Time to catch up with those art house classics I had been meaning to watch, or in the case of Visconti's SANDRA see again after a gap of 45 years .... 
its been a dim memory since I saw it aged 19 in 1965, so (again) its been terrific to track down a copy now. [It was on YouTube in segments with Japanese subtitles!]. Its original title is VAGHE STELLE DELL'ORSA or OF A THOUSAND DELIGHTS as it was titled for the UK, and it now seems to be titled SANDRA (much easier all round) and now plays like a classic Visconti drama. Sandra Dawson (Claudia Cardinale) and her husband Andrew (Michael Craig) travel to her hometown, the Etruscan city of Volterra for a homage of the locals to her father, a prominent scientist who died in a concentration camp. The long drive in the car during the credits is fascinating. The couple are welcomed by the servant Fosca, and Andrew becomes
fascinated with the house. Sandra has issues over the estate with her stepfather and her mentally ill mother (Marie Bell) and misses her brother Gianni (Jean Sorel), who is an aspirant writer. When Gianni appears in the house out of the blue, Andrew unravels a shadowy secret from the past of the siblings. It is Greek tragedy really in the shape of Electra and Orestes... it unfolds as if a dream, (or a typical '60s art movie), interesting seeing Visconti tackle a "small" film here, before moving on to those more opulent titles like THE DAMNED, DEATH IN VENICE, LUDWIG and that final L'INNOCENTE. His follow-up to SANDRA, a 1967 adaptation of Camus's THE OUTSIDER with Mastroianni, is also a very lost title, I don't think we even got a chance to see it in London...
"Vaghe Stelle dell'Orsa..." ("Bright star of the Bear", a poem that is referred to in the text) has a plot about a once incestuous brother and sister (though he wants to resume their illicit relationship) which in the hands of another director could have become a melodramatic soap-opera, but Visconti explores the sensuality and beauty of Claudia Cardinale [often in close-up, and that amazing voice of hers] to deliver an intriguing and quite erotic family drama, peopled with beautiful leads in their mid-60s perfection. The set decoration, as 
usual, is another piece of art, supported by a classical music soundtrack by Cesar Franck. Good to see English actor Michael Craig here too - five years earlier he was the star of a British comedy UPSTAIRS AND DOWNSTAIRS and Cardinale had a small part, her first in English probably, as one of the servants!
usual, is another piece of art, supported by a classical music soundtrack by Cesar Franck. Good to see English actor Michael Craig here too - five years earlier he was the star of a British comedy UPSTAIRS AND DOWNSTAIRS and Cardinale had a small part, her first in English probably, as one of the servants!
To add in the next few days: first looks at Antonioni's IL GRIDO, Bergman's THE MAGICIAN, Truffaut's LE PEAU DEUCE...
Hardly a likeable film or one which one would want to return to right away, Antonioni's IL GRIDO has be one of the bleakest views of the human condition ever, more so than say UMBERTO D or AU HASARD BALTHASAR, as it shows the downward spiral of Aldo, the workman abandoned by the woman he loves. It is though totally compelling to see now, Antonioni's last before L'AVVENTURA and those films showing the ennui of the Italian monied classes. Here we are, comparatively speaking, in the lower depths of society - workmen and women in rundown towns along the muddy banks of the Po river.Aldo has lived with Irma the woman he loves for 7 years and they have a daughter, he thinks they will get married when news arrives that her husband, working in Australia all these years, is killed - but for Irma (Alida Valli) it is over - she may even have a new man already. Uncomprehending Aldo (Steve Cochran, the playboy and tough guy of American films, ideally cast here) after beating her in public takes to the road with their daughter Rosina in tow, as they wander from town to town. First he returns to Elvira (Betsy Blair) his previous love who would take him back, but not when she discovers he only came back because Irma
threw him out ... then he takes up with Virginia (the oddly named Dorian Gray, who it seems was dubbed by Monica Vitti, her first association with Antonioni) who runs a petrol pump station. Aldo and the daughter settle for a while but this too peters out, as he moves on to prostitute Andreina. He sends the daughter home to Irma and is now on his own as he seems to give up on life and has no interest in living. The film comes full circle as he returns to the factory where he used to work, sees the daughter entering a strange house so he looks through the window and sees Irma with a new baby. She sees him and follows as he enters the factory and climbs the tower. The cry of the title IL GRIDO is Irma's scream as Aldo walks towards his destiny .... there are the usual Antonioni touches with landscapes, the spaces and lack of communiation between people (Irma can hardly articulate her feelings why she does not want Aldo any more and he can only resort to violence). Its powerful and affecting and certainly paved the way for the films which followed.... 
