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Lacrimae Rerum Materialized

Tag Gallagher

October 2005

Feature Articles

Issue 37

IfirstmetDanileHuilletandJeanMarieStraubin1975.TheywereinNewYorktopresentMosesundAron
(MosesandAaron,1974)attheNewYorkFilmFestival.Theycametoourapartment,satonthefloor,watched
16mmprintsofJohnFordsPilgrimage(1933)andDonovansReef(1963),andlovedthem.JeanMarieblushed
redandsaidwhathewastryingtodoincinemawasacombinationofJohnFordandKenjiMizoguchi.

TheStraubsadorationofFordperplexedRichardRoud,theNewYorkFilmFestivalsdirector,whohad
publishedthefirstbookontheStraubsandwhoexecratedFordastheirantithesis.Roudsattitudewasnormal.
ManyinNewYorkinthosedaysfeltamoraldutytohateFord,whosemoviesweresaidtocelebrateracism,
militarism,patriarchy,chauvinism,cornballhamandclichdconventionality.IsuspecttheStraubsenjoyed
RichardRoudsshockasmuchasIdid.

Todaythingshavechanged.PeopleinNewYork,unlesstheyareacademics,areapttoadmireFordforhis
denunciationofevilismsandtoadmirehismoviesfortheirsubtle,richandauthenticart.Incontrast,theStraubs
moviesarestillclassifiedasantithesis.Partlythisisbecausetheirmovieshavebeenvirtuallyimpossibletoseein
America,evenonpiratedvideopartlyitisbecausetheirmoviesappealtopeoplewhoregarddefyingHollywood
conventionsasevidenceofartisticgreatness.

EveninEurope,many(butnotall!)oftheStraubschampionstalkaboutismsintheirmoviesmorethan
individuals,nonfigurativedesignmorethanportraiture,theorymorethanstorybooklyricism,Bressonlike
impersonablenessmorethancommediadellarte,anticonventionalitymorethanrenewedrootsinWestern
tradition,radicalposturingmorethantroubledexistentialism,MarxismmorethanJesuitsensibilityofeach
momentassacramental,minimalismromanticism,calculationmorethanvolcanicemotion.

DontthesechampionsseethecombinationofFordandMizoguchi?

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AnddontwealltalktoomuchabouttheStraubstexts,whereaswhatiswonderfulisthesensualityand
passion?SaysHuillet,Peoplesay:Straubsworkswiththewords.Itsnottrue.Helooksforimages.(1)For
example,inDallanubeallaresistenza(FromtheCloudstotheResistance,1979),Youwillnoticethat[theshot
oftheoxcartwhichgoesonlongafterthedialogueends]isatleastasstrongasthedialogue.TheStraubswantto
makefeelingsphysical.Foranotherexample,inSicilia!(Sicily!,1999),Thesilentmoment,attheendofthetrain
scene,endsupgivingvertigo.(2)

Wewantpeopletolosethemselvesinourfilms,theStraubstoldme.Allthistalkaboutdistanciationis
bullshit.

StraubHuilletmaketheirstatementsvisuallymorethanverbally.AttheendofSicilia!,saysStraub,Onegetsthe
impressionoftwopeoplewhosaygoodbyefromeithersideofaninvisibleabysstheyrealmosttwoJohnFord
characters.(3)

Infact,theabyssisvisible.BecauseoftheStraubschoiceofapertureandfocus,theherostandsoutsideSicilian
space,ashehasallthroughthemovie.Theeffectisasthoughheisstandingoutsidethemovie,lookingatthe
screen.Thatournarrator/pilgrimis,ineffect,akindofprosceniumarchismoreobviousduringprojectionthan
withthestillframeabove,butevenonthispagelookhowfarthenarratorappearstobefromthebicycle

andhowfarawayheactuallyis:

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Thepointofthesceneisthetranscendingofculturaldistance,expressedspatially,asignaturemotifinFordand
pureexpressionismlaF.W.Murnau.

InOthon(1969),

Camille(OlimpiaCarlisi)perchesonalongcurveonasweepofeventsshecantcontrol,aScarletOHaraon
whomwefeeltheweightoftimeintheshiftingshadow,sunlight,airandsoundsoffountainwater.Luchino
Viscontiwasneverromanticenoughtocomposesodesperatelybeautifulapainting,abeautifulnesswhoseplight
overwhelmsthelongeritisstaredatitsinFordthatonefindscomparablysoaringgesturesingeometry.Straub
wouldaddthatlightlikethisisimpossibleinastudio,butheisspeakinglikeapainterorlikearealistinthe
sensethatPaulCzanne,inHuilletssingingvoice,proclaimshimselfarealistinCzanneimGesprchmit
JoachimGasquet(Czanne:ConversationwithJoachimGasquet,1989):Theartistisonlyareceptacleof
sensations,abrain,arecordingmachine[]:Theimmensity,thetorrentoftheworldinatinyinchofmaterial.
(4)

ExplainsStraub:IdonttakemyselfforCzannebutifyoulookataCzannecanvas,itdoesntprovoke
sensationsinyou,youseetheresensationsmaterialized.(5)Artisnotemotion,artisaformforemotion.Likein
Ford.

TheoxcartrideinDallanubesustainsasinglecompositionfor15andahalfbumpyminutes.

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Thissinglecompositionhasthreelayers:Edipo(WalterParidini)andTiresia(EnnioLauricella)oxenanddriver
roadandcountryside.Ourdifficultyinfocusingonmorethanoneofthethreelayersatatime,plusthejarring
bumps,materializeblindTiresiasphysicalhelplessnesstowardhisownpainandtowardeventsingeneralthe
passingcountrysideandoxenforwhichEdipoandheformtheprosceniumarch(likethepilgriminSicilia!).
Thingshappen,Tiresiasays,whichhavenoname,sopeoplecallthemgods,butunderneaththeresrock,
hesays,wheregodsvanish:onlytheblindmanknowsthedarkness,whereallthingsareajarringbump.Aboy
enjoysaswim,hesays,thendiesfromacramp:thereisnoreasontoattributeeitherhisenjoymentorhisdeathtoa
god.Thingshappen.Inawaillikeacellos,Tiresiasingsathousandwords,thekindofwordsworthreading
carefullyadozentimes.Moreemotional,morerichthanhisdiscoursearethefeelingsmaterializedsensuallyby
theimagesandsounds.Tiresiaslachrymosedefianceofwhathecannotcontrolcounterpointsthegrindingsounds
ofthecartwheelswhichaffectmeoddlylikethefountainsoundsinOthon,nowfunereal(likethegrinding
wheelsduringthefuneralprocessioninFordsTheSunShinesBright,1953).(6)

TheobjectionsTiresiaraisesagainstnamingthingsrecurinOperai,contadini(Workers,Peasants,2001)and
NichtvershntoderEshilftnurGewaltwoGewaltherrscht(NotReconciledorOnlyViolenceHelpsWhere
ViolenceRules,1965)andinSophoclesssatireofspininDieAntigonedesSophoklesnachderHlderlinschen
bertragungfrdieBhnebearbeitetvonBrecht1948(SuhrkampVerlag)(Antigone,1992).Namingisoneofthe
blacksins(SchwarzeSnde(BlackSin,1989))ofEmpedokles(AndreasvonRauch)inDerToddesEmpedokles
(TheDeathofEmpedocles,1987).(MaywehopethatonedaytheStraubsshowusEvegivingnamestothingsin
Paradise?)

OurdifficultyinfocusingonmultiplelayersrecursinTroptt,troptard(TooEarly,TooLate,1982)duringthe
endless360pansofplaceBastillewhereonceagainitmaterializessensationsofhelplessness(atTropsendless
revelationsofhorrorsburiedunderneatheverygreenfield).

