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00:00:00Francis Ford Coppola, Giovane senza giovinezza, ma immagini dall'ultimo film di Francis Ford Coppola, Youth Without Youth, per noi
00:00:13è un capolavoro e per questo non parlerò di Demenzia 13, il suo primo film, il quasi primo film,
00:00:29prodotto da Roger Corman, secondo alcuni Insalvabile, alcuni altri della scuderia cormaniana come Jack Hill, il dottore di Switchblade Sisters,
00:00:40il film pre-tarentiniano, pre-death proof, scusate ma in questo caso i nomi, gli intricati, gli riferimenti hanno un
00:00:53loro senso, di genealogia senza origine,
00:00:57che è per l'appunto genealogia senza origine anche il film sublime ultimo di Coppola, una sorta di palindromo secco,
00:01:06senza nessuna fioritura, stretto nel tempo, ovvero indifferente al tempo che lo stringe,
00:01:14è dipanato avanti e indietro come tutti i grandi ultimi film, in forma di palindromo più che di nastro di
00:01:24Mebius, palindromo che è contemporaneamente un nastro di Mebius, dove l'avanti e indietro spaziale
00:01:30condensa qualunque risonanza temporale, illusoria, illusoria per esempio che sia possibile parlare brevemente di un film del genere, si può
00:01:48tacere a lungo di un film del genere,
00:01:51ho l'impressione che sia davvero il condensato, non perché è l'ultimo film, ma perché è un ultimo film,
00:01:59davvero i grandi autori fanno solo primi e ultimi film,
00:02:02e contemporaneamente fanno sempre il film centrale, questo è Youth Without Youth, i riferimenti sono immediati ovviamente al bellissimo Jack,
00:02:20un film opposto nello svolgimento narrativo, ovviamente sono Peggy Sue Got Married, Peggy Sue si è sposata, forse il capolavoro
00:02:31in assoluto di Francis Ford Coppola
00:02:35e ancora per motivi non di set, ma di set mentale, set geografico mentale, la Romania, Mercier Liad autore del
00:02:45romanzo da cui è partito magicamente e casualmente Coppola,
00:02:51è un intellettuale rumeno, il Dracula ambientato, giusto apposso, sovrimpresso genialmente da Coppola alla nascita del cinema,
00:03:14è teoricamente una figura rumena, teoricamente, storicamente, ecco teoricamente o storicamente,
00:03:22cos'è questo film di Coppola che viene accusato della sua grandezza in questo periodo?
00:03:27È uno dei tanti grandi film in cui si passa a lato, in questo mondo senza passione per il cinema,
00:03:32infatti sto cercando, sto partendo per Torino, devo correre, e non per il festival, per un'altra cosa, contemporanea parte,
00:03:45non possiamo amare questo festival di Torino, fatto di zone e non di detour,
00:03:54è un film che si passa a lato, banane, è un film che si passa a lato perché il cinema
00:04:03ormai non appare,
00:04:05e questo è un film geniale nel suo non apparire, nel suo non accettare la fotografia, la fotografabilità,
00:04:13ma anche la tematicità di dover essere fintamente denso, ma articolato, comprensibile da tutti,
00:04:20non è un film secco, è un film, ecco Demenzia 13, è un film cormagnano, è un serie Z,
00:04:25un film girato in Romania con Mastrazio Romagna per spendere di meno, in maniera rivendicata, evidente,
00:04:32anche in questo è una rigiovinezza senza giovinezza, perché è una giovinezza antica come quella di Deliveira,
00:04:41come quella dei centenari che fanno il cinema da bambini, buona visione,
00:04:47senza giovinezza, demenze, demenze, 1, 2, 3, 13, 1, 120 giornate di demenza.
00:05:21Giovanni Andreini
00:05:22Giovanni
00:05:25Giovanni
00:05:25Giovanni
00:05:33Voi
00:05:34Surtẫmo
00:05:44Voi
00:05:46Sì, sì, sì, sì.
00:06:16Sì, sì, sì, sì.
00:06:49Sì, sì, sì, sì.
00:06:51Sì, sì, sì, sì.
00:07:08There's nothing in it for you.
00:07:10Shut up.
