative style form Roeg thriller.
In contrast to all these directors, Europeans and Americans, is Dino Risi (1916-2008) primarily as a comedy director known. He created films like Una vita difficile (1961), Il sorpasso ( love with sharp curves , 1962) and I mostri (1963) and Profuma di donna (Scent Women , 1974), all box-office hit in its time. That he was in the late 1970s, ie at the same time, as Dario Argento his bloody Technicolor masterpiece Suspiria (1977) directed, tries on a horror film appear unusual only at first glance. Ultimately the Italian comedies always tell of murder and manslaughter, disease, decay and misery, War and disasters. The humor of commedia all'italiana was always pitch black. A little risk from this has saved in his mischievous, antibourgeoisen horror movie over, the Luis Buñuel and the Surrealists is closer in many respects, as the films of Mario Bava, Dario Argento and Lucio Fulci.
Anima Persa starts recorded with morbid city Impressions of Venice from a motorized gondola. Tonino Delli Colli, the camera, one of the greatest cinematographers of Italy (1922-2005), of 1944-1997 more than 130 films has photographed, including classics such as Il Leone Buono, il Brutto, il Cattivo ( Bad and the Ugly ; 1966) and Once Upon a Time in America ( Once upon a time in America , 1984), experimental genre films such as Elio Petri Un Tranquillo posto in campagna ( the cursed house , 1968) and art films of Fellini and Pasolini. Delli Collis camera shows us the return of a prodigal son of Venice, the still youthful Tinos (Danilo Mattei), who returns after years to his aunt and uncle, to learn painting in Venice. Incredulous stares Tino the city, the villas of the rich, their mansions, the corroded surfaces, the baroque decorations eaten away by acid rain. Those who live here, he asked the gondolier. "I genti," replied the latter. But those were only in their homes, he added. And indeed, the houses that go by the varying camera, seem a little like moldering coffins - Venezia, città dei morti viventi .
is this the death consecrated bourgeoisie obviously Tinos Aunt Sofia (ethereal: Catherine Deneuve) to. Also she almost never leaves the house, and keeps it in her home but for no longer than a few minutes in a room. driven as it hastens arrival at Tinos attracted by the spacious villa, her nephew behind him, always through new areas, a grotesque and larger than the other, to the marital bedroom. An unspoken offer is in the room, especially since her husband was staying away from home. Or the young wife flirts a little with her appearance on an even younger man? Much seems strange in this budget. The housekeeper (Ester Carloni), which we know on the first evening, a factotum, a funny old man with kieksiger voice, a rough peasant farce could have sprung. However, we learn little about Tinos uncle. It bears the rather unusual name for an Italian pride . The Signore with the German name - supposedly he is descended from the Habsburgs - works at the gas works, also a bad joke. During the tour of the only partially restored house ("Look at the decay!") Tino also experiences of a staircase to a forbidden chamber. And at night the rats playing on the piano when they run over the keys. About the room the boy heard a strange noise. That this should be only the wood that works in the old Palazzo will not believe the boy's aunt. And rightly so.
If the aunt with her nervous tics and obsessive mania for cleanliness has since proved Uncle Fabio (Vittorio Gassman) as totally neurotic. Already on the bed he preaches to his nephew Plato and the advantages of military discipline. Later he quotes Holderlin The nice this world: "I am nothing, I do not like to live" Whether that sounds not good in German, he asks his nephew. On top of that says Fabio of the picturesque murders that Venice had to offer in the last decades. Getting around town, he then pulls a hippie in his long hair. Anyone not yet has understood that the man is an authoritarian character, it will probably never notice. Tino However, this seems to hardly touch, he directed a temporary, in the strange environment, curious, but also a little distant, almost as if he researched on another continent, an unknown strain.
Tinos real object of study but is the female body, the film quickly makes clear. In addition to his aunt Tino learns on the first day in art class about the nude model student Lucia (Anicée Alvina), and of course he falls for instantly into it. Equally, the house, so the Place on the Tino addition to the two women most of his curiosity applies, in the horror film per se for the female s body, at least in the psychoanalytic interpretation of the genre. Both come together finally, when Tino relish in the absence of his surrogate parents, along with Lucia explores the mysterious house, including a Commedia dell'arte insert on our own stage, perform together on both a Lazzo . Then they fall in slapstick style of the room in an apparently untouched for a long time children's room full of dolls and clothes. There they are then caught by the relatives in flagrante delicto. It looks increasingly the events, as if everything for the uncle and aunt nephew stage, only to leave the house in order to catch him and then set up such a kind of perverse family constellation. Fabio could thereby directly Buñuel El (1953 He ) and Sofia have sprung, not only by the occupation with Deneuve, Belle de Jour (1967) . In the end, however, has risks even Buñuel bourgeois perversions and reveals a dark family secret, incest, pederasty, and schizophrenia. Then leave Tino Venice again on the same path on which he has achieved it, still untouched, barely changed, at most slightly older.
Apart from the unusual plot, its dreamlike atmosphere and the decidedly unrealistic resolution Anima Persa is primarily a visually stunning film that gives up at first subtly, then more intransigent the limits of a purely rational narrative. Delli Collis evokes camera explores the house using elegant rides and pans, the light setting the Chiaroscuro Caravaggio. Some images and sequences are unforgettable: for example, when uncle and nephew go to sea, a vast, decaying oil tankers pass, which acts like a primeval beached whale. The Baroque interior of individual rooms and the labyrinthine house are most memorable, in a bar, guests seem to like pillars of salt petrified, and once the camera stares like a spider in a corner of the ceiling in the living room to the assembled dysfunctional family. Apart from such sequences, it is possible risk, of melancholy and surreal start to the mischievous and ironic end, the plot actually quite easy to tell with a myriad of detours, false leads and deviations and thus undermining any expectation. Ultimately, Anima Persa proves not as a horror film, but as a dark ironic allusive Bildungsroman and again as a parody genre, which does completely without murders and supernatural elements. Besides the works mentioned Visconti, Lados and Roeg's film on top of that Risi one of the best (that is: ugliest) Venice-movies in film history. Quite the contrary, he is largely forgotten today, despite its strong cast with Vittorio Gassman, Catherine Deneuve, despite the participation of Delli Colli and risk, despite its quality. In Germany, the very serious film the incredibly embarrassing distribution title ejaculation of horror obtained. The lender must have been drunk. This also has not earned the film.
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