Formsareincutting.BartonByg,intheotherEnglishlanguagebookonStraubHuillet,agreeswithMaureen
Turimthat,inChronikderAnnaMagdalenaBach(TheChronicleofAnnaMagdalenaBach,1968),Straubscut
from

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to

to

comesasapowerful[]shocktousintherevelation[]that[AnnaMagdalena(ChristineLang)]is
actuallymuchcloserto[JohannSebastianBach(GustaveLeonhardt)]thanthe[firsttwo]shotshadsuggested[],
thatthereismorecontinuityinthephysicalspacethanthecinematicformhadimplied.(7)

Similarly,aproposofNichtvershnt,RichardRoudarguesthatnearlyeverybodyisbaffledbytheshotcontinuity.

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Idisagree.ItsnotthattheStraubsdeceiveus.Whatisoriginalintheirstyleisauthenticity,notanti
conventionality.(Anditisnotunusualtobeginwithoutamastershot.Andsimilarsuccessionsofcamerapositions
areamongthegloriesofFord,Mizoguchi,JeanRenoir,RaoulWalsh,MichaelCurtiz,etc.)InNichtvershnt,the
Straubsdcoupageistraditionaltheysimplyleaveouteverythingexceptthemagicmoments.Ifwearebaffled
duringeithermovie,itisnotbecauseoftheStraubschoices.Itisbecausewearenottakinginthecharacters
emotionsastheyperformtheirskits.

Inthefirstshotabove,Bachisreading.Whatcouldbemorenaturalthantoshowwhomheisreadingto?Thiscut
toAnnaistypicalHollywoodreverseangle(lefttoright),whichingoodbaroqueformisthenimitated(shot#3)in
Annascontrarymovement(righttoleft)acrossthescreen.ThismovingresponsematerializesAnnaslovefor
Bachchoreographicallybecausehermovementanswersthecamerasshiftinangle(fromshot#1to#2),likeone
lineofmusicansweringanother.

Theshotpattern(ofdetailtowhole)isavariationofoneofChroniksmainthemes(individualtocommunity).In
theopeningcomposition,

Bachisaloneintheframeplayinghissolo.Atthetutti,thecamerapullsbackandwelearnthatheisnotalone,
heisplayingtopeople.

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Surelyitwouldbedeceptivetocallthesolocompositiondeceptive.ThissamepatternisrepeatedwhenAnnais
shownplayingaloneathome.

Areverseanglerevealsdaughterandhusbanddancing:sheisplayingtopeople.

Inotherwords,peopleareneveraloneinthismovie.Evenwhenaloneintheframe.Evenanemptyframeisfilled

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withlove,devotion,faith,craft,ritual,constantmovement(fingersalwaysplaying).VeryFordian:felt,seenand

heard.ThemusicislikeOthonsfountain,liketime:pansofmusicpaperconjurepassingyearsinsuccessionsof
deaths,births,deaths,performances,deaths,andinwindowsandbirdcagesthatevokedeath.Musicmaterializes
thesensationoftime.Music,preciselybecauseitismomentaryandyetexistsnowinthismoment,isdefianceof
therock.

WeseeSebastianusuallyfromAnnaspointofview.Heisneveralone,oftenheisinsidetheproscenium,butwe
arealwaysoutsidehim.Hisbackisusuallytous,hespeaksrarely,exceptinmusic.Rarelydoesashotreflecthis
subjectivity.Weseeonlyfragmentsoftheroomshelivesin:hisattentionisdisciplinedtotheimmediate,asportal
tothetranscendent.Weneverseehimwithouthiswig,veryformal,scrupulouslyrobedandpowdered,disciplined.
Weseeandfeelthethingsthatrulehim:letters,contracts,petitionstoprinces,recordingsofbirthsanddeathsin
hisBible,hisfaith.Aboveall,weareconfrontedwiththatmostdemandingofdisciplines,musicmusicwhich
rendershimhumansacrifice.Weseeadisciplinethatcanstaresteadilyatdeathanabilitybeyondtheprisede
pouvoirparLouisXIV.Themysteryofdeathisnodifferentthanthemysteryofnow.

LikeTiresia,Bachgoesblind.TheendingisMizoguchian,ajarringbumpofhumanreality.Hestandsgazing
sightlesslyoutthewindow,likesomanyStraubcharacterswhoyearnforthehorizon.Doesheseetrees?God?Or
nothing?VordeinemThrontretich(IstepbeforeYourthrone)ishislastmusic,addressedtoGod.Another
petition.Thecameramovesinembracinglyonlynowdowenudgeatforbiddensubjectivity:alifeofpure
defiance.

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Itsnotbecauseoftheirmethods,modernismorradicalismthattheStraubsmoviesarewonderful,anymore
thanitsbecauseofperspectivethatRaffaellospaintingsarewonderful.Craftmaybeninetypercentofart,but
maybeonepercentismagic.Intheenergyofthecharacters,thatswheretheheartofthemagicis.TheStraubs
oftenciteCzannesexclamationaboutMonteSainteVictoire:Theseblocksusedtobefire.Eventherock
wasalive.Well,theStraubscharactersarefire,too.

Theyremagnificent,everyoneofthem,exclaimsJeanCharlesFitoussiofthecharactersinSicilia!,andeach
withamannersosingularthatdiscoveringthemoneafteranotherislikeassistingeachtimeatthebirthofanew
world.(8)

WhyarewetoldsooftenthattheStraubsareimitatingRobertBressonandthatthismeanstheactorsareas
mechanicalaspossible?Itsnottrue.(NotevenofBresson,whosehopeistoachievewonderfulemotion.)True,
theStraubspublishedBertoldBrechtsmanifestointhecreditsofNichtvershnt:thatInsteadofwantingto
createtheimpressionthatheisimprovising,theactorshouldrathershowwhatthetruthis:heisquoting.Likea
classicalmusician?Howcananyoneforgetthatamovieisamovieorthatactorsareactors?Hasanyonesuspected
thattheStraubsactorsaremakingupFriedrichHlderlinastheygoalong?OrBrecht,ElioVittorini,Cesare
Pavese,FranzKafka,CzanneorPierreCorneille?Whyshouldawarenessinhibitourbelievingintheir
performances?Indeed,itistheoppositeextremethatistheproblem:somesaytheStraubsfilmsaretheirtexts.

TowhichHuilletreplies:TaketheexampleofPavese.Ultimately,aboutPavesehimselfwecouldntcarelessby
theendofthefilm.WhatinterestsusarethegoodpeoplewhosayPavesestexts,whattheydoinlife,howthey
saythesetexts,theproblemstheyhavesayingwhattheysaywhichmakeswhattheysayallofsuddennolonger
belongtoPavesebuttothegoodpeoplewhosayitwhoattheoutsethadneverheardofPavese.Theonly
interestthatthetextorwhatyoucalltheculturehasisthatthepersonwhowroteitdidacertainwork,heproduced
somethingwhichtouchedusandwhichsubsequentlyhasresistedfromwhichonecanjudgethathedidhiswork
well.(9)

InAntigone,thissomething,thisresistance,takesonsuchrageanddefianceinthepersonofAntigone
(AstridOfner)thatshemanagestospitatKingKreon(WernerRehm)withherwholebodyandharnessthewind
inthetreetoassaultthestupidburghers.

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EvenMarlonBrandodoesntgetsophysical.

InOthon,theactorsarehammy,becausethecharactersarehams,insomethingresemblingacommediadellartein
which,strollingmidAncientruinsandcadaversonthePalatineorthe17thcenturyvillaDoriaPamphili,thehams
rendereventheRomanEmpireinsignificant.Theydonotactbutareactedupon.Nevertheless,itisdifficultto
thinkofaHollywoodcharacteractorinthe1930swhoismorewonderfulacharacteractorthanEnnioLauricella
(GalbainOthon,TiresiainDallanube).

