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THE HIDDEN ANGELS OF LUCHINO VISCONTI

GLI ANGELI NASCOSTI DI LUCHINO VISCONTI

By Silvia GIULIETTI

IFRAME SRL - as PROD

Documentary - Completed 2012

Luchino Visconti told by his closest collaborators and through the unseen photos of the photographer who has worked alongside him for over twenty years. The film explores the man, but also his directing method.

- Year of production
- 2012
- Genres
- Documentary, Art - Culture, Biography
- Countries
- ITALY
- Languages
- ITALIAN
- Budget
- 0 - 0.3 M$
- Duration
- 52 mn
- Director(s)
- Silvia GIULIETTI
- ISAN
- 0000-0005-5FC2-0000-X-0000-0000-C
- Synopsis
- “The Hidden Angles of Luchino Visconti” This is the title. It tells of the man, the great man and director that he was, through the eyes of his closest collaborators, through never-before-seen images of Mario Tursi’s personal photographic archives. He was the photographer who followed Visconti his entire life. In this documentary Visconti’s camera operators who have given back to us the vision of his genius and contributed to his greatness: in silence, without fanaticism or exaltation, and for this reason they are his “Hidden Angels”.
  
  We are narrating the life of a man, his daily routines – less known by the official literature – seen through many of the frames shot by his “angels”, who bore witness to his way of living, of interacting, behaving as an artist in and around his creative world.
  
  Luchino Visconti: a treasure for all of humanity. The studies, the analyses, the reflections proposed by those tasked with examining his thought, have been able to dissect even the deepest sensitivities of the artist, but never has this been seen from the totally unusual angle proposed here.
  
  A work, in Visconti’s case, which is not only solitary, as can happen with a writer, a painter or a poet, but which has a “plural” dimension; which needs the help of many other persons to be brought to completion. This is how a movie is born. This is how the eyes of the “hidden angels” have given back to us what he was imagining.
  
  Although Visconti did not consider cinema an art form equal to a figurative work or a poem, these being immune from the conditioning brought about by the “technical concept”, we know that his work was art. Yet, this is not the intent of our project and These are the men who have seen him at work and on breaks, and who have seen him interact and speak; who have seen him cut across human moods.
  
  Every witness has his personal view of Luchino Visconti, filtering his emotional light through the lens of his own human and cultural experience.
  
  Their narrations do not contribute to the achievement of “objective Visconti” in the constant search for a descriptive synthesis, as well as to a “living Visconti” through the recounting of a fact, an anecdote, an argument and its resolution, a way of doing, which bring him back for a moment among his work friends, as an artist and as a man. An emotional glimpse, then, in the search for those memories which are not found in cinema literature, perhaps because they are considered non-influential on the analysis, or devoid of the dignity of “memorable” stories.
  
  A different look at the man, better yet, the looks at that “technical concept” which address strictly professional questions, but which concentrate on the life of the crew navigating in the adventurous waters of that “craft mans labor” which is cinema. Guided by their helmsman who is able of obtaining, with authority and knowledge of the destination, enviable results .