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When Giuseppe Verdi died in Milan in January 1901, cinema was still
in its infancy. The composer who virtually defined the world of
Italian opera would never know the impact his work would have on
the neophyte art form. Leopoldo Fregoli, the first Italian filmmaker,
made the first Verdi film in 1898. Now, over 100 years later, filmmakers
are still turning to Verdi’s work for inspiration. Whether
it’s an entire opera adapted for the screen or merely a snippet
of La Traviata, Verdi’s music resonates on soundtracks with
an emotional honesty that is breathtaking.
Verdi Goes to the Movies celebrates the magnificence
of Verdi’s work at the Castro Theatre May 25–31 and at
Landmark’s Park Theatre in Menlo Park June 1–7. This series
coincides with the San Francisco Opera’s Verdi Celebration,
which includes productions of Verdi’s greatest masterworks
La Traviata, Aida and Simon Boccanegra in June.
Oh, the wigs, the costumes, the lip-syncing! Need we say more? This
wonderful, flamboyant comedy about two drag queens and a transsexual
trekking across the Australian Outback in a schoolbus christened
Priscilla is one of the great gay films of the ’90s. When a
silver lamé gown and Verdi’s “Sempre libera”
come together on top of that bus, it’s one of the most liberating
images of the decade. (Australia 1994, 104 min.) Dir. Stephan Elliott.
With Terence Stamp, Hugo Weaving, Guy Pearce.
This omnibus film features the work of 11 international directors,
each putting their distinctive spin on famous arias. Rigoletto provides
the perfect accompaniment to Julien Temple’s uproariously funny
Southern California sex farce and Charles Sturridge’s interpretation
of La Forza del Destino is exquisite. Rounding out the roster of
directors are Robert Altman, Bruce Beresford, Bill Bryden, Jean-Luc
Godard, Derek Jarman, Julien Jarman, Franc Roddam, Nicolas Roeg
and Ken Russell. (England/USA 1987, 90 min). With Theresa Russell,
Buck Henry, Tilda Swinton, John Hurt, Beverly D’Angelo, Elizabeth
Hurley. Bridget Fonda.
Klaus Kinski dreams of bringing opera and his beloved Caruso to
the South American jungle, but first he must transport a steamship
to an inaccessible river, hiring local natives to literally drag
it over a mountain. As anyone who has seen My Best Fiend, Werner
Herzog’s account of his stormy relationship with Kinski, will
attest, the madness displayed onscreen in Fitzcarraldo only hints
at what happened offscreen. Armed with only his own obsession, a
bravura performance by Kinski and no camera trickery, Herzog dragged
a real ship over a real mountain, achieving the impossible and in
the process creating a modern masterpiece. In English. (Germany
1982, 157 min.) Dir. Werner Herzog.
Winner of the 1991 Oscar for Best Documentary Feature, In the Shadow
of the Stars takes us behind the scenes and into the chorus of the
San Francisco Opera. Directors Allie Light and Irving Saraf introduce
us to the voices behind the divas, the usually anonymous members
of the chorus. As they share their dreams and aspirations and rehearse
for productions of Macbeth and La Traviata, it becomes apparent
that the most touching stories are not always the ones in the spotlight.
(USA 1991, 93 min.) Dir. Allie Light, Irving Saraf.
Based on filmmaker/novelist Marcel Pagnol’s 1952 rural romance,
Manon of the Spring focuses on the novel’s first half, chronicling
the rivalry over a valuable natural spring between a novice farmer
and his unscrupulous neighbor. Berri brings together three of France’s
finest actors—Gérard Depardieu, Yves Montand and Daniel
Auteuil—who bring this delicate, humorous and eventually heart
wrenching tale to life. Verdi’s La Forza del Destino provides
the perfect soundtrack to this pastoral treat, winner of eight French
Cesar awards along with its companion film Manon of the Spring.
(France/Italy 1986, 122 min.) Dir. Claude Berri.
Bernardo Bertolucci’s drama of a troubled young man, his equally
troubled mother and their struggle against their own and each other’s
inner demons created a sensation upon its original release with
its scandalous mixture of lies, suicide and unhealthy additions—both
physical and mental. Always daring to go further than other filmmakers,
Bertolucci pushes his characters to the limits of sanity and takes
the audience along with them. Verdi and Ennio Morricone provide
the score for this cult favorite. (Italy/USA 1979, 144 min.) Dir.
Bernardo Bertolucci. With Jill Clayburgh, Matthew Berry, Fred Gwynne.
