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AnunrestrainedphantasmagoriafromItaly'sCarmeloBene,oneoftheworld'smostdefiantlyidiosyncraticfilmmakers.Itmaynotbehisbestwork,butitisquiterepresentative:vulgar,hystericalandlikenothingelse.<br/> space<br/> <br/> ThePackage<br/> Themulti-talentedCarmeloBeneseemstobebetterknown,atleastinhisnativeItaly,forhisnovelsandplaysthanforhisfilmmaking.That'sashame,ashisfivefeatures(thelastofwhichwas,made,sadly,in1975)rankamongthemostfascinatinganddistinctiveevermade.Ofcourse,it'sdoubtfulthatBene'speculiarbrandofcine-lunacywouldeverfindfinancialbackingnowadays,muchlessareceptiveaudience.<br/> <br/> Madein1969,CAPRICCI,Bene'ssecondfilm,is,likeitspredecessorNOSTRASIGNORADEITURCHI(OURLADYOFTHETURKS),ahallucinatory,non-linear,andultimatelyapocalypticlookatlifein"modern"Italy.UnlikeBene'sbestwork(NOSTRA)andthemind-roastingSALOME,whichmayjustbethecraziestmovieI'veeverseen),CAPRICCIhasnotdatedparticularlywell.Theviolentseriesofcaraccidentsthatclimaxthefilm,forinstance,mighthaveseemedshockingbackin'69,butnowadaystheyplaylikeslowouttakesfromNASHBRIDGES.Likewise,a"scandalous"lookatatransvestiteloveaffairfeelscontrivedandplainsilly.<br/> <br/> That'sNOTtosayCAPRICCIisn'tworthseeing.Itis,afterall,utterlyunique,andafascinatingtimecapsuleshowingjusthowweirdmoviesgotinthelate60's,arguablythecinemaäslast"goldenage."<br/> space<br/> <br/> TheStory<br/> Well‡okay,CAPRICCIhasnostorytospeakof,justaseriesofsurrealvignettes.ItbeginswithadissatisfiedCommunist(playedbyBenehimself)gettingintoadualwithasuperior;theyfightwith,appropriatelyenough,ahammerandasickle.Anoldmanliesinbedbesideanalluringnakedwomen;makingnoisyraspingsounds,hetriestohavesexwithher(andhasaboutasmuchsuccessasBenedidinNOSTRASIGNORELLADIETURCHI,wherehetriedtoscrewwearingasuitofarmor!).Beneandaladycompanionmakeoutfuriouslyinthebackofasmashed-upcar(intimationshereofCRASH).Andsoon.<br/> <br/> space<br/> <br/> TheDirection<br/> TheItaliannovelistAlbertoMoraviahasdescribedCarmeloBene'sworkas"desecrationbydisassociation,pushedbeyondthepointofschizophrenicdelirium."I'llbuythat.DisorientationseemstobeBene'sprimarygoal,evincedinthefast,jaggedcuttingandhispreferenceforwavingthingsinfrontofthecameralens.Scenesaremoreoftenthannotstructuredaroundtheirvisualessence,withlogicandstorytellingbeingthelastthingonthedirector'smind--Bene'spictorialsenseissostrikingheactuallygetsawaywithanapproachthatmostHollywooddirectorswouldlovetofallbackon(butcan't).Addtothatapreference(evidentinallhisfilms)forsentimentalariasandyou'vegotonebizarrelyimpressionisticfilm,onethatmustsimplybeexperiencedratherthan"understood."<br/> <br/> (fromfright.com)<br/>