00:07:18John?
00:07:22John?
00:07:29John!
00:07:40Now what do I do?
00:07:43I gotta get rid of him.
00:07:45I gotta get rid of him.
00:07:48I gotta get rid of him.
00:08:15Grazie a tutti.
00:08:39Grazie a tutti.
00:09:16Grazie a tutti.
00:09:38Grazie a tutti.
00:10:03Grazie a tutti.
00:10:12Grazie a tutti.
00:10:16Grazie a tutti.
00:10:48Grazie a tutti.
00:10:54Grazie a tutti.
00:10:57Grazie a tutti.
00:11:20Grazie a tutti.
00:11:22Grazie a tutti.
00:11:41...
00:11:43...
00:11:44...
00:11:44......
00:11:45...
00:11:46.........
00:11:48.....................
00:11:52.....................
00:12:05.....................
00:12:09........................
00:12:10...............
00:12:19..................
00:12:20......
00:12:22.........
00:12:23...............
00:12:25......
00:12:36......
00:12:45I'll make her change that ridiculous will...
00:13:02I'll make her change that ridiculous will...
00:13:33to...
00:13:37I hope everything works out with John's business
00:13:41I'm sure everything will be fine
00:13:43Your brother's always had a way of solving his own problems
00:13:47Oh, I'm sorry, we're in your way
00:13:50What do you think of Ireland and Castle Halloran?
00:13:53Ireland's fine
00:13:56Castle Halloran is a bit perplexing
00:13:59A very strange place, really
00:14:02Old and musty
00:14:03The kind of place you'd expect a ghost to like to wander around in
00:14:08Kind of a haunted castle
00:14:10Castle Halloran is haunted?
00:14:12By your mother
00:14:14By Kathleen
00:14:18I know very little about her
00:14:21In fact, I didn't even know you had a sister until we arrived here
00:14:25There's not that much to know about her, really
00:14:29My mother was about 40 when she gave birth to Kathleen
00:14:35It was like a gift, she used to say
00:14:38An apple for the starving and Kathleen for me
00:14:42She even had a poem
00:14:46Three sons, each who would marry and go away
00:14:51But little Kathleen would always stay
00:14:58It's engraven on her little tombstone now
00:15:00How did she die?
00:15:01She drowned in the pine
00:15:15Passengers arriving from London and Tork
00:15:18Aer Lingus, Irish International Airlines wish you paid me the foot, sir
00:15:24Your baggage will be delivered shortly on the conveyor belt
00:15:31Passengers traveling onwards by air today should check at the passenger service desk
00:15:40Excuse me, miss, are you Kane?
00:15:42Yes, hello
00:15:43Oh, I'm Billy, Richard's brother
00:15:45I came to get you
00:15:45Oh, hi, I'm so happy to meet you
00:15:47Nice to meet you
00:15:49Oh, Richard's sorry he couldn't come to get you
00:15:51But he's, well, he's up to his elbows in statues
00:15:53So I said I wouldn't mind picking you up
00:15:54Thanks, that's awfully nice of you, Billy
00:15:58Aer Lingus, Irish International Airlines
00:16:04Your baggage will be delivered shortly on the conveyor belt
00:16:12My oldest brother, John, had to leave early this morning
00:16:14But his wife, Louise, is still here
00:16:16She's from America, so you won't get homesick
00:16:17That's my bag
00:16:31Is it cold?
00:16:32It's freezing
00:16:33But all old castles are like that
00:16:36To tell you the truth, Castle Halloran gives me nightmares
00:16:45There it is
00:17:11Unbelievable
00:17:18We'll leave the luggage for a minute
00:17:20Come on, I'll take you to him
00:17:26This is where he works
00:17:44What is this?
00:17:46I'm sorry, Richard
00:17:50Hey
00:17:59I'm sorry, I didn't pick you up myself, honey
00:18:01But I wanted to finish this statue
00:18:03You look wonderful
00:18:12I find a statue reminds me of death
00:18:16How very unusual, Lady Halloran
00:18:19For a woman to have been married to such a famous sculpture
00:18:22And yet feel that way
00:18:23Did, uh, John mention when he was going to return?