InallStraubHuillet,eachpersonisacharacteractor,abitofaham,inthegoodsense(atonictotheirself).Even
inOperai,contadini.Herepeopleoftoday,dressedliketoday,playpeasantsandworkersof1945whichthese
middleclassactorsclearlyarenot.Eventhetextspoor,wretched,illiteratewomenfromMessinaspeakliterate
Italian:indeed,theyreaditfromscriptstheyholdinfrontofthem.ThephysicalvillagecentraltoVittorinisnovel,
LedonnediMessina(TheWomenofMessina),thatthecharactersrebuildstonebystone(OurMessina!)is
replacedinthemoviebybushesandtrees,aclearinginthewoodsthatcouldbeanywhere,anytime.(Itmighteven
beEden.)Andevenso,thepeopleareneverinsidethescenery,theyareonitthereisneveraprosceniumarch,not
evenabranch(whichisveryunlikeFord).Theactorsstandintheforeground,inrelief,simply,viewedfromhigh
orlevelangles.Theyarenotbashful.

Andtheysing,belcanto,withsustainedtone,inmusicalphrases,withoddcsurasinthemiddleofexpressions(a
bitlikeJohnWayne,butwithconstantvariationandpirouettesofinvention).Theystartusuallyinlongshotand
aftersomeopeninglines,likeanintrotoasong,theframejumpscloser.Eachariaisastory,anemotionaljourney,
thischaracterspersonalpilgrimagearicorso(arerun,areliving).

Theeffectsmayremindusofbeingreadtoinbedasachild.Avoicerelivestheevents,standsinforthecharacter,
andweexperienceeverythingthathappens,everydetail,asthoughseeingitwithourowneyes.Atextisameans
likeanotherforenteringaworld,whosepoetrygetshighlighted,likesnowandlight.Thewordsigniteasthey
cannotdoonpaper.(Maybeweevenforgetactorsarereciting,inthewayweusedtoforgetmotherwasreading.)

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TheStraubsputmeintoaMizoguchiannightmare.Emotiondominateseverything.IthinkofJosefvonSternbergs
Anatahan(1954),wheretheweboftreesandvinesandchiaroscuroandthedancesoftheplayersareonewiththe
webofemotions,asustainedhorrorthatseemscapable,likeasharppainoftoothache,tooverwhelmrationality
and,inVittorini,theconflictingsensibilities.Aiprimidinovembrevenneunpodineve,poisisciolse,poivenne
ilresto(InthefirstdaysofNovembercameabitofsnow,thenitmelted,thencametherest
)Itsan
unbearableviacruciswhich,yet,theybear.

Everyoneseeseverythingdifferently.Thefirstspeakeriscontradictedbythesecond,thenbothbythethirda
fourthgivesawholenewperspectiveAkiraKurosawasRashmon(1950)twentyfourtimesasecond.(Fischio
[AndreaBalducci]stillhadhisbiases,hisnarrowideas,hisshortsightedness.Hejudgedclingingtotheworst
suppositions,seeinginathingwhatwaseasiestforhimtosee.[]AsifpeopledontchangeorsoSpine
(VittorioVigneri)says.)Andthenanewconstellationofspeakerstakesanewperspective,twelvecharactersinall.

Theresultisbaroque,constantlyrolling,aseriesofdialecticsbetweenactorsandtexts,actorsandcharacters,
charactersandcharacters,workersandpeasants(withdifferentrhythms),identityandsuperego,insideandoutside,
forcewithinorvoidwithinorvoidwithout,rationalityandinstinct,intentionsandfantasies.(Themusicattheend
resemblestheconstellationstructuresofthefilm:solovoicesandinstruments,circlingeachother.(10))Many
peoplestumbletryingtodoright.Manyarerighteousandseekpoweroverothers.AsinFord.GiraldaAdorno
(GabriellaTaddei),theprovocateur,isserpentlike,blondeandbluegreen.Allextremelyexpressionistic.

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Operai,contadiniresemblesFordsWagonMaster(1950hisbestmovie?).Outcasts,afterovercomingtheir
snakes,findthepromisedland.Bothmoviescouldbecalledmusicals,Operaiasortofbaroqueopera,Wagon
Masterforitsaccompaniments.AsinFordsStraightShooting(1917),theheroisabadmanwhodeterminesto
becomeagoodman.Canonechange?Dopeoplechange?Canamassmurdererfindredemptioninthislife?
Ventura(AldoFruttuosi),theStraubshero,isshrunken,tortured,azombieeveryonecallshimFacciaCattiva
(BadFace).Yethediscoversthathisjoywastoshareinacommunaljoy.

Anddespitehisbadface,heinspiresthevillageintoexistencebyhisselflessnessandrejectionofforceitas
thoughtheStraubsmaterializedsensationsshowustheheroasheseeshimself,ratherthanasthevillagersandhis
womandoormaybetheyseehimjustaswedo,andsothereisredemptionafterall.Thetrees,dappledsunlight,
soundsofbirds,insectsandwaterarethefreshnessheandeveryoneseeks,andtheyeachofthemhaveitright
therebehindthembut,forwontofaproscenium,existentiallyjustbeyondtheirreach.

IdontknowifthetechniqueofthehallucinatoryricorsowasinventedbyJohnFord,butForddidpulloffthe
mostinfamousinstanceofitinHollywoodhistory.InDrumsalongtheMohawk(1939),hechosetoreplacea
spectacularbattlesequencewithalongtakesoliloquy,inwhichweexperiencethebattlethroughthesoldiers
relivingofit.Thestudiowasfuriousaudiencesfounditshattering.InOperai,contadini,itisthesuccessionof
soliloquiesthatcreatesmagic.Emotionalenergygrowsfugally,enrichedbyfrictionsandreunions,truthsand
hypocrisies,wintersnowandspringsun,electricityfromthedynamothroughfeartohope,suicideto
redemption,darknesstolight.LikeBach.Muchtime,space,isgiventomakingricotta.Traditionallywewouldsee
peoplemakingthericottainsteadweexperienceeachcharacterrelivingit.Weperceivewiththeiremotions,with
akindofblindness.Wedontsmellricotta,butweknowwhatitsliketosmellricotta.Ricottabecomesanode,
passedfromsingertosinger.Apeasantchantsaboutthewoodtobeused(themorethornsthebetter)andthe
rulestobefollowed(Itsnotrecommended
).Otherssingofbeauty,aspirations,emotionalconflicts,existential
yearnings,goingorstayingorreturning,identity.Theyaskwhy?andlookupatthestars,andthepeasant
PompeoManera(GianpaoloCassarino)issuddenlyadeusexmacchina.

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Laurelisbestforheatingricotta,hesays,anditwastofindwhereitwasthatwewentoutinourtruckforan
entireday.Themagicofhislastthreewordsuninteragiornataburststhemovieintoglory,intoapanof
thehorizon,tothehillswherethelaurelis,

likethevalleythatburstsupontheMormonsattheendofWagonMaster.OrtheOakiesseeingCaliforniain
FordsTheGrapesofWrath(1940),orthecamerasstareintothehorizoninMizoguchisSanshday(Sansho
theBailiff,1954),RobertoRossellinisViaggioinItalia(VoyageinItaly,1953),JeanLucGodardsPierrotlefou
(1965)andsomanyStraubHuilletmovies.

Suddenlyweareblindnolonger.LikeBach,weseethehorizon.LikeEmpedokles(AndreasvonRauch)and
CzanneandMoses(GnterReich)staringatmountainsandbeyond,andlikethemotherinSicilia!andPanthea
(MartinaBaratta)inDerToddesEmpedokles,thepeoplewhomakebonfiresinDallanubeandeverybodyin
Antigone.But,likeHuwMorgan(RoddyMcDowall)attheendofFordsHowGreenWasMyValley,

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arewelookingoutorin?DoweseeGodoravoid?Answersorquestions?Lightordarkness?