(Manon des sources) In this companion film to Jean de Florette,
the always-stunning Emmanuelle Béart joins Berri’s tale
in midstream, assuming the role of Manon, the daughter of Gérard
Depardieu’s hobby farmer, now fully grown. A shepherdess believed
by the villagers to have an otherworldly ability to make the springs
flow, Manon is determined to discover the truth behind her father’s
death, continuing even when her quest threatens to end in tragedy
for all involved. Yves Montand returns as the duplicitous César
and, as his nephew Ugolin, Daniel Auteuil gives the most heartbreaking
performance of the film. (France/Italy 1986, 113 min.) Dir. Claude
Berri.
Only the Marx Brothers could listen to La Traviata and hear “Take
Me Out to the Ballgame.” One of the funniest—and most
chaotic—films ever, Night at the Opera finds the Marx Brothers’
favorite foil Margaret Dumont (who supposedly never got the jokes
Groucho zinged at her) looking for a way into New York high society.
Hoping she’ll invest in his opera company, Groucho promises
to introduce her to all the “right people”—by which
he means Harpo and Chico. This is inspired madness, and the Marx
Brothers at the height of their genius. (USA 1935, 90 min.) Dir.
Sam Wood.
(La notte di San Lorenzo) On the magical night of Saint Lawrence,
a shooting star burns across the sky, sending a woman into a reverie
about her childhood during the last days of WW II. Fearing reprisals
from the retreating Germans, a group of Tuscan villagers heads for
the hills, including an amnesia victim who calls himself Requiem
because Verdi’s music is one of the few things he can remember
clearly. The Taviani Brothers beautifully merge memory and history
in this haunting portrait of an Italy struggling to rediscover itself.
(Italy 1982, 100 min.) Dir. Paolo Taviani, Vittorio Taviani.
Flush with the triumph of La Traviata, Franco Zeffirelli immediately
announced he’d adapt Verdi’s Otello without delay, capturing
Plácido Domingo’s lifetime of experience portraying
the tragic Moor. Verdi’s masterful take on Shakespeare’s
tragedy gets the full Zeffirelli treatment—lush cinematography,
stunning sets and pure emotion. Soprano Katia Ricciarelli portrays
Desdemona as a strong, noble young woman and Justino Díaz
positively revels in the evil manipulations of Iago. (Italy/Netherlands
1986, 120 min.) Dir. Franco Zeffirelli.
(Suffløsen) Siv loves her job as an opera prompter. She can
experience larger-than-life passion and grand drama without ever
leaving her tiny shelter underneath the stage. But when Siv’s
already distant husband allows his ex-wife to move in with them,
Siv is forced into action, taking inspiration from Verdi’s
Aida and a forgetful tuba player. This light-hearted, touching film
was the official Norwegian submission for Best Foreign Language
Film Oscar last year and we’re pleased to present its San Francisco
premiere. (Norway 1999, 97 min.) Dir. Hilde Heier.
(a.k.a. The Simple-Minded Murderer) Den Enfaldige Mordaren A young
Stellan Skarsgaard gives a remarkable performance in this gripping
film from author/director Hans Alfredson. When his mother dies unexpectedly,
Sven, a emotionally fragile young man prone to visions of angels
who announce themselves with Verdi’s Requiem, is sent to live
with the village mayor, a petty tyrant with fascist tendencies,
played by the director himself. When the situation becomes unbearable,
Sven runs off to live with a neighboring family. This open defiance
infuriates the mayor, who begins to plot against his former charge,
leaving Sven with only bloody recourse to save himself and those
he loves. (Sweden 1981, 106 minutes.) Dir. Hans Alfredson.
(Il bacio di Tosca) A superb tribute to Verdi himself, Tosca’s
Kiss explores life at the Casa Verdi, a retirement home for singers
Verdi built in Milan which he called “the most important of
all my works.” The ever-feisty residents grant director Daniel
Schmid full access to their lives and memories, making this an amazing,
at times hilarious portrait of people who have never stopped performing.
“Most of these people appeared on stages all over the world
40, maybe 50 years ago,” marvels Schmid. “But they all
had their suitcases ready in their rooms, prepared to leave tomorrow
if the Met called.” (Switzerland 1984, 87 min.) Dir. Daniel
Schmid.
Possibly the world’s most popular opera, La Traviata receives
an especially lush treatment at the hands of the ever-stylish Franco
Zeffirelli. Teresa Stratas is the spellbinding Violetta, the most
beautiful and tragic woman in Paris, and Plácido Domingo
is her passionate admirer. The music is sublime, but equally amazing
is the camerawork of Ennio Guarniera, which swoops and zooms and
glides alongside every wondrous note. (Italy 1982, 112 min.) Dir.
Franco Zeffirelli.
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