The Big committed suicide 95 years
Mario Monicelli, a Master of Freedom
From his films have caught the soul indelible aspects of Italian , his last gesture was a lesson - a tragicomic vision of life -
It 'was one of the greatest exponents of this genre that the film critics, with some decorum, have defined the Italian comedy: a Master now that is gone, you can write without problems, although, given the suo carattere schivo, sdegnoso di complimenti ed elogi- egli avrebbe rifiutato l’appellativo, poiché sapeva ciò che era: Mario Monicelli. Ha deciso di spegnere la sua vita volontariamente, a 95 anni suonati, il 29 novembre u.s., a causa di un tumore alla prostata in fase terminale, che lo costringeva da qualche tempo al reparto di Urologia dell’ospedale San Giovanni di Roma, città ove trascorse la più gran parte della vita (pur essendo di origini toscane). Si è gettato dal quinto piano del nosocomio, verso le 21, solo nella sua stanza: un gesto di grande coraggio e lucidità, di estremo raziocinio; hanno scritto che è stato un atto di disperazione, il quale sessanta anni dopo ha emulato il suicidio del padre (Thomas, journalist and publisher, died in 1946 so, for being marginalized by the fascism that is masked by the anti-fascism), but the death of Monicelli, like all his films, for those of us who love without boundaries throughout the film and, of course , the Italian one, was his last teaching to those who can understand. Besides an act of extreme consistency.
If you review and re-read the last, his frequent interviews, he often does not want to ever accept a life that is unworthy of being lived, had handled personal matters, like in Italy in the last several years, but decided in recent fear ( remember him for his ninety La7) to live alone, even if modesty explained only later, in writing MicroMega in May last year, because: "As things go wrong in Italy, everyone has a parachute on which to rely. The largest, most pervasive, the worst of all is the family. family has become the lair where you refugees who fled from a world of selfishness and oppression. But it is a den that serves to fuel even more this mutual hostility, because now everyone trusts only the four or five families who have around. Everything must be sacrificed to the family: whatever, whatever wrongdoing may be justified if it serves to protect it or make it prosper. They have become refuges for small wild animals in which no one can enter. From social glue have become a key element of mutual hostility and division ": From this accumulation of negative and positive feelings, stifling the old prophet was estranged," to live longer, "said It was true, given the historical results. And the words of President Napolitano, so we must respect the extreme decision of suicide, have washed away, even if in part, every effort of renewed controversy, since many items related to the Vatican, had the temerity Monicelli not to say that euthanasia was a propagandist. Perhaps this is true, he took to the streets with a sign to show the compassionate pro death, but his was by example, comparable, although in different historical periods and distances of the people and results, to Petronius and Seneca, both experts on their own hand, while not succumbing to a tyranny. Then it was the autocracy of the princeps, but the tedium vitae: no one today, we believe, is deleted for not living in the 'regime' of Berlusconi, but not to be overwhelmed by the suffering of the disease, yes.
Monicelli, learned in Literature and Philosophy, was a master not only because, started its journey as a creative writer and as an assistant before the Second World War (it is to work together, "White Squadron" of Genina, already considered a film propaganda, now one of the best films of its kind Colonial in 1937), only passed by and Steno, the farce of Toto playwright, whose talent he has repeatedly indicated they were discovered after his death, and "Totò cerca casa" to "Cops and Robbers" (with Fabrizi, for the interpretation of which the Prince De Curtis earned the Silver Ribbon at Cannes), to "Toto and Carolina, which had the known problems with DC's strict censorship of the time, in 1953, up to "Joy of Laughter" in 1960, with Anna Magnani (who reminds Monicelli, Toto did not want to run with it, already in America, feared to discredit the former companion magazine, considered by academic critics un guitto…) ed un giovane Ben Gazzarra, di cui il Maestro valorizzò l’aspetto tragico, film del resto da rivalutare tratto altresì da due racconti di Moravia; nel frammezzo, Monicelli, aveva dato la sua grande e a parer nostro, insuperabile prova di regìa con "La grande guerra", del 1959, un ritratto impietoso ed estremamente veritiero dell’immane ed enormemente sanguinoso conflitto, di cui la retorica fascista aveva esaltato gli eroismi, dimenticandone, ed è ciò che Monicelli mette in rilievo con le insuperabili interpretazioni di Sordi e Gassmann, gli aspetti estremamente umani, nella loro miseria ma alfine nel loro grande orgoglio di essere italiani.