DoesVenturasucceedeventhoughhefails?Attheendofthetext,VittorinisLedonnediMessina,Venturas
communalvillageisshownupasnothingbutapipedream.ThehappyendinginOperaiisitselfapipedream
fabricatedbytheStraubsbystoppinginthemiddleofthenovelandbyconflatingapassingremarkaboutforaging
forlaurelintoacelebrationofaNewEden.Thetruetruthishumiliation,asrecountedinIlRitornodel
figlio/Umiliati(2003),afilmsolinearandunrelentingandmocking(evenquackingducks)thatitisdifficultto
believeitisamovietheStraubswantedtomakeorahumiliationanyonewouldwanttorelive.Thetruthsso
bitterthatexplodethepipedreamofcommunistcommunityarecapitalistrealitiesproclaimedbyanexFascist
terroristwhoisVenturastwinazombieironicallymodelled(?)onCarlTheodorDreyersChristfigure,
JohannesBorgen(PrebenLerdorffRye),inOrdet(1955):thelandisowned,theyaretrespassing(asinJohn
SteinbeckFordsTheGrapesofWrath).

Butthetruthssobitterarealsomarketrealities,Marxistrealities,andtheseareproclaimedbythreeCommunist
partisansevenmorehumiliatingly.(11)

Nonetheless:doesVenturasucceedeventhoughhefails?Isanysuccessinlifemorethanmomentary,asTiresia
claimsintheoxcart?Thingshappen.

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Andthisisthelimitationthatwemortalsdefyandresist.Theresanewlaw,LaNube(TheCloud)
(OlimpiaCarlisi)tellsIssione(GuidoLombardi)inthefirstlineinDallanubeallaresistenza:itisnolonger
allowedformortalstocopulatewiththegods.Nonsense,rebutsIssione,insomanywords.Yourfateis
sealed,croonsLaNubeadding,likeGodtoAdamafterkickinghimoutofParadise,ButIllbewithyou!
Thedialogueisstagedasaseduction,notapoliceactionTheCloudintendstoinspiredefiance.Indeed,resistance
hasitsorigininthecloud,accordingtoourmoviestitle.

TheCloudiswomanandbeauty:desire.Shesitsinatree,inanaura:sheisthehorizonmortalsyearnfor.Andshe
isfiction,asTiresiatellsus.Trulywearewillinglytheplaythingsofthegods,astheboysobserveinepisodes2
and6,andasthegrownupboyrealisesinthesecondhalfofDallanube,Lalunaeifal.

ItsnotcoincidentalthattheessenceofPavesesfableoccursalsoinHlderlinandthattheStraubshavefilmed
both.Itwouldbelikemixinginaloversquarrel,PantheaobservesinDerToddesEmpedokles,foranyoneto
intervenebetweenEmpedoklesandhisgods.AccordingtoHlderlin,writesEricSantner,

History[]isnothingotherthanthestoryoftheunion,alienation,andimminentreunionofgodsand
mortals.[]Thislongingfordissolution,formergingwiththefiresofheaven[is]thedistinctivetraitofthe
heroicindividualtheherosfatedescribesthetragicpath[]awayfromthisearth.(12)

LikeIssioneandBach,Empedokleswantstocouple.Mywordgivesanametowhatwasunknown,andIcarry
theloveoflivingbeingsbackandforthbetweenheavenandearth.EmpedoklesresemblesCzanne,another
mountainworshipper,whocriesout:

Itsterrible,myeyesgetgluedtothetreetrunk,tothesoil.Ithurtstotearthemaway.[]Mywifesaysmy
eyespopoutofmyhead,allinjectedwithblood.[]Akindofintoxication,ecstasy,makesmeunsteady,like
inafog,whenIgetupfrommycanvas.[]Iwanttolosemyselfinnature.

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AndEmpedokles,likeIssione,likeCzanne,claimssomegodhood(Nature,inneedofamaster,hasbecomemy
servant.Ifanyhonourremainstoher,thenitisduetome.[]Whatindeedarethegodsandtheirdivinespirit
unlessIproclaimthem!)andforthisschwarzeSnde(blacksin)Empedoklesisexpelledbygodsandmortals
alike.Itwas,singsPanthea,Asifintheblueyonderhislifehadflownoutofhim.

AlleinzuseinundohneGtter,istderTod(Tobealoneandwithoutgodsisdeath),lamentsEmpedokles,all
thelengthofthismoviewhichisameditationondeath,likeChronik,butassuicide(toappeasethegods),as
thoughEmpedoklesspendsthefilmonabuildingledge,threateningtojumpwhileeveryonetriestodissuadehim.
HisdeterminationislikethemacabreselfdestructionofVentura,ortherefrainofBellerofante(inthesecond
episodeofDallanube):Yourejustandcompassionate.Stopliving.Empedoklesreiteratesthefrequent
insistenceinStraubHuilletthatthelandrequiresourblood.HumansacrificeisamotifthroughoutDallanubeand
isevokedinalmosteveryoneoftheirmovies.

Empedoklesblacksinistoclaimpowertonametheunknown,todictatetoNature,andtoempowerthegods.
SuchclaimsresoundedinHlderlinsowntime,c.1800,anageofEnlightenmentandrevolution.Suchclaims
defineourownageoftechnology,whoseultimategoalis,modestly,todefeatdeathandmastertheuniverse.The
blacksincanalsobeattributedtotheFrenchandSovietrevolutions,atomicandbiologicalwarfare,theChurch
andperhaps,inembryo,toalmosteveryhumansinceAdam.ItistheOriginalSin.SaidHlderlin:

Therepresentationofthetragicismainlybasedonthis,thatwhatismonstrousandterribleinthecoupling
ofgodandmaninthetotalfusionofthepowerofNaturewiththeinnermostdepthofman,sothattheyare
oneatthemomentofwrathshallbemadeintelligiblebyshowinghowthistotalfusionintooneispurgedby
theirtotalseparation.(13)

SaysStraub:

Theresalwaysapoolofbloodsomewherethatwerewalkinginwithoutknowingit.[]Itsyourbloodthat
feedstheearth.Itsyouwhofattentheservantsoflies.Thesamecanbesaidoftheearthitself:Ithinkthere
arealwayscadaversunderahill.ItsunderneathMonteSainteVictoirethatmostofthedinosaursinEurope
werefound.Therewasalreadysomethingthatwasdisappearing.UnderthebutteofPreLachaise[inToute
rvolutionestuncoupdeds(Anyrevolutionisathrowofthedice)]areburiedthecorpsesofthe
Communardsshotin1871.Onecangofurther.Itsaboutnature.Itstheworkofgeology.Therearentjust
humanandanimalbones,thatareunderneath,theresalsotheresultofthousandsofyears.Thatswhatits
aboutinMosesundAronwhenthecamerashowsthefirstrocksatthetopoftheamphitheater.Thoughtis
subjecttothelaborsofthecenturies.(14)

Maybe[theland]needsourbonesintheground,remarksafarmwomaninFordsTheSearchers(1956).

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Empedoklesemotionsareanythingbutpure.Heroisimandrevenge,wisdomandpettiness,Christhoodand
pantheism,utopianCommunismanddictatorialegoismgetallmixedupintheweightsofthecenturies.Behindhis
mienasgentlephilosopherdwellsawildman.Hewallowsinrejectionkillshimselfpartlyinmasochisticrevenge
fetishiseshisknifeliketheactorintheTobeornottobesoliloquyfromHamletinFordsMyDarling
Clementine(1946)andpreachesbloodfortheland:

Wherealandmustdie
TheSpiritattheendelectsonemore
Throughwhomshallsounditsswansong,thelastlife.

