Images and Story: Call and Response
Vittoria de Sica’s classic 1947 film, The Bicycle Thief, has probably been written about more than any other film in history. At one time, film audiences considered it to be the best film ever made; unfortunately, it has slipped off the charts in recent times.
I have longed maintained that films consistently use visual and auditory images as stories in and of themselves. They often become complementary social plots replete with cultural values and world-view perceptions. The central story line in many classic films becomes more than just ornamented with these visual and auditory images, it often becomes a kind of call-and-response complement to the less evident images of a film.
The Great Beauty
Directed by Paolo Sorrentino
The Squandering of Talent
“Therefore, let this novel begin. After all, it’s just a trick. Yes, it’s just a trick.” This is one of Jep Gambardella’s final statements in the Italian film, “The Great Beauty.”
Spoiler Alert: So, now we know that Jep will begin writing again as the movie ends. Even if Jep’s goal may be more aspirational than real, we are left with imagining what the sequel to his 65 year-old life will be.
Up to that point, it looked as if he would squander his one-novelette talent, living among Rome’s “idle rich.” And my God, are there many of that ilk in this film.
In another of his final soliloquies, Jep says, “This is how it always ends, in death. But first there was life hidden beneath the blah, blah, blah.”
And what was that life, according to Jep: “the silence and the emotion; the excitement and the fear; the fleeting and sporadic flashes of beauty amid the wretched squalor and human misery.”
“All,” Jep says, “buried beneath the awkward predicament of existing in this world.” Continue reading