Dictionnaire amoureux de Venise by Philippe Sollers

By Philippe Sollers

Jamais ville n'a suscité autant d'attrait et de curiosité que Venise. Il fallait tout le expertise de Philippe Sollers pour nous enchanter une fois encore.

" Venise est une grande aventure historique. Elle peut être aussi une ardour individuelle. C'est le cas ici. Dans ce titre : Dictionnaire amoureux de Venise, je souligne le mot amoureux. Il ne s'agit évidemment pas d'un "guide" (il y en a d'excellents), mais d'une expérience personnelle liée à ma vie d'écrivain. Je suis arrivé là très jeune, j'ai passé chaque année, printemps et automne, beaucoup de temps à marcher, naviguer, regarder, respirer, dormir et m'émerveiller. Venise, voilà son mystery, est un amplificateur. Si vous êtes heureux, vous le serez dix fois plus, malheureux, cent fois davantage. Tout dépend de votre disposition intérieure et de votre rapport à l'amour. L'amour ? Oui, et dans tous les sens : anges et libertinage, structure, peinture, musique, roman, poésie, mais aussi air, pierre, eau, étoiles. Nature et tradition enfin à égalité. Venise n'est pas un musée, mais une création constante. Si vous échappez aux clichés, au tourisme, aux bavardages ; si vous avez réussi à être vraiment clandestin ici, alors vous savez ce que le mot paradis veut dire. Le monde se précipite vers le chaos, los angeles violence, los angeles terreur, los angeles pornographie, le calcul aveugle, los angeles marchandisation à tout va ? Mais non, voyez, écoutez, lisez : voici le lieu magique et futur dont tous les artistes et les esprits libres témoignent. "

Philippe Sollers

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The director provides a wealth of details about the technology employed in the rescue of the submarine in Uomini sul fondo, about family dynamics, about the anthropological context of the individual sailor both in this film and in Alfa tau! (1942). De Robertis’s cinema is a crucial document, an excellent historical source for recovering not just the contemporary technologies of war but also bourgeois domesticity and the social contexts of people not directly involved in the fighting. ”32 But like most pre-neorealist works, De Robertis’s films must now be seen in the context of their contemporary cinematic models and in light of the models of filmic imaginary that permeated that cultural moment.

Mirella Serri, I redenti: Gli intellettuali che vissero due volte, 1938–1948 (Milan: Corbaccio, 2005). 4. , 233. 5. , Paisà (Venice: Marsilio, 2005), esp. Vito Zagarrio, “Uscire dal tunnel: Il quarto episodio,” 85. 6. , Il neorealismo cinematografico italiano (Venice: Marsilio, 1976); Lino Micciché, Nuovi materiali sul cinema italiano, 1929–1943 (Ancona: Mostra Internazionale del Nuovo Cinema, 1976). For a less stereotypical reading of the film, see Vito Zagarrio, “Bassifondi: Appunti su due film ‘fascisti’ di De Robertis,” in In fondo al mare: Il cinema di Francesco De Robertis (Bari: Edizioni del Sud, 1996), 41.

Vito Zagarrio, “Uscire dal tunnel: Il quarto episodio,” 85. 6. , Il neorealismo cinematografico italiano (Venice: Marsilio, 1976); Lino Micciché, Nuovi materiali sul cinema italiano, 1929–1943 (Ancona: Mostra Internazionale del Nuovo Cinema, 1976). For a less stereotypical reading of the film, see Vito Zagarrio, “Bassifondi: Appunti su due film ‘fascisti’ di De Robertis,” in In fondo al mare: Il cinema di Francesco De Robertis (Bari: Edizioni del Sud, 1996), 41. 7. See esp. Gian Paolo Pansa, Il sangue dei vinti (Milan: Sperling and Kupfer, 2003), which has been recently turned into a movie directed by Michele Soavi (Il sangue dei vinti [The Blood of the Vanquished, 2008]); Gian Paolo Pansa, Sconosciuto 1945 (Milan: Sperling and Kupfer, 2004).

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