|
ROME, ELEVEN O'CLOCK |
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| CAST
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| PLOT,CRITIQUE and NOTES
In Rome, lots of girls stand for and interview to get a job of typist. While they are waiting for, lined up on the building’s stairs, a scuffle that provokes the collapse of the handrail has born. A choral female film, from a fact of chronicle well elaborated again by the narrative point of view, with an unity of place that first attracts and then scatters myriads of single stories. In the Italian cinema sphere perhaps it is the best example of screen-play written by many hands: they collaborated, without creating poetic unbalances, Zavattini, Sonego, Franchina, Gianni Puccini and De Santis. It is to remember the contribution of the twentythree year-old Petri, at that time journalist of the “Unità”, that had the charge to interview the girls involved in the calamity by the director. the documentation of the episode offers the occasion for one faceted Italian woman’s portait of the Fifties, and a reflection on the intrusive and manipulating mass media. An anomalous film-investigation derives from it, where sociology cohabits with the sketch impressionism and the “information” are indissolubly woven to the hidden feelings of the characters, absolute protagonists of the play. The square and the building, entirely reconsructed in studio, are the work of the great french art-director Léon Bersacq. The whole cast’s contribution is great, whose heterogeneity - under the wise direction of De Santis - become reason of big creative wealth. On the same accident Genina filmed Tre storie proibite (P. Mereghetti “Dizionario dei film 1998”, translated by Alice Castoldi). |
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||