Il Cinema Ritrovato 1. Tag: Barbara Bouchet

Der erste Tagebucheintrag von Patrick und Andrey:

Bologna, ein brennender Sumpf der kaum kühlenden Arkaden, die erste Begegnung in der Stadt ist mit einem Schild, auf dem uns ein deutschsprachiger Aufkleber vermittelt, dass wir Zitronenwasser trinken sollen. Wir schwitzen. Andrey, Ioana und ich kommen ein wenig später an, als die anderen. Im Bus herrscht eine Atmosphäre, die nichts mit dem Kinoglanz zu tun haben wird, der einem hier in einem überbohrenden, verführenden und grandiosen Klassizismus entgegen geschleudert wird. Von Kinos, die nach Marcello Mastroianni oder Martin Scorsese benannt sind bis zu einem fast christlich-epochalen Freilufkino mit riesiger Leinwand (zu groß für die digitale Projektion) zwischen Kirchengemäuern. In unserer Wohnung warten schon Rainer und ein von Barbara Bouchet schwärmender Andreas (kein Autor von Jugend ohne Film, aber ein exquisiter Experte der italienischen Kinematographie, den wir uns für teures Geld eingekauft haben, damit er uns in Bologna berät), die Programme, die Pläne und ein neues De Sica Buch. Am Abend zieht es uns auf den Piazza Maggiore (Rainer kennt den Weg), denn dort wird das Festival mehr oder wenig eröffnet von einem leidenschaftlichen („formidable“) Bertrand Tavernier samt Casque d‘Or von Jacques Becker und von Thierry Frémaux, der eine digitale Projektion des ersten öffentlichen Filmprogramms der Gebrüder Lumière mit jenem von 1895 verwechselt. Ich suche Zitronenwasser und finde Pizza. Ein leichter Wind, Blitzlichter und grölende Männer stören das Screening. Es ist ein schöner Ort, an dem das Kino so gefeiert werden kann. Das Kino hält diesen Angriffen von der Umgebung stand. Frémaux entscheidet sich dazu, die kurzen Filme der Lumières mit Worten zu begleiten. Er spricht vom Interesse an der Kindheit bei den Gebrüdern, von der Kindheit des Kinos. Es ist also auch eine Unschuld, die sich in der heutigen Welt beinahe in eine Unwirklichkeit verkehrt. Man ist in einer Stadt und plötzlich ist das Kino. Ob eine Unschuld in diesen ersten Bildern des Kinos transportiert wird oder der bemühte historische Glanz einer verneinten Vergänglichkeit sei hier am ersten Tag noch nicht hinterfragt. Dazu ist meine eigene Unschuld gegenüber des Festivals noch zu sehr eine Unwirklichkeit. Allerdings harmoniert dieses Gefühl von einem aufgesetzten Überlebenswillen von Bildern (die hier nicht in ihrem Ursprungsformat gezeigt werden. Ich erwähne das zweimal, weil Frémaux es gar nicht tat, wahrscheinlich weil er die Unschuld nicht berühren wollte.) mit der Schlusseinstellung von Casque d‘Or, in dem die Liebenden, eigentlich durch Tod getrennt, einen Tanz von früher wiederholen. Was in Bologna gegenüber des Überlebenswillens entscheidend ist, ist zum einen was überlebt und wie es überlebt.

casque-dor

Andrey über Casque d‘Or von Jacques Becker:

Simone Signoret lächelt sich frei. Ihr Lächeln – das uns hier in Bologna dank der Festivalbadge-Motive ständig begleitet – ist ihre stärkste Waffe in der sozialen Kampfzone, durch die sie sich als Gangsterbraut Marie bewegt. Sie kann damit angreifen und verteidigen, einladen und abweisen – es wirkt trotzig, verschmitzt, herausfordernd, wissend, überlegen und verlockend zugleich. Vermutlich verliebt sich Serge Reggiani vor allem in dieses Lächeln, dass sich auf der Tanzfläche immer nach ihm umdreht, wie eines von diesen Porträts, deren Blicke einen zu verfolgen scheinen, egal, von welchem Punkt im Raum aus man sie betrachtet. Ihr eifersüchtiger Tanzpartner bemerkt die offensichtliche Fluchtbewegung ihres Begehrens zunächst gar nicht, komisch – aber der Moment gehört letztlich nur den beiden Hauptfiguren. Später, als Signoret ihre Liebe unmissverständlich freilegt, in einer schönen, idyllischen, luftigen Szene am Ufer eines Flusses (die laut Patrick an Renoir erinnert, mit dem Jacques Becker seine Lehrjahre verbrachte) lächelt sie auch, aber anders, unverkrampft, ehrlich, und man weiß, dass es ihr Ernst ist mit dieser Sache. Eine Überblendung später sehen wir ihr hochgestecktes Haar (der schützende „Goldhelm“ aus dem Titel) zum ersten Mal herabgelassen auf dem Kissen ruhen.