00:18:28He wasn't sure
00:18:30We thought I'd stay on for a while
00:18:32To get to know the family
00:18:34And then if he couldn't make it back
00:18:37I'd just return to New York
00:18:40How long is a little while?
00:18:43As long as you like, Mother
00:18:45Oh, you're very welcome here, Louise
00:18:48As long as you understand
00:18:50The privacy of our personal duties
00:18:55I speak of the ceremony tomorrow
00:18:57I'm sure John explained it to you
00:18:59I'm afraid John was usually too busy
00:19:02To talk much about the family
00:19:04That's why I'm so happy to be here
00:19:06Finally
00:19:07And you'll have a pleasant stay
00:19:09And I'm sure you can find something
00:19:12To occupy your time during the ceremony
00:19:13It won't take very long
00:19:16Perhaps I am superstitious
00:19:18But I think it's important
00:19:20That only the immediate members of the family
00:19:23Should give their thoughts to
00:19:26Kathleen
00:19:38Excuse me
00:19:50Mother, I don't care what tragedy
00:19:52Hangs over this family
00:19:53I want to get married
00:19:55I'm engaged to be married
00:19:56And I'm going to get married
00:19:59Moreover, I'm going to marry Cain
00:20:07Mother
00:20:08Kathleen's dead
00:20:09Dead for seven years
00:20:13You never talked so much
00:20:15When you were a child
00:20:17No
00:20:20I cried a lot, didn't I?
00:20:23Afraid I might be doing that again
00:20:24If you frighten her away from me
00:20:28You want me to include her
00:20:30To talk to her
00:20:33Yes
00:20:36Yes, I do
00:20:38Very well
00:20:40I will
00:20:42I'll tell her I don't care for her
00:20:47Mother
00:20:51You heard her
00:20:53And I promise you
00:20:54I'll never forget it
00:21:20But you said you didn't ride very much
00:21:22I don't
00:21:23I'm just showing off
00:21:23Because I finally got you to myself
00:21:29Good morning
00:21:31Oh, good morning, Louise
00:21:32It's nice to see her enjoying herself
00:21:34For a change
00:21:35But mood around this place
00:21:36Isn't good for her
00:21:37She may be right
00:21:40Especially an American girl
00:21:42You can tell she's been raised on promises
00:21:45What are you going to do about that?
00:21:48What are you going to do about that?
00:21:50I don't understand
00:21:52I saw you squirming
00:21:53When Mother read the will
00:21:55You gave John enough dirty looks
00:21:57To give him a heart attack
00:22:00Don't joke about that
00:22:02You know he has a bad heart
00:22:07But I know you didn't mean anything by it
00:22:10You know
00:22:11I think you ought to spend more time
00:22:13With your wife to be
00:22:13You're an intelligent woman, Louise
00:22:16You notice things
00:22:17Size people up
00:22:18You know when they're happy
00:22:19You know when something's bothering them
00:22:21Why don't you do me a little favor?
00:22:24Of course
00:22:25Keep that microscope
00:22:26You've got built into your eye
00:22:27Off of me
00:22:29I'll see you
00:22:42This will take you in all right
00:22:44Oh, there's plenty of you from up there
00:22:51Must be very interesting to know
00:22:53About all the secret passages, right?
00:22:54Oh, I know them all
00:22:55I've been here 20 years
00:22:5720 years, how wonderful
00:22:59Ah, well, you know how it is
00:23:01You get used to a family
00:23:02And you get to like your room
00:23:04And you get to know the run of the house
00:23:05And before you know it
00:23:07There you are
00:23:0720 years
00:23:11You must have been here then
00:23:12When, uh, the little girl
00:23:16Ah, yes
00:23:17That was a sad thing that was
00:23:21Lord Halloran was a much-loved man
00:23:23And he invited one of the country fellows
00:23:24Up here for his wedding
00:23:26Oh, a big wedding that was
00:23:27A big banquet
00:23:28And everyone invited
00:23:30She was all dressed up as the bridesmaid
00:23:33Running about to her heart's content
00:23:35All over the place
00:23:37There's never been a wedding here since
00:23:40What about Cain and Richard?