Ingmar Bergman's THE MAGICIAN is a baroque tale of a bizarre troupe of travelling players in the Victorian era led by a mute Max von Sydow who may be a magician, or a hypnotist, or even just a charlatan. This is a Bergman film I had not seen before - my Bergman canon includes THE SEVENTH SEAL, WILD STRAWBERRIES, SMILES OF A SUMMER NIGHT, THE SILENCE, PERSONA, CRIES & WHISPERS, AUTUMN SONATA and his wonderful 1975 opera film THE MAGIC FLUTE (we loved that back in the '70s) and FANNY AND ALEXANDER. [I had no interest at the time for his other '70s films like THE TOUCH, SCENES FROM A MARRIAGE or THE SERPENT'S EGG, but I liked his 1970 London production of HEDDA GABLER with Maggie Smith so much that I went to it twice - it was dazzling theatre with the cast clad in black against those red walls...]
THE MAGICIAN (or THE FACE) is a fascinating puzzle from 1958 with terrific photography like those shots of the carriage emerging from the forest with the light shining through the trees... 
Vogler (Sydow) and his wife Ingrid Thulin (who dresses as a man, as part of the act), and the old crone who may be his grandmother and their florid manager arrive in a new town and are halted by some petty officials who see an evening's entertainment in making the entertainers do their act to see if they are suitable for the public. They certainly get more than they bargained for, particularly Gunnar Bjornstrand as Dr Vergerus, the officious medical advisor who is fascinated with hypnotism and magic rituals and would dearly love to perform an autopsy on Vogler to examine his brain, eyes etc. There is an old drunk whom they pick up en route, who finally dies. Bjornstrand gets to do his autopsy but surely would have realised which body he was examining? Vogler's face is a mask - once the wig, beard and make-up are removed the real Von Sydow emerges, and is an interesting contrast with the silent brooding Vogler in that this new persona is just a money-seeking actor. Other characters also change: the serving wench Bibi Andersson joins the party as the manager stays behind. The town official and his wife, mourning their lost child, also re-discover each other, and Vergerus gets the biggest surprise of all .... its brilliantly photographed, Sydow and Thulin shine as ever, and the Bergman players are a pleasure as usual. The ending seems rather rushed though - certainly a Bergman worth seeing but maybe not one of his key works - it could almost be marketed as a superior horror film. Next on my list will be THROUGH A GLASS DARKLY...
Vogler (Sydow) and his wife Ingrid Thulin (who dresses as a man, as part of the act), and the old crone who may be his grandmother and their florid manager arrive in a new town and are halted by some petty officials who see an evening's entertainment in making the entertainers do their act to see if they are suitable for the public. They certainly get more than they bargained for, particularly Gunnar Bjornstrand as Dr Vergerus, the officious medical advisor who is fascinated with hypnotism and magic rituals and would dearly love to perform an autopsy on Vogler to examine his brain, eyes etc. There is an old drunk whom they pick up en route, who finally dies. Bjornstrand gets to do his autopsy but surely would have realised which body he was examining? Vogler's face is a mask - once the wig, beard and make-up are removed the real Von Sydow emerges, and is an interesting contrast with the silent brooding Vogler in that this new persona is just a money-seeking actor. Other characters also change: the serving wench Bibi Andersson joins the party as the manager stays behind. The town official and his wife, mourning their lost child, also re-discover each other, and Vergerus gets the biggest surprise of all .... its brilliantly photographed, Sydow and Thulin shine as ever, and the Bergman players are a pleasure as usual. The ending seems rather rushed though - certainly a Bergman worth seeing but maybe not one of his key works - it could almost be marketed as a superior horror film. Next on my list will be THROUGH A GLASS DARKLY... 
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