Suchajustificationforsuicidebaffleseveryone,inthemovieandoutofit.HisdisciplePausanias(Vladimir
Baratta)teaseshimconstantlyforhissententiousness.Goyourownway,Empedoklesfinallytellshim,inso
manywords,but,asforme,Imgoingtothrowmyselfintothevolcano.Ah,bliss!LikeHuw,likeRobert
Bressonscur,Empedoklescloseshiseyes,conjuresafantasy,andsacrificeshimselftoit,indefianceofthe
rock.Hewantstobeflame,likeJeannedArc,likeCzannesMountSainteVictoire.AndlikeFords
hypocriticalRansomStoddard(JamesStewart)inTheManWhoShotLibertyValance(1962),hetalkstoomuch.
Heisposedlikeasunburst,butwitheyesclosed.

AsTiresiawarned,defiancemeansblindness.

Antigone,too,isamazeofcontradictions.Noblyshesacrificesherselfforhonour,morality,love.Buther
moralizinganddenunciationsdonotreallyaffectKingKreonorThebesthepopularoppositiontoKreons
policieswhichshesymbolisesdoesnotcontributetohisdownfallhersisterisright:sheisanirrelevantsideshow.
Defianttothepointofinsanity,shedancesherpart,likeKreon,andmockshimbyposingasforpolicemugshots.
Wild,hersistercallsher.Shehurtsmostthosewholovehermost,hersisterandherfianc,whokillshimselfin
pain.Wecannotseehereyessheisblindedbythesun.Unhappythelandneedsahero,asacrifice.ButThebesdid
notneedAntigonessacrifice.Thechoiceisherown,asinthecaseofEmpedokles.

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IncontrasttoRobertoRossellini,whowasoftenhauledoverthecoalsbyhisMarxistcolleaguesforinvolution
(i.e.,reducinganalysisofsocialstructurestocharactersemotionaljourneys),theStraubsareoftenpraisedfora
Marxistemphasisonismstowhichindividualsaresacrificed.TrueenoughforthetextofGeschichtsunterricht
(HistoryLessons,1973),whereBrechtsetsouttoillustratethateconomicsisthecauseofeverythingandmortals
havenoinfluenceonthingsthathappen.ButelsewhereinStraubHuillet(asinFord,wholikethemgoestopains
todepictaculture,aplace,apanoplyofmindsetsandisms),itisindividualhumanexperiencewhichistheheart
ofthemovie,andthishumanexperienceisnotamerebyproductofimpersonalforces.Thusevenin
Geschichtsunterricht,theStraubsshifttheemphasistothemoralattitudes(suchastheyare)ofthespeakersandto
theresonanceofthoseattitudesintheoldestworkingclassneighbourhoodsofRometoday(1972),whose
narrowstreetsarebuiltonthecadaversofpeoplesacrificedtothegodsofmoneyandwhichfunctionsthetically
inthemovieliketheroadofTiresiasoxcart.(15)Thesameshift,orcontrast,occursinsubsequentmovies
wheneversomeonechoosestobeademigodandtopersonifyacause(Ventura,Empedokles,Antigone,Sicilia!):
intheirhumannessthesepeoplesimultaneouslybetrayandtranscendtheirtheoreticalposturing.JohnFords
heroesalsoclaimanointment,evokeduty,confrontintolerance,andproclaimnewtestamentstowhichthey
sacrificethemselves.Theybuyintotheirownmythology,likeusall.

AndlikeEmpedoklesandBachandCzanne,FordandtheStraubsaredefinedbytheiramazementandawe.
PeoplesaythereisnodramaorhumourinHlderlin,andindeeditisdifficulttoteaseoutevenaplotfrom
Hlderlinseffusions(atleastintranslation).StraubandHuilletreverseallthis.Itispossibletositenchanted
throughtheirHlderlinwithouttheslightestideaofwhatthewordsmean.Ihavedoneso.Itislikewatchingagirl
acrossacafnosound,justdemeanourfromafar,resonatingintotheobjectsaroundher,anube.TheStraubsput
fleshtoHlderlin,supersedehiswordsandcreatemelodrama.Whatwefaceishumour,emotion,passion,raw
beauty,revelationsoulswhoseexistence,becauseitismomentary,isdefiance.Andthusthereisplotgalore.

InDerToddesEmpedokles,Pantheaenactsahallucinatoryricorsoinwhich,afterdaysofsicknessandnearly
dying,shewakesuptofindEmpedoklesatherbedside.

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Ah!LikealittlemorningcloudmyheartflowedtoencounterthesweetlightsublimeandIwasitstender
reflection.WhetheroneexperiencesPantheaasagushyteenage,sincereadult,highromantic,orallthree,nothing
couldbemoreFordianthanherearnestaffirmationoflivedexperience,ofdeepspiritualformation.Thereisevena
classicreactionshotofherfriendDelia:OPanthea!!AndinthenextlinesPantheaechoesGoethesGretchen:
DerTonausseinerBrust!(Thetonescomingfromhischest!)EveryexperiencePantheadescribes,werelive
withher,asthoughseeingthingsourselveswithallheremotion,likeaSchubertLied:ErgehtimweitenFelde
TagundNacht.(Hewalksinwidefieldsdayandnight.)Thereiseventhesortofcomicreliefsotypicalof
Ford,whenDeliaasks,Does[Empedokles]too,likeus,havehisemptydayswhenonethinksoneselfoldand
insignificant?(16)

Sophocles,Deliamentions,hasanewplay,andeveryoneiswonderinganddiscussingwhichofthecitysvirgins
isthetenderandgraveheroinewhomhehasnamedtobeAntigone.SoPantheadoesanAntigone.Outragedat
Empedoklesbeingthrownoutontothestreet(likesomanyStraubHuilletcharactersNichtvershnt,Laluna,
Klassenverhltnisse(ClassRelations,1984),SchwarzeSnde,Antigone,Sicilia!,Operai,Umiliati,nottomention
Geschichtsunterricht,MosesundAron,Troptt,Lothringen!(1994)),Pantheadefiessocialorderandherfather,
andimposesherselfassacrifice.She(MartinaBaratta)evenlookslikeAntigone(AstridOfner).Andshetoo
attractsasistertojoinherdefiance.Inalongtake,Pantheagazesintooffspacehorizons.

HereitisthatunitestheStraubswithFord:theunfalteringconvictionthatindividualconsciousnesstranscendsall
determinants,defiesevendeath.

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Cesteffrayant,lavie,Czannesumsup.Itisterrifying,life.Straubpeopleareshellshocked,shattered,
blindedor,likeEdipo,willbesosoon.Theworldbecomesasensationofdeath.Fordspeoplearenotlessalone
anddevastated,butnatureismorenourishinginhismovies,andtraditionsthatdestroyalsosustain(asin
Chronik).ThedramainStraubHuilletisalmostalwayssomeonedemandingthatariteberespected:Antigone,
Bach,OberstErichvonMachorkaMuff(ErichKuby),everyoneinNichtvershnt,Dallanube,Enrachchant
(1982),Empedokles,Vonheuteaufmorgen(FromTodayUntilTomorrow,1997),Sicilia!,Operai.Theland
perpetuallyexactshumansacrifice,thegiantmountainsmostofall,whichtheStraubsseemtoworship(Moses,
Fortini/Cani(1976),Empedokles,Czanne,Antigone,Sicilia!,Operai)likeTiresiasrock.AsinFord,everyone
isonakindofpilgrimage,alongvoyagehome,butthesenseofWagonMasterthatgraceshallbeasyourday
isnotascomfortinginStraubHuillet,whereyouhavetostaresteadilyatinsanity(Dallanube)orthrowyourself
intoavolcano,eventhoughthesamechoicesloomalmostconstantlyinFordaswell.Alienationisanecessary
moralawakeninginFord,agoodthing,aliberatingthing,goodinthisworld,incommunity,withinthe
compositionsprosceniumevenwhen,asintheStraubs,alienationisaformofselfimmolation(e.g.,theheroes
of7Women(1966),LibertyValance,YoungMr.Lincoln(1939)).Fordsnormisacompositionwiththreelayers
offieldandwiththecharactersinthemiddlelayer,withintheirculture.TheStraubsnormistoplacetheir
charactersoutsidetheproscenium,asthoughexistentiallyalienatedfromtheworldbutpeeringin.