00:23:42Well, it's not my business
00:23:43But I wouldn't be betting
00:23:44You'd see another wedding here
00:23:46Well, I must go back to work
00:23:49Well, I must go back to work
00:23:50Well, I must go back to work
00:24:05Well, I must go back to work
00:24:05Well, I must go back to work
00:24:05Well, I must go back to work
00:24:06Well, I must go back to work
00:24:07Well, I must go back to work
00:24:08Well, I must go back to work
00:24:09Well, I must go back to work
00:24:09Well, I must go back to work
00:24:11Well, I must go back to work
00:24:23Sì, Sì, Sì.
00:24:46A volte mi sono stungindo a estas 올i parlando.
00:24:51Maxito è la parola giusta?
00:24:54Sì.
00:24:55Sare mi
00:24:56la sua volta all'amate.
00:24:57C'è summer
00:24:58la mattina e la era flightata.
00:24:59Non werno alla sera.
00:25:01La justotTS
00:25:02fai Catherine
00:25:03suono all'isola tra l'arido.
00:25:06Sì, grazie.
00:25:09È un certo detto
00:25:10no, c'è un certo sconto.
00:25:15I'm not always so morbid
00:25:17Just that the funeral ceremony is today
00:25:20It's a very beautiful pond
00:25:23You know, this is all just exactly like I imagined Ireland would be
00:25:27It rained the day of the funeral
00:25:30We stood around her grave under black umbrellas
00:25:34And then we threw flowers under her little headstone
00:25:38Mother looked at the flowers
00:25:41And then she collapsed
00:25:45Every year it's been the same
00:25:48The umbrellas
00:25:50Flowers
00:25:52Mother's collapsed
00:25:56But that was years ago
00:25:58Why do you keep having the same ceremony over and over again?
00:26:02There's some things you don't understand
00:26:04Not yet
00:26:06Mother's probably waiting
00:26:08Is Richard ready for the ceremony?
00:26:10I don't know
00:26:10I think he's in his studio
00:26:12He said he had a sudden inspiration
00:26:14Something about wanting to finish a statue before
00:26:17All right, Simon, I've seen you come out of there now
00:26:20I give up
00:26:22You caught me fair and square, Master Billy
00:26:24I give myself up
00:26:26So, it's poaching again, are you, Simon?
00:26:29Well, let me tell you, you just about scared the wits out of poor Miss Kane here
00:26:34Shame on you, Simon
00:26:35Shame on you
00:26:36It was only old bushy tale I'm after
00:26:38Me soul rot
00:26:41I swear by the shade of Finn McCool, Master Billy
00:26:43I'm not poaching your legal game
00:26:45No, it was only that no-good rabbit-stealing fox that brings me here
00:26:50Please, Master Billy
00:26:52For the memory of your late great father
00:26:54God rest his soul
00:26:56Don't turn me over to the bulls
00:26:58Of course not, Simon
00:26:59But don't let me catch you running around through the brush again like this
00:27:02Now, off with you
00:27:03Oh, God bless you, my boy
00:27:06It is a true sign of the late great lord of this estate, Yar
00:27:11Forgive me, Miss
00:27:13The last thing in the world old Simon would want to do
00:27:15Is to frighten a fresh young beauty
00:27:19Like yourself
00:27:21Bye, Simon
00:27:23Old Simon likes to think of himself as the last of the great Irish poachers
00:27:27Isn't that dangerous, running around with a gun like that?
00:27:29I don't think it's been fired for 30 years
00:27:31I'm not even sure it's loaded
00:27:32Well, and how does he catch anything, or does he?
00:27:34Well, he sets out snares for rabbits
00:27:36When he finds them empty, he blames it on old bushy tail
00:27:39Old bushy tail's a fox
00:27:41Or at least Simon thinks so
00:27:42Nobody's ever seen old bushy tail, and I don't think Simon has either
00:27:46Or at least Simon has either
00:28:16Or at least Simon has either
00:29:13Or at least Simon has either
00:29:26Please, let me help
00:29:32Have Lillian prepare her room
00:29:34I'll take care of her
00:29:41What happened?