Der von Calude Dauphin gespielte Mafiaboss Félix ist wie der Patriarch einer Familie, aber fast schon mehr als nur im übertragenen Sinne. Er watscht seine bösen Schnauzbart-Buben ab, wenn sie etwas falsch gemacht haben, und schickt sie dann zum Zigarettenholen. Er wirft ihnen Münzen zu wie Taschengeld-Leckerlis. Während er mit Marie flirtet (ein schöner Moment, in dem Signoret keck Käsescheiben von seinem Klappmesser nascht – ohne Brot), lauschen seine Handlanger heimlich an der Tür, und als er einen von ihnen erwischt, schickt er ihn auf sein Zimmer. Im Streitfall gibt er den salomonsichen Schlichter, eigentlich will er alles nur für sich. Schlussendlich, nachdem er seine Autorität überstrapaziert hat, läuft er selber wie ein kleiner Junge zur Polizei, die ihm dann aber auch nicht mehr helfen kann. Und seine erwachsenen Kinder wussten insgeheim schon lange, dass er ein falscher Hund ist, dessen Gesetz keine Gerechtigkeit kennt, sie trauten sich bloß nicht, aufzumucken.

Casque d’Or fühlt sich sanft und samtig an (so wie Simone Signorets Haut, vermutet man), elegant und „klassisch“, mit seiner gleichmäßigen Ausleuchtung, der detailreichen Ausstattung, dem hübschen Kostüm, den geschmeidigen Kamerabewegungen und den passgenauen Anschlüssen. Qualitätskino durch und durch, aber er entwickelt eine erstaunliche Härte, wenn es darauf ankommt. Im Kampf zwischen Reggianis Tischler Manda und dem eifersüchtigen Liebhaber Maries, rechnet man anfangs gar nicht damit, dass jemand ums Leben kommen wird. Aber dann sieht man in der Großaufnahme, wie sich die Hand des Gangsters mit brutaler Vehemenz in Mandas Gesicht krallt, und ist sich nicht mehr so sicher. Später, als Manda den letzten und gefährlichsten Nebenbuhler Félix erschießt, nachdem dieser Marie vergewaltigt und den Tod seines Freundes verschuldet hat, sehen wir auch nur seine von Traurigkeit in die Verbitterung gerutschte Visage, hören die Schüsse im Off, und bei jedem Knall zucken die Züge des jetzt schon todgeweihten Mannes zusammen, als wäre er selbst am anderen Ende des Laufs. Als dann die Guillotine allem ein Ende setzt, hört man überhaupt nichts mehr. Markant auch der Moment, in dem Mandas Freund Raymond blutend in der Polizeikutsche liegt. Alle starren ihn an. Jemand sagt: „Holt einen Arzt“. Ein anderer antwortet: „Ja.“ Niemand rührt sich. Dann heißt es nur noch: „Auf Wiedersehen, Raymond.“ Trotzdem ist die Tragik des Films nicht existentialistisch, wie bei Carnés Le jour se lève, sondern romantisch, die Liebe scheitert an äußeren Umständen und unbändigen Leidenschaften, und nicht an unerbittlicher Fatalität. Sie hätte sein können, sollen, müssen – so ritzt es uns die letzte Einstellung mit einem einsamen Walzer ins Herz.

Casque-dOr-Alliance-Francaise

Andreas läuft aufgeregt durch die Wohnung und zeigt uns stolz sein Foto mit der Jane Fonda Italiens: Barbara Bouchet. Er fragt uns: Wer ist das? Sie war in Gangs of New York? Wir wissen es nicht, ich frage mich kurz, ob Cameron Diaz wirklich schon so alt ist. Vor kurzem durfte er mit Bouchet zu Abend essen. 1983 beendete Barbara Bouchet übrigens ihre Schauspielkarriere und entschied sich dazu, den Italienern Aerobic zu bringen. Sie eröffnete eines der ersten Fitnessstudios in Rom. Das und mehr lernt man also durch das Kino.

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  71. The clean Zune browser is amazingly beneficial, but not as positive as the iPod’s. It is effective effectively, nonetheless isn’t really as quick as Safari, and consists of a clunkier interface. If you sometimes software on employing the world wide web browser that’s not an issue, still if you might be coming up with towards read the internet alot in opposition to your PMP then the iPod’s much larger exhibit and better browser may possibly be vital.

  72. I am going to machines this research in the direction of Two styles of us citizens: present-day Zune homeowners who are looking at an up grade, and Those attempting to make a decision concerning a Zune and an iPod. (There are other players value looking at out there, which includes the Sony Walkman X, but I count on this offers by yourself ample information and facts to make an aware option of the Zune vs avid gamers other than the iPod line as nicely.)

  73. Thanks for these pointers. One thing I additionally believe is the fact that credit cards featuring a 0% rate of interest often lure consumers together with zero rate of interest, instant endorsement and easy online balance transfers, nevertheless beware of the real factor that may void that 0% easy streets annual percentage rate and also throw you out into the very poor house fast.

  74. Undeniably believe that which you stated. Your favorite justification appeared to be on the net the easiest thing to be aware of. I say to you, I definitely get irked while people consider worries that they plainly do not know about. You managed to hit the nail upon the top and also defined out the whole thing without having side effect , people can take a signal. Will probably be back to get more. Thanks

  75. The Zune concentrates on remaining a Transportable Media Player. Not a world wide web browser. Not a video game machine. Possibly inside the foreseeable future it’ll do even much better in all those areas, nevertheless for at this time it is really a Good path in direction of organize and hear towards your tunes and flicks, and is without having peer in just that respect. The iPod’s advantages are its website visiting and purposes. If those people reliable more compelling, perhaps it is your easiest conclusion.

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