InSicilia!,thepilgrim(GianniBuscarino)startshisquestwithoutsuspectingheisapilgrimonaquest.He
possessesneitheridentitynorgoal.Heisjustasilhouette,aghostdivorcedfromwhathesensesaroundhimthe
criesofthemanwhocannotsellhisorangesandtheendlessobbligatoofthewater(likeOthonsfountain).

Heisnamelessandposesagainstthescene,notwithinit,blind.Onthetrainheisevasive.Machefaretea
Siracusa?(ButwhatwillyoudoatSyracuse?)HedoesntevenknowwhyhehascometoSicily.Tofillthe
voidhegoestoseehismother(AngelaNugara),whomhehasntseenin15years.

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SignoraConcezione.

Oh,Silvestro.(Oh,itsSilvestro.)

Comehaifattoariconoscermi?(Howintheworlddidyourecognizeme?)

Melodomandoanchio.Andiamoincucina.Holaringosulfuoco!(ThatswhatImaskingmyself.Lets
gointothekitchen.Ihaveaherringonthefire.)

Sothepilgrimhasanamenow:Silvestro.ItsthemostcomfortingmomentinStraubHuillet,almostasceneout
ofHowGreenWasMyValley.But,asonthetrain,heswingsbetweenemotionsoutofcontrolandattemptsto
pushawayrealitiesbyplayingwiththem.Heseeshismotherasheseeshimself,ashesawilGranLombardo
(theTallLombard)onthetrain:halfinsilhouette,halfinaprivateworld.

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SaysStraub,ThesonbehaveslikeallthemalesoftheInquisition.Hejudgesher[]Heattacksher,posedat
thevortexofaggressivediagonallines(Suppongo(Isuppose)).

Theytradediagonals.

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Hejudgesher,thenheseesthatasawomanshehadherfreedomandtookit.Awitchisrevealedthen.Thats
whattheInquisitiondoesnotpermit.TheimpactofherdiagonaltransformsSilvestrosvortexandcornershim
arareinstanceofaStraubcharacterinsideacomposition.

Onefineday,sheisstruckbylightning,bythearrivalofthatman.Alover.Thiswifeofarailroadworker,all
ofasudden,revealssheisawitch.(17)

Defiant.Anotherhallucinatoryricorso.(Ithinkitwasafternoon.Therewerenowasps
)Noprosceniumnow.

Shetakesusintotheheartofaworld.Withtwowords,thatmangivesherlifeluiannusavalaria,lodoredel
pane,edicevabenedettoDio!(hesmelledtheair,thesmellofthebread,andsaidPraiseGod!)Howgoodit
istobealive!andthentakeslifeaway.LikePantheashestaresintooffspace,andtheshotissustained,because
herfriendtoohasdisappearedperhapskilledinamassacre.ThatswhatIthink.Becauseotherwisewouldnthe
havecomeback?AndStraubcuts

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intoapanofthehorizonintothemothersvisionofherfriend,ineffect,intodeath:existencebecomesthetomb
ofthenonexistent,asforCzanne,Empedokles,AntigoneandMizoguchi.Eyescanonlyseeinward:blindness,
yearning.

CutfromthevistatoSilvestrosstandingwithaTiresianroadbehindhim:akindofexistentialclimaxtohis
mothersgazeandtothemartyrdomofherlover.ThesepilgrimagessegueintoSilvestrosthepastleadstonow,
tonuovidoveri,pialti,altridoveri(newduties,higherduties,otherduties),astheGranLombardo
demandedonthetrain.

Silvestromountstohismomentoftruth,asthoughpushedbycompositionalgeometry,byhispilgrimage:theroad
behindhim,amountaininfrontarock.

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ThemontageeffectisalmostasthoughtheknifesharpenerisGodorthatSilvestroisrealisingthateachperson
hehasencounteredwasonapilgrimage,thateachhastheirowndefiance,theirgodinside.Thusitwaspossible
momentarilytojointheminsong.Attheporthehadsaidhardlyaword.Onthetrainhehadexchangedafewcity
namesdefiantly.Withmother,hehadtradednamesoffoodsgaily.Withthesharpenerhebouncesnounsofevery
sortanEmpedoklesian/Issionian/Czanniancouplingwiththegodsthatclimaxesinecstasy(Ah,eoh!Ih!Uh!
Eh!).LikethelaurelinOperai,thisexchangeisonlyapassingincidentinthemiddleofthesourcetext
(VittorinisConversazioneinSicilia),whereaswhichtheStraubshavetransformeditintotheculminationof
everythingbyaddingapirouette,acceleratingcloseups,enrapturedsongandasustainedfinalcomposition.Its
insacramentalindividuals,notinabstractideas,thatdefianceofthegodsisbased.

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Suppongo,repliesSilvestro,inrecognitionthathiswanderingshavebeenapilgrimage,thatitisalsohimselfhe
hasfound.Thissharingofspace,witheachpersonintheirseparatefocalplane,contrastswithSilvestros
blindnessinSicilia!sfirstpictureandhispiccolezze(pettiness)inhisotherencounters.

Troppomaleoffendereilmondo,cautionsthesharpener.Itstooeviltooffendtheworld.(Ifonly
Empedokleshadheeded!)

ItsafilmthatcouldbecalledAftertheFlood,saysStraub.(18)

Lalunaeifal(TheMoonandtheBonfires),thesecondhalfofDallanubeallaresistenza,isalsoataleofa
manwhoreturnstohisrootsabastardalwaysinsuitandtiewhocannotfathomreality.LikethethreeVittorini
movies,thePaveseone(Lalunaand,lessobviously,Dallanubesfirsthalf,sixofPavesesDialoghiconLeuc
(19))isaCommunistsvoyageinItalyintheshadowofwarandfascism.AndlikethoseofVittoriniandmany
ItalianCommunists,PavesesnotionsofCommunismhavelesstodowithMarxismthanwithFranciscanismanda
worldoffended.

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Thistimeweneverlearnthenarratorsname.Heisthebastard.Hispeoplehavevanished,everyoneisdead
exceptNuto(CarmeloLacorte),yetnothinghaschanged(exceptthenamesTiresiawarnsusagainst).Nuto
marvelsduringeachoftheirthreewalks(themoviecouldbecalledConversazioneconNuto)thatthebastardhad
thecouragetoleavebecauseateveryturnontheTiresianroadsthehillsandvineyardsandrocksresonatewith
thehumanbodiesthelandhasdemandedinsacrifice.Wewalkinapoolofblood.

ThisissobecauseLalunaeifalisasequeltothelastoftheDialoghi,inwhichinmythictimesafather
explainedtohisson,whilelookingatthemoon,thatthelandhasaneedforbonfiresandhumansacrifice.

AndthelandsneedhadalreadybeenexplainedinthefifthoftheDialoghi,inwhichLitierse(FrancescoRagusa)
tellsEracle:Heresthefield,stranger.[]Ourlandwilldrinkyourblood.

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(ButEraclefeedsLitiersetothelandinstead.)AndnowinLaluna,Nutoexplainsthelandsneedsyetagain.

Evidentlywearestillinmythictimes.Somehowpeopleandblood,landandgodsareweddedherewhereweare
walkingandthebastardistheboyfromtheDialoghi,grownup,thousandsofyearslater.Theboyinthe
Dialoghihadtightenedhishandindefiance:

Irefusetogoalongwiththis.Thelandownersarerighttoeatusalive,ifwevebeensounjusttowardeachother.
Thegodsarerighttowatchussuffer.Wereallevil.Nowthebastardholdshisarmthesamewayofresistance.
(AndsodoesEmpedokles.)

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NutoacknowledgesmythssovereigntythewayForddoesinLibertyValance,whenthelegendbecomesreality
whenpeoplemakeupnamesforwhattheydontunderstand,whichthenblindusandextortblood.InMosesund
Aron,peoplemakeagoldencalfapparentlyfornootherreasonthantosacrificetheirfood,money,bloodandlives
toit.Asthemythicboyclaims:wedoittoourselvesbutblamegods.

Itiswrongtoblamegods,theland,economicsorculture.ThustheStraubsemphasizethespaceimmediately
surroundingacharactermorethanthelargerenvironment:establishingshotsarerestrictedand,ifatall,oftencome
afterthecloseupsratherthanbefore.TheStraubsconcentrateourattentiononthecharacterashesingshisstory.

Fragmentsofbodiesandspacefocusenergies,aswithBressonandFord.SomecriticstalkabouttheStraubs
modernism,theirstarknonfigurativedesigns,theminimalismoftheirframesanddcoupage,theirsevere
methods,theirselfconsciousdefianceofHollywoodfiction.

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True,werecognizewearelookingatimages,atdesigns.Butthenwhat?Everyonehasrecognizedsincethefirst
cavepaintingthatwearelookingatdesigns.SurelythepurposeoftheStraubsimagesistomaterializesensations,
asJeanMariesays.SurelythepurposeofBrechtianactingisconsciouslytobeonething,andnotanother,and
soeachchoiceeliminatesotherchoices.Andsotheresultiscalculated,stylized,richandprofound,likeFord,like
anygoodpainter.Ratherthanminimalism,itisminimalismweshouldbepointingtointheStraubstothe
immensity,thetorrentoftheworldinatinyinchofmaterial,asCzannesaidandwhoadded,Doyouthink
thatsimpossible?Perpetuitythecolourofblood?OfcourseNutosemotionsalwaysoverwhelmhiswordshis
hallucinatoryricorsireliveeverymomentsfeelings.HetellsthebastardhowSantina,whomtheyhadknown
sinceherchildhood,infiltratedthepartisansthroughNutohimself,sleptwiththeirleaderBaraccaandgotthe
partisansallkilled,butnotbeforeshewaskilledherself,onBaraccasorders,afterhediscoveredherbetrayal,as
thoughtoappeasethegodsandhowherbodywasburntinthefieldwhereNutoissittingnow

becausefacevagolaatroppi(Thereweretoomanymenwhostillwantedher).

OnesensationmaterializedisNutoshorrorathishelplessness,asensationmostStraubpeopleexperience.
Violencedragsthemalldown.Whatdoyoutowhenyougiveup?Whenyouthrowawaylifeaslost?Youdo
whatyouhatemost,remarkstheGranLombadoinSicilia!SonowinLalunatheyreallkillingeachother.
Onlyforcewins.Youarejustandcompassionate.Stopliving,Sarpedontesgrandfathertellshiminthesecond
oftheDialoghi,andSarpedonteshorroratthetorturesthegodsinflictonhumansenergizestheshiftinglight
surroundinghim:sensationsmaterialized,asinMurnauandFord.

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AsTiresiasays,alloflifebecomespain.Allofus[],peopleandthings,wereonlya[]souvenirofsun,
saysCzanne.Theworldsdiffusedmoralityistheeffortitismakingtobecomesunagain[]Iwanttoliberate
it.[]Thedelicacyofouratmosphereislinkedtothedelicacyofmind.Thecharacterssearchforamoral
attitudethatcanaccountforhowthingshappen.Whatisamoralattitude?Whatismoral?Beautyseducesus,
namesseduceus,TheCloudseducesIssione,mountainsandhorizonscalltous.Themythicboysfather,Tiresia
andNutosfatherallwarnagainstbeauty,againstsnakes,andevenagainsttheviceofmusic,allofwhich
seduceusasdothenameswegivetothingsandthecausesthosenamesenlistusin.Now,saysthebastard,
aftertwentyyearsandsomanythingsthathavehappened,Ididntknoweitheranymorewhattobelievein,butin
Genovathatwinterwehadbelievedandhadspentmanyanightindiscussion.

Afterthingshappen,theproblemisnotjustthefascistsandotherbadpeople,andthesolutionisnotjusttokill
thesnakes.Theproblemiseverybodykillingeverybody,theoldburntaliveorthrownintothestreettodie,
endlessbrutality,blindnesseverywhereaconstantbonfire.Wedoittoourselves.InclimaxtoNutosricorso,the
worldseemstoexplodeintoanapocalypticalhorizon,

whichisweptoverbythemoviesfirstmusic,aplaintiveandantewithflutefromBachsMusikalischesOpfer,
withGustavLeonhardt,whichremindsusofblindBachatdeathlookingouthiswindoworofIssione(whose
eyesweneversee)gazingatacloud.Theartistisonlyareceptacleofsensations,abrain,arecordingmachine.

Butthedesignistotallyanabstraction,Czanneadds.InFord,thefundamentalcompositionisapersonacting
freelywithinageometricspace

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aformalizationofacentralmysteryofChristianityandGreekthought:ourterrifyingfreedomwithina
deterministicworld.TheStraubs,too,lovegeometrics,particularlydiagonallines(butnotinOperai).Through
geometricsapicturebecomesamaterializationofsensationsandthusasummationofatime,aplace,aculture,a
radiationofacharacterssensibility.ThediagonalsbehindAntigonearetheoffendedworldssharingofheranger
togethertheirwindnearlyblowstheburghersaway.

Bachshallwayresembleshismusic:afugueofdiagonalsascendingtoheaven:hesweepsacrosstheroomandup
thestairs,ashisangellikedaughtermaterializesoutofthelight.

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LikeFord,theStraubschoreographwithinthegeometry:onecannotillustrateherethecontrapuntalstepsofthe
sistersasAntigonewalksofftodohermortaldefiancetowardthediagonal,thetree,thehorizonthelandclaims
hersacrifice.

InLaluna,theboysfateinlifeissetwithinthewallanddiagonalsrecedinglikeTiresiasroad.

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InDerTod,Empedoklesopponent,theabrasivehighpriest,iscomposedofverticallines,foreandrear,like
spears,incontrasttoEmpedoklessunburst.

Evidently,linesarepoliticalstatementsthesensationofaggressionmaterialized.

InLaluna,thereisabitterburlesqueoftypesinabar

whotalkaboutnastyCommunists:aseriesofeightcloseups,eachasensationofaggressiveness,eachacameo
portrait(likealwaysinFord)withaspecificvoiceandtempoandreceivedclichlikethosewhichpeopletoday
repeatfromFoxNews.(FordssatireofNewEnglandAngloSaxonProtestantsiscomparablysharp.)

Curiously,theactorplayingthehighpriest(HowardVernon)turnsupagaininSchwarzeSnde,thistimeasa
MosesundAronlikeEgyptianwhosatirizesEmpedoklesforclaimingtobeamessiah,andEmpedokles,thesame
actorbutcenturiesolderandlookingmorelikeChristthanaGreciansunburst,saysheisamessiahindeed.

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Hlderlin,adevoutLutheran,haddecidedhelikedChristmorethanEmpedoklesbythetimehewrotethisthird
sketchofhisuncompletedplay(DerTodisthefirst).

TheStraubsmostspecificallypoliticalfilm,ironically,hasturnedouttobeaGreektragedyfromthefifth
centuryBCE.InAntigone,producedin1992,KingKreoncomesquestionablytopowerinThebes,attacksArgos
toobtainiron,proclaimsvictory,desecratessacredtraditions,andpersecutesasterroristsanyonewhocriticizes
him.Butitturnsouteverythinghasbeenliesandthewarhasbeenlost.