00:29:43One of the flowers died when it touched her grave
00:30:14Oh, shh
00:30:28There's something in this house
00:30:32Like music in the hallways
00:30:36Like a chance music
00:30:39Asking me something
00:30:43But more like begging me
00:30:47Begging for her mother to listen to her
00:31:00He'll know
00:31:03I've heard her
00:31:06She asks for you
00:31:10Oh, tiny thing
00:31:14She wants you to listen to her
00:31:18To watch for her
00:31:20To watch for her signs
00:31:20Oh, I do try
00:31:23Do you know what she wants?
00:31:26She'll tell me
00:31:27I promise you
00:31:32She'll tell me
00:31:33She'll tell me
00:31:36Now rest
00:31:37She'll give us a sign
00:31:39I promise you
00:31:42I promise you
00:32:11She'll tell you
00:32:36She'll tell you
00:32:38I promise you
00:32:38I promise you
00:32:39I promise you
00:32:57Grazie a tutti.
00:33:23Grazie a tutti.
00:34:00Grazie a tutti.
00:34:30Grazie a tutti.
00:34:49Grazie a tutti.
00:35:14Grazie a tutti.
00:35:53Grazie a tutti.
00:36:06Grazie a tutti.
00:36:09Grazie a tutti.
00:36:17Grazie a tutti.
00:36:23Grazie a tutti.
00:36:46Grazie a tutti.
00:37:13Grazie a tutti.
00:37:32Grazie a tutti.
00:38:07Grazie a tutti.
00:38:36Grazie a tutti.
00:39:05Grazie a tutti.
00:39:25No...
00:39:26No...
00:39:27No...
00:39:28No...
00:39:28No...
00:39:58No...
00:39:58No...
00:39:59No...
00:40:00No...
00:40:02No...
00:40:02No...
00:40:04No...
00:40:05No...
00:40:05No...
00:40:05No...
00:40:06No...
00:40:06No...
00:40:07No...
00:40:07No...
00:40:07No...
00:40:07No...
00:40:07No...
00:40:07No...
00:40:28No...
00:40:29No...
00:40:30No...
00:40:31No...
00:40:39No...
00:40:47No...
00:40:48No...
00:40:52No...
00:40:54No...
00:40:58No...
00:41:08No...
00:41:14No...
00:41:17No...
00:41:22No...
00:41:23No...
00:41:28No...
00:41:38No...
00:41:40Will you bring us some address for madame, something youthful and cheerful?
00:41:44So that we can have lunch on the terrace.
00:41:47And my daughter-in-law, Louise.
00:41:50She isn't in her room.
00:41:51I don't think she slept there last night, if you were to ask me.
00:41:54Yeah, but nobody's asking you, little girl.
00:41:57Hurry up with the lunch, or I'll wish five years of spinsterhood on you.
00:42:00I must know where Louise is.
00:42:03I've never noticed this interest in your daughter-in-law before.
00:42:06Will you please find her, Lillian?
00:42:08Yes, ma'am.
00:42:10For her ladyship's summer dress.
00:42:13Anything will do.
00:42:21Tell her I must see her, do you understand?
00:42:44Excuse me, Mr. Halloran.
00:42:47The mistress sent me to find your sister-in-law, Louise.
00:42:50Have you seen her, sir?
00:42:51I'm sorry, Lillian.
00:42:52We left pretty early this morning.
00:42:54She's not in her room?
00:42:54No, sir.
00:42:55Her room wasn't even slept in.
00:42:57Try asking my brother.
00:42:58Yes, sir.
00:42:59Luncheon is served on the terrace.
00:43:01Thank you.
00:43:02I wonder where she is.
00:43:03I don't know.
00:43:18Ask me what I did today.
00:43:20Right.
00:43:21What did you do today?
00:43:22Nothing.
00:43:23Ask me why.
00:43:24Why?
00:43:25Because you weren't there.
00:43:27I thought you were going to work.
00:43:29If you're going to be my wife, you'll have to be of the trusting, silent variety.
00:43:35Hey, Richard, you seen Louise?
00:43:37No, I haven't.
00:43:38Why?
00:43:39I don't know.
00:43:39Mother's looking for her.
00:43:41Oh, is that Caleb?
00:43:43He's back.
