CHRIST STOPPED AT EBOLI (Rosi, 1979)
Criterion Collection, Blu-ray, Release Date Sep 22, 2020
Review by Christopher S. Long
In 1935, painter, writer, and political
activist Carlo Levi was sentenced by Mussolini's Fascist authorities
to internal exile (confino) in an impoverished rural town in the
Lucania region of southern Italy where local officials monitored his
movements and communications on a daily basis. Levi was eventually
set free, and in 1945 he published “Christ Stopped At Eboli,” a
best-selling memoir about his time among the peasants of the south.
In 1979, director Francesco Rosi adapted the book for the screen.
The nearly 20-minute opening sequence
eases viewers into this strange new land along with the protagonist.
Levi (Gian Maria Volonte) arrives at the train station, picks up a
stray dog, and rides a rambling, rickety bus into the town of
Gagliano, with the police close at his side. He rests his head
against the window and watches wide pastures roll by where shepherds
guide their flocks. A feisty old woman on the bus clutches two
live chickens. Levi is a long way from his home in
Turin, debating politics and aesthetics with his fellow
intellectuals.
This long, meticulously detailed trip
functions like a decompression chamber, allowing viewers to acclimate
gradually along with Levi to this new environment. On his first night
in town, a rattled, weary Levi pulls his blankets over his face so he
can hide in the cocoon. In the ensuing days he will be shocked to
witness boys pelting a priest with rocks and by the desperate poverty
as well as the prevalence of malaria among the populace. Soon,
however, he forges a connection with his prison-town and grows to
love the stoic peasants and to admire their timeless ability to
endure hardship.
The peasants embrace him too,
especially once he serves as the town doctor, selflessly
administering to all, at least when his jailers permit it. Levi's
primary goal in publishing his memoir wasn't to recount his plight as
a political prisoner, but rather to inform readers about this very
different Italy, practically a foreign nation that has been ignored
and abandoned by the developed north.
Local officials do nothing to make the
peasants feel like they matter. The aforementioned priest (Francois
Simon) dismisses his flock as “a town filled with animals, not
Christians” but nobody takes the drunken clergyman seriously
anyway; they know he was only assigned (sentenced) to their parish as
punishment for past transgressions. The fascist-but-friendly mayor
(Paolo Bonacelli) fancies himself an intellectual peer of Levi's, but
can't fathom why the painter always wants to talk about the locals:
“Why go on about the peasants? Forget about them.”
This explains the enigmatic title of
both the memoir and film, inspired by an anecdote Levi overheard
during his confinement. It refers to the impression some in the south
have that the grace of the Church (also often the State in Italy)
never spread past the town of Eboli, leaving much of Italy's “boot”
out in the cold with no hope of salvation in this world, or perhaps
even the next.
Volonte played his share of volatile
characters and was also known as a firebrand off-screen, but his
Carlo Levi is a tousle-haired, sad-eyed observer, humble and
genuinely curious about the people of Gagliano. He learns how a
resourceful butcher inflates a dead goat to salvage every body part
and tries to hide a smile when his fiery housekeeper Giulia (Irene
Pappas) spins the elaborate web of superstitions that dictate her
behavior - you can't throw trash out at night because you'll toss it
right in the face of the angel who guards the door!
Giulia is one of many strong-willed
woman in Gagliano. Many mothers raise their children alone
because they have been abandoned by husbands and lovers who
have fled to America seeking the opportunities southern Italy doesn't
offer. The Great Depression has forced some of those men to return,
leading to one of the film's most rousing scenes when a group of
inebriated men sing of the glories of New York City (it would have
been our capital if we had one!) as well as their homeland, but Rosi
cannily defuses the celebration by cutting abruptly from their joyous
rendition of “Viva L'Italia” to a fascist rally in the town
square. The shadow of Fascism has not stopped at Eboli.
Rosi originally shot his adaptation as
a four-part television miniseries, running 220 minutes in the cut
included on this disc. Aside from Levi's tentative emergence as the
town doctor, there's little central tension driving the narrative.
“Christ Stopped At Eboli” is more a film of quiet impressions and
almost random encounters that slowly accrete to form an empathetic,
kaleidoscopic portrait of a neglected people. The film refrains from
passing overt judgments on any of the characters, not even the
drunken priest or the indifferent mayor. Carlo Levi, a simple
prisoner in Gagliano just like everyone else, merely watches
respectfully, helps when he can, and commits every detail to memory
so he can share their story.
Video:
As mentioned above, Rosi shot “Christ
Stopped At Eboli” as a four-part miniseries running about 55
minutes per installment. It was also released in a much-shorter
theatrical cut. Criterion has only included the miniseries, which
plays as a single film from the menu, though each part has its own
opening and end credits.
The film is presented in its original
1.33:1 aspect ratio. From Criterion: “This new digital transfer was
created in 2K resolution... from the 35 mm original camera negative.”
Colors are naturalistic, heavy on earth tones, and the image
resolution is sharp throughout.
Audio:
The linear PCM audio mix is flat but
crisp with no noticeable distortion. Optional English subtitles
support the Italian audio.
Extras:
Criterion has gathered several shorter
supplemental features for this Blu-ray release.
In a new interview (2020, 27 min.),
translator, interpreter, and writer Michael F. Moore discusses his
work on the subtitles for this release, which required dealing with
multiple Italian dialects. He also talks a bit about Francesco Rosi,
who honed his craft as an assistant to Luchino Visconti on
neo-realist films like “La terra trema” (1948).
The disc also includes an excerpt (24
min.) from the July 5, 1978 episode of the French TV series “Cine
regards.” This piece, directed by Bouramy Tioulong, combines
interviews with Rosi, Volonte, and director Elio Petri with some
on-set footage from “Christ Stopped At Eboli.”
“Bad Earth” is a segment (27 min.)
of the Aug 9, 1974 episode of the French talk show “Italiques” in
which Rosi and Levi discuss a variety of subjects ranging from Levi's
exile to the general state of post-war art. Rosi proudly refers to
Levi as one of his major artistic influences.
We also get an interview (2014, 13
min.) with Rosi in which the director remembers actor Gian Maria
Volonte. Though Volonte was rumored to be difficult to work with at
times, Rosi has nothing but glowing words for his frequent star, who
died in 1994. According to Rosi, Volonte didn't want to live in a
hotel like a typical actor but wanted to spend time with peasant
households to immerse himself in the character and the location. This
was Rosi's last on-camera interview – the director died in 2015.
A Trailer for the film's re-release by
Rialto rounds out the supplements.
The slim fold-out booklet includes a
comprehensive essay by writer and film professor Alexander Stille.
Final Thoughts:
The film's considerable length and
loosely-structure narrative require patience from the viewer, but
that attention will be rewarded by a film that immerses audience in a
specific time and place that feels authentically rendered. Rialto
restored “Christ Stopped At Eboli” at its full running-length for
theatrical release last year, and Criterion has done a splendid job
providing a Blu-ray with a strong high-def transfer and a solid array
of supplemental features.
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