Tra i suoi meriti, quello di aver svelato il tratto comico di Monica Vitti, ne "La ragazza con la pistola", del 1966, causa del rinfocolato polemismo con Michelangelo Antonioni (eppure erano simili, i due maestri: intellettuale e cervellotico l’ex vincitore del GUF Antonioni, già estremista filonazista poi comunista, come era inevitabile; succedaneo dei tanti sottufficiali che evitarono il fronte e gettarono la divisa dopo l’otto settembre, Monicelli, però avente nei geni l’antifascismo ereditato dal padre, ed il ribellismo anarchico del carattere; entrambi a lungo vissuti, Antonioni 91 anni, anche se colpito prima da paralisi), nonché di aver prodotto, in presa diretta quasi –altro merito che la critica dei giorni scorsi, forse artatamente, si è ben guardata dallo scrivere- un film commedia sull’appena avvenuto, ed abortito, ‘golpe Borghese’, con la perfetta interpretazione di Ugo Tognazzi: "Vogliamo i colonnelli", è del 1973. Gli altri films di Monicelli, da "Romanzo popolare" a "I soliti ignoti" a "Parenti serpenti" (a cui si può accostare, nel 1953, "Totò e le donne", sempre suo, ove si coglie evidente la vis incisiva e corrosiva del rapporto col sesso femminile del baffuto regista, il quale sino alla fine ebbe la dolcezza di essere accanto alle donne, e figliolanza dall’una e dall’altra, ma sempre nella sua solitaria coerenza), sono a nostro parere meno rappresentativi, dei citati, dell’opera cinematografica monicelliana: la quale raggiunge il culmine, a pari merito coi precedenti, non già con i due "Amici miei", pur similari al carattere privato del Maestro e davvero espressivi di un certo modo di vedere la vita, tra uomini, ma con "Il Marchese del Grillo", ove il volto dell’eterno carattere dei romani è svelato nella sua densa, a volte ipocrita, interezza (solo Sordi poteva avere quel ruolo, il quale in verità fu scritto da altro, e grandissimo, romano, Aldo Fabrizi), e, in pieno periodo di pistolettate estreme, "Un borghese piccolo piccolo" del 1977, dal romanzo di Cerami, laddove la verità delle debolezze, persino dei minimi sogni di moltissimi italiani si svelano nel personaggio interpretato sempre da Sordi, il quale fa piangere emotion that is really ruthless cruelty, do everything in the first state to provide a place to his son, then no brakes in torturing his murderess. It would be enough to make that movie Monicelli a sublime painter of reality, as it was for the Pontecorvo "The Battle of Algiers": luckily, several pictures and he left us unforgettable.
We read of his being anti-clerical, and therefore of critical, poor, even post-mortem for his gesture had to be: fortunately, the family has complied with the extreme desire, no church funeral and cremation, and if the pastor of the neighborhood Rome where he lived, however, the passage of the coffin, rang the bell, is cinematically-but not-too-not a repeat of the original scene of Don Camillo, who ring the bells for the young Communist who passes in front of the church, "Don Camillo Monseigneur but not too much." Mario Monicelli was not an atheist, anticlerical but yes, it was always: "Before the advent of Christianity had political societies in which each was chosen with some of the freedom to pray and to whom to turn. Let's be clear: no nostalgia for societies based on slavery and the oppression of the weak. But the ancient world has always fascinated me, in my opinion a more balanced relationship with religion. Without this obsession with the afterlife, sin, eternal damnation, etc., that it rained him with Christianity. I consider the advent of monotheism, and Christianity in particular, as a disaster for humanity. Judaism was a monotheistic religion yes, but was represented by a small sect that will not break anyone's balls. It was St. Paul, Christianity, to dry the whole world. I always thought this way, although in our post-war comedy satire of anti-clerical and anti-religious character was not allowed. This is why in our films are very scarce references to religion. Today things have changed and would no longer be a problem in an irony too heavy on the Church, the popes, the Padre Pio and the rest. But, anyway ... now no longer even worth the effort. It would be like shooting on the Red Cross! That's a world that is falling apart. "Difficult, even by believers in the message of the Messiah, give him wrong, if you look at history, even with the lens of the Christian criticism (Alfred Loisy, hardly disputed Monicelli ...). In the interview video La7 in 2005, revealed that Monicelli to write parts of the Masonic affiliation of the "Borghese ..." he himself was made to start the fraternity of Freemasonry. Which known, except for some sections, it is not an atheist, but admits a transcendent God who mind control. Here, Mario Monicelli was not an atheist, as was improperly written. It was Mason. A Brother. And Mason, conducted and concluded his life. In Liberty.
Baron of Sealand
(Published in Sicily Sera No. 336, February 6, 2011)
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