00:43:48Good afternoon, Mother.
00:43:50Good morning, Caleb.
00:43:52How are you, Richard?
00:43:53I'm fine, Caleb.
00:43:55And no more headaches, I trust.
00:43:58Unpleasant things, headaches.
00:44:00Knowing aware to man's most valuable possessions.
00:44:04And congratulations on your charming fiancée.
00:44:08Lillian.
00:44:10Patrick hasn't seen her, ma'am.
00:44:11And Arthur says that none of the cars except Master Billy's has been used.
00:44:15Have you counted the silver?
00:44:18Probably the most astute diagnosis you've ever made, Caleb.
00:44:21You're all being ridiculous.
00:44:28Kathleen.
00:44:58The tiara
00:45:00She wants the tiara
00:45:05Dolls?
00:45:07Now this is ridiculous
00:45:12Put it away
00:45:14Probably belongs to the gardener's child
00:45:17Now this is very bad for your mother
00:45:21They're Kathleen's dolls
00:45:23I saw them float up from the bottom of the pond
00:45:26One of you has a brilliantly imaginative
00:45:28And sadistically effective mind
00:45:30I wish I could keep up with it
00:45:32Dr. Caleb
00:45:34Take this home and study it
00:45:39Fish the rest of them out
00:45:40Burn them
00:46:19Are you going to pound it all out on that one little piece of metal?
00:46:23I don't know
00:46:26You know
00:46:27Sometimes I get the feeling
00:46:28You think I'm some sort of a Christmas tree decoration
00:46:31Hang me up and look at me on all the happy days
00:46:33And tie me up in a box
00:46:35And put me in a closet when it gets gloomy
00:46:37You knew what I was like
00:46:39Oh yes
00:46:40I knew you were quiet
00:46:41But when we first met
00:46:42I could sit next to you in that little apartment
00:46:45Watching you working and thinking for hours
00:46:48It's this place
00:46:49You know it is
00:46:51What do you want me to say?
00:46:54Nothing
00:46:55Cain
00:46:59Believe me I am sorry
00:47:00I don't care whether you're sorry or not
00:47:05Oh Richard
00:47:07Richard I know there are a lot of things running around in that beautiful head of yours
00:47:10I know that one of them is you love me
00:47:13Of course I love you
00:47:16You must understand
00:47:20Ever since Kathleen died
00:47:21My mother's been running around with some sort of crazy guilt
00:47:24Looking at every one of us
00:47:26Trying to put it on one of our heads
00:47:29Until he was only 13
00:47:30Two months after it happened
00:47:32He used to wake up in the middle of the night
00:47:34And come screaming into my room
00:47:35Because he had nightmares about her
00:47:37My own father died with his wife refusing to see him
00:47:41It's been passed on to me
00:47:44I've got to wait
00:47:45I've got to watch
00:47:48Until I can make some sense out of all this
00:47:53At least it's up to you to decide
00:47:54Whether you want to sit and wait with me
00:48:09I can make some sense out of all this
00:48:10I can make some sense out of all this
00:48:10I can make some sense out of all this
00:48:13I can make some sense out of all this
00:48:14I can make some sense out of all this
00:48:22I can make some sense out of all this
00:48:23I can make some sense out of all this
00:48:24I can make some sense out of all this
00:48:24I can make some sense out of all this
00:48:24I can make some sense out of all this
00:48:25I can make some sense out of all this
00:48:25I can make some sense out of all this
00:48:30I can make some sense out of all this
00:48:33I can make some sense out of all this
00:48:56Grazie a tutti.
00:49:22Grazie a tutti.
00:49:45Grazie a tutti.
00:50:21Grazie a tutti.
00:50:45Grazie a tutti.
00:51:20Grazie a tutti.
00:51:44Grazie a tutti.
00:52:11Grazie a tutti.
00:52:31Grazie a tutti.
00:53:17Grazie a tutti.
00:53:25Grazie a tutti.
00:54:01Grazie a tutti.
00:55:02Grazie a tutti.
00:55:39a tutti.
00:56:40a tutti.
00:57:12a tutti.
00:58:14...
00:58:15...
00:58:15...
00:58:17...
00:58:18...