KingKreontalkshimselfintoastupor,allwhiteandgloriousonstage,likeapoliticalad,withthewholeworld
behindhimashispropasthoughKreonsomehowtranscendstheworld,likeEmpedokleswithhisblacksin,like
alltheStraubspeoplewhodonotlivewithintheprosceniumwhodonotseethemselvesastotallyinthisworld.

ButKreonisnotalonethesourceofevil.TheStraubsdcoupageis:burghers/Kreon/Antigone(asvictim)then
later:burghers/Kreon/Hmon(StephanWolfSchnburg)(asvictim).Inotherwords,theburghersarethesource
ofKreonscrimes.Aslongastheyseeprofits,theysupportunjustwar,sacrilegeandstateterrorism.

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Brecht,whoadaptedHlderlinsGermanversionofSophoclesplay,ofcoursehadHitlerinmind(Kreoniscalled
theFhrer),andsawKreonandHitlernotintheirEmpedokleanpipedreamsbutasmerefigureheadsfortheir
greedysupporters.IntheStraubsmovie,itisclearthatevilisspawnednotsimplybygovernmentsandeconomic
structuresbutbythegeometryofforce,asinLaluna.TheGreeksandSimoneWeilcametothesame
conclusions.(20)ForKreon,thehorizonisonlyasensationofinfinitepower.Hemakesnamesandcallsthem
lawsandmakespeoplesacrificetheirlivestothem.

Similarly,Litierse(inthefifthoftheDialoghi)makesothersdieforhislawofayearlybloodsacrificetothefields
untilEracleshowsupanddemonstratesbylogicandswordthatthelandcanbepermanentlyappeasedbythe
sacrificeofLitiersehimself.Alas,theepisodeisonlycomicrelief.Sojustadnouementisapipedream,which
theStraubsmarkbycuttingacrosstheaxis.Whetherinhistoryorpoliticsorfilmcriticism,thes.o.b.sgoonbeing
honouredandtheirvictimsgoonbeingforgotten.Kreondoesgetsomecomeuppance.Heexpresseshisgrieffor
hissonwithexactlythesameup/downgestureasthegrievingfatherinFordsStraightShooting.

Kreonthenstaresdirectlyintothecamera,whichispitiless,andhefleestheframe.Hehasauthoredhisown
destruction,asthechoirsings:Hewhofindsnoenemybecomeshisownenemy.

Butthousandsofpeoplearedead.Whatgooddoesajustdnouementaccomplishexcepttofeedtheland?Do
wenotneedinstead,astheGranLombardochants:Nuovidoveri,pialti,altridoveri?

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AswewatchTiresiascartride,weshallmisssomeofthedramaifwedonotalreadyknowthatTiresias
companionEdipo,whobragsofenjoyingthegodsfavour,isthedipuswhowillpresentlytearhiseyesout.
Probablyinancienttimestherewerethousandsofplaysandpoemsinwhichdipus,TiresiasorAntigone
appeared.Greektheatre,likecommediadellarte,reworkedstockcharactersandstoriescontinuouslyovera
thousandyears,eachtimedifferently,eachtimeupdatingtocurrentevents.DanteandtheRenaissancecontinued
thisricorso,andafterthemCorneille,Hlderlin,Brecht,PaveseandArnoldSchoenberg.TodayDanileHuillet
andJeanMarieStraubmaterializeforussensationswhich,likehillsidesfertilizedwithcorpses,cometousfiltered
throughtheages.

Lhonntehommeasoncodedanslesang,saysCzanne.Thehonestmanhashiscodeinhisblood.

MyexperiencesofthemoviesofStraubHuilletwouldnothavebeenpossiblewithoutthegraciousassistanceof
WernerDtsch,BernardEisenschitz,HelmutFrber,SteveGarden,RaulMartinezGarcia,GlynfordHatfield,
AstridOfner,StephenSlaner,GerhardUllmann,KlausVolkmerand,aboveall,CiroGiorgini.

Endnotes
1.InterviewwithJeanMichelFrodon,LeMonde,15September1999.
2.InterviewwithThierryLounasandPedroCosta,CahiersduCinma538,1999.
3.Ibid.
4.ThefilmsquotationsarefromJoachimGasquet,Czanne(Paris:ditionsBernheimjeune,192126).
5.InterviewwithSergeDaneyandJeanNarboni,CahiersduCinma305.
6.HelmutFrbertoauthor.
7.BartonByg,LandscapesofResistance:TheGermanFilmsofDanileHuilletandJeanMarieStraub(Berkeley:Universityof
CaliforniaPress,1995),p.56paraphrasingMaureenTurim,critureBlanche:TheOrderingoftheFilmicTextinThe
ChronicleofAnnaMagdalenaBach,PurdueFilmStudiesAnnual(1976),pp.17792.
8.JeanCharlesFitoussi,LeTempsdunretour:NotesdetournagedeSicilia!,Lalettreducinma8,Winter1999.
9.Cahiers305.
10.J.S.Bach,Cantata125:4thmovement:Agreatmysteriouslighthathfilled/Theorbofalltheearthnow./Thereechoes
stronglyonandon/Awordofpromisemostdesired:/Infaithshallallbeblessed.TheStraubsuseofthisepitaphforOperai,
contadiniresemblesFordssimilaruseofaMormonhymninWagonMaster:Come,comeyesaints,notoilnorlaborfear,/But
withjoywendyourway./Thoughhardtoyouthisjourneymayappear,/Graceshallbeasyourday./Tisbetterfarforusto
strive/Ouruselesscaresfromustodrive/Dothisandjoyyourheartswillswell/Alliswell!Alliswell!
11.MyfriendsinEuropesuggestthattheStraubsarereferringtothecollapseofsocialdemocracytoday.ButVittorini,likemany
ItalianCommunists,wasalreadydisillusionedin1948.
12.FriedrichHlderlin:NarrativeVigilanceandthePoeticImagination(NewBrunswick:RutgersUniversityPress,1986),pp.
589.
13.Hlderlin,commentaryonhistranslationofOedipusRex,citedinMichaelHamburger,Introduction,FriedrichHlderlin,
PoemsandFragments(AnnArbor:UniversityofMichiganPress,1967),p.7(mypunctuation).
14.FromManfredBlankstelevisiondocumentary,DieBeharrlichkeitdesBlicks(HesslischerRundfunk,1993).
15.ThoseneighbourhoodsinTrastevereandaroundCampodeFioriarecurrentlyamongthemostexpensiveintheworld
alreadyin1972theyhadstartedtochange.ForanyoneinRometheyarefamiliarterritory.TheStraubslivednearby,andjust

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downonestreetwepasswastheFilmstudio,whereGeschichtsunterrichtwasoftenscreened.
16.AsidefromBartonBygssubtitling,thereisnopublishedEnglishtranslationofthisfirstversionofHlderlinsdrama.But
cf.,FriedrichHlderlin,LaMortdEmpdocle(Ed.),translatedbyDanileHuilletandJeanMarieStraub(Toulouse:Ombres,
1987).IhavecitedthreelinesfromHlderlinssecondversioninordertoelucidatethedrama.
17.Cahiers538.
18.Ibid.
19.ThelastfiveofPaveses27dialoguesarethetextsforthemovietheStraubsarecurrentlymaking:Queiloroincontri:Gli
uominiGlidei.
20.LIliadeoulepomedelaforce,December1940.

ABOUT THE AUTHOR

Tag Gallagher [HTTP://SENSESOFCINEMA.COM/AUTHOR/TAG-GALLAGHER/]
TagGallagheristheauthorofJohnFordandTheAdventuresofRobertoRosselliniandhas
appearedinCinma0,Trafic,CinmathqueandCahiersduCinma.Moreofhisworkcan
befoundonhiswebsite[HTTP://HOME.SPRYNET.COM/~TAG/TAG/].

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