The films of
this year’s edition of Open Roads: New Italian Cinema, the annual film series
hosted by the Film Society of Lincoln Center in New York, reflect a country in
crisis. Italians are facing unprecedented economic challenges right now with
the loss of jobs and a political infrastructure lacking the stability needed to
get the country back on track.
Each director featured in the Open Roads festival communicates that crisis in a uniquely different way; some with comedy, some with anger and resentment, and others with humble characters who will do just about anything to put food on the table. This brings me to veteran director, Gianni Amelio, and what a class act. I had the pleasure of talking with Amelio while he was in New York promoting two films included in this year’s edition of Open Roads- a documentary titled, "Happy to be Different," which explores gay life in Italy after the fall of fascism through the early '80s and "L’intrepido," the story of an everyday man just trying to make ends meet during Italy’s unemployment crisis.
"L'America" |
Before meeting Amelio, I imagined that he would be an intellectual character of few words. However, he is not like that at all. He was friendly and humble as he talked with me about his films with the enthusiasm and pride of a man who simply loves what he does and is grateful for the chance to live his dream. He genuinely loves talking about his work and sharing his inspiration with others.
"The First Man" |
There are two aspects. First, when you grow up in a small town, a small
province, you are always looking for an escape whether it’s through music,
movies, literature or through culture in general; all the things that come from
outside. The first influence is something you never forget and for me, the top
influence, even if you don’t really see it in my work, is American movies from
the 1950s and '60s. To capture the second aspect, I would like to quote a line
from one of my last films, "The First Man," where the son asks the mother,
“Mom, who are the poor people?” and the mother answers, “We are.” I lived
during a historic period in a region where everyone was poor, and this was my
great school of life, and is the basis for what I did. It gave me the push to
be here doing the work that I do and to realize this dream that might have
seemed impossible.
L’America was very successful in the United States. What inspired you to tell that
particular story of immigration and compare it to immigrants arriving in
America?
The
inspiration was my life, my family, my father, what happened to my father’s
father. I come from a family of immigrants. My grandfather, my uncles and also
my father immigrated to Argentina. My father stayed there for 15 or 16 years,
and when, about 20 years ago, the Albanians came to Italy, I saw or I imagined
that I saw the Italians immigrating to the Americas. The last scene of the
film, where the elderly actor is on the boat with the other immigrants and says
to them, “I’m tired but wake me up when we get to New York” because the ship
that is filled with Albanians, he believes is traveling to the United States.
I’d like to add a personal note. When I was location scouting, I met this
Albanian family and I adopted a boy. I adopted him as my son. Since then, he is
now married and has given my three grandchildren, and in a certain sense, the
circle is closed.
So the making of this movie brought you a son, and brought this boy a family. Tell me about this boy and how his life turned out after you adopted him.
So the making of this movie brought you a son, and brought this boy a family. Tell me about this boy and how his life turned out after you adopted him.
Yes, this
experience was born directly from this film. His name is Luan Amelio. He’s now
38 years old. He’s gone on to a career in cinema as a cameraman, and he’s well
known. He’s got a good career and he has made important films. For example,
he’s worked on La grande bellezza and also on five other Sorrentino’s films,
and is actually working with him now on his new project.
Antonio Albanese in a scene from "L'intrepido" |
I think the
crisis in this particular moment in history is so deep and so grave that it can
only be addressed through sarcasm and through an attitude of rejection. It’s
like when someone doesn’t believe in reality because you don’t want it to be
true. So, I try to stylize these things that I show, and I was inspired by
silent movies like, "The Little Tramp" by Charlie Chaplin. I was also inspired
by Buster Keaton, who usually portrayed losers. But every time those characters
fall down, they get up, dust themselves off and they’re ready to go at it again
tomorrow. I think that every time I shot a piece of reality, I also wanted that
piece of reality to seem like a dream, as something that wasn’t completely true
or something for which there was never a solution, even an imaginary solution.
It’s something that I, as a human being more than as a director, wanted to
happen. So, I allow it to happen despite all the obstacles.
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