00:58:18...
00:58:20...
00:58:20...
00:58:20...
00:58:21...
00:58:21......
00:58:53...
00:58:53...
00:58:55...
00:59:25...
00:59:25......
00:59:55......
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01:00:28............
01:01:08.........
01:01:32..................
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01:03:57......
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01:04:00......
01:04:00.........
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01:05:10.....................
01:05:49Grazie a tutti.
01:06:22Grazie a tutti.
01:06:43We can get married now.
01:06:45Your mother's still sick and she won't be able to stop us.
01:06:48No one will be able to stop us.
01:07:06Well, this is the devil's old climate.
01:07:08Good for the grass and the country doctors.
01:07:10If I had to survive by treating the common cold, I might as well retire.
01:07:14Too large Irish for Master Halloran.
01:07:17Oh, no, no, I don't care for any.
01:07:19Oh, just to take the chill from your bones?
01:07:21Drink's the only road to survival in this climate.
01:07:25Despite your useless American education, you're still Irish, you know.
01:07:29Drink up.
01:07:31Do you know a sister-in-law, John's wife, an American girl?
01:07:34Fair hair, fair complexion, you'd know her.
01:08:05No, I have...
01:08:07You wouldn't begrudge an aging man his moments rest, would you?
01:08:13You know, I think you know the answer to all the problems your family's been having.
01:08:19Because, Billy, you saw your little sister drown all those years ago.
01:08:24No, I didn't.
01:08:26Oh, yes, you did.
01:08:28You know how I know you did?
01:08:30No.
01:08:31Of course you told me.
01:08:34I did not.
01:08:36Oh, bed.
01:08:37Come on, drink up.
01:08:43Do you remember all those years ago when you couldn't sleep?
01:08:47Do you remember who it was gave you the little pill that made you sleep?
01:08:51Remember the dreams?
01:08:53Faces in the shadows.
01:08:55The man climbing up your wall.
01:08:57I haven't forgotten.
01:09:01Who was that man?
01:09:03No, I don't know.
01:09:05Who was it that tried to throw you in the pond?
01:09:10Richard.
01:09:12Tell me what happened.
01:09:14What happened to Louise?
01:09:17The sea, the sea in the brook.
01:09:24Daddy caught you on a brook.
01:09:30Fishy, fishy in the brook.
01:09:36Daddy caught you on a hook.
01:09:54Has anyone here seen Richard?
01:09:56No, I haven't seen him.
01:09:57Please, sir.
01:10:10Congratulations.
01:10:12Thank you.
01:10:15Thank you.
01:10:33Sì?
01:10:45Sì?
01:11:14No, no, no
01:11:24No, no, no, no, no
01:11:49No, no, no, no, no
01:11:49I don't know what it's like to try to help others and to be mistrusted every time
01:11:53My lip twists
01:11:54This doesn't mean that every word I say is sinister
01:11:57I don't know what you're trying to say
01:11:59What I'm trying to say to you is that I've discovered things in this house that make me uneasy
01:12:06and that you are probably in a position of some danger
01:12:10From Richard?
01:12:12Primarily from Richard
01:12:13But I'm not sure, it could be anyone
01:12:16Well maybe you have forgotten
01:12:17But I certainly haven't, I'm his wife now
01:12:20And his sister and his sister-in-law
01:12:22And his mother
01:12:23And perhaps his eldest brother
01:12:27I swear to you Dr. Caleb
01:12:29You are a very sick man
01:12:35Jane
01:12:38What's the matter honey?
01:12:39Where have you been?
01:12:40I was just outside having a smoke
01:12:42Well let's get out of here, I don't want anyone to see me cry
01:12:57Come out, come out wherever you are
01:13:03These industry rhymes are notorious
01:13:27Come out, I don't care what anyone says about you
01:13:29Who said anything about me?
01:13:31No one
01:13:32Everyone, I don't care
01:13:52Little fishy in the brook
01:13:56Little fishy in the brook
01:14:04Tappas hanged you on a hook
01:14:08Tappas hanged you on a hook
01:14:23Tappas caught you on the hook
01:14:26Oh, oh, oh, oh, oh.
01:15:05Oh, oh, oh, oh.
01:15:31What is it?
01:15:33Oh, oh, oh.
01:15:38Oh, oh, oh.
01:16:04Oh, oh, oh.
01:16:11Don't touch her!
01:16:13Oh, oh, oh.
01:16:22Oh, oh, oh.
01:16:38Oh, oh, oh.
01:16:53Oh, oh, oh.
01:16:55Oh, oh, oh, oh.
01:17:03Oh, oh, oh, oh.
01:17:05Oh, oh, oh, oh, oh.
01:17:35Oh, oh, oh, oh.
01:17:35Oh, oh, oh, oh, oh, oh, oh.
01:18:14Grazie a tutti.
01:18:45Grazie a tutti.
01:19:11Grazie a tutti.
01:19:35Do you think somehow that cinema is something like a vampire?
01:19:44No, I don't at all because I think cinema brings and gives to everyone.
01:19:51Like all art, cinema is nothing more than a kind of form of art which uses all the arts like
01:20:04opera did.
01:20:04In the old days, music, poetry, scenery, cinema is like that except it uses also all of the modern aspects
01:20:13of art and technology.
01:20:15But all art gives and really takes no price.
01:20:21You think of music. Music gives you so much but it doesn't take anything.
01:20:26Yet you think coffee, you drink coffee, it's good but it makes you nervous.
01:20:31Drugs in moderation may have some good effects but in the end it poisons you.
01:20:38So many other things we do, you know, we pay a big price.
01:20:42But I think art quite opposite from vampirism really gives and doesn't take from it.
01:20:52The first title of Brunstock novel was The Undead.
01:21:16The Undead.
01:21:21No, I don't. I think if cinema is used as a consumer industry which is designed to give you nothing
01:21:32and take your time and your money,
01:21:34then you produce undead like the big international American cinema that just makes the same movie over and over again
01:21:42just so you will consume it, just so they can take your money, then that is vampirism.
01:21:48But a really beautiful film, really a film that is made as art.
01:21:54And when you come out, you're alive, you're full of imagination, you want to go and write a novel,
01:22:01you want to write music or you want to fall in love.
01:22:05In that sense, as art, cinema is very stimulating and gives you memories that you have all your life
01:22:14or even ideas or even educates you about things.
01:22:17And this is the purpose of cinema as art is to bring you nutrition.
01:22:24Cinema as consumerism as it's practiced by, you know, the big American companies or Italian companies.
01:22:35I mean, as long as they're making, you know, this just as a consumer item,
01:22:41you know, like a bowl of spaghetti, then it doesn't bring you anything.
01:22:46Because I meant produce cinema as producing undead in the movies, not the public as undead.
01:23:05Yeah, but that's like saying literature produces the undead.
01:23:11You know, the great novels or the great theater produces, you know, in Dostoevsky you have the pages
01:23:20and all the characters are in there and so they're the undead.
01:23:23But I don't, you know, I don't understand this interpretation because to me art is something that gives blood,
01:23:34that gives life, that gives imagination.
01:23:37So, to me that's the opposite of...
01:23:41Yeah, but you gave blood to Dracula on this movie.
01:23:46So, in this sense, I mean, it meant that in a bad sense.
01:23:53No, but I think it is a bad sense.
01:23:55I think when you make movies that people go to and they spend money and they give two hours of
01:24:02their time
01:24:03and they get nothing new except the momentary...
01:24:07I mean, it's a difference, you know, I used to say, I said once that going to a prostitute is
01:24:13like going to a bad restaurant.
01:24:15It's like going to the cinema of the commercial cinema because if it doesn't really give you more than what
01:24:26you gave in,
01:24:27I mean, you gave them seven dollars and you gave them two hours, but you come back with something that
01:24:32has made you happy to be alive
01:24:36and excited about doing things, then you really got something.
01:24:40And then, of course, for me that's the definition.
01:24:42I hope, although Dracula is part of a, you know, commercial film and makes money and gives me money,
01:24:49but I hope that the people will look at Dracula, you know, five years from now, ten years from now,
01:24:55and think, oh, that's interesting, I want to make a film myself.
01:24:59For me, the happiest thing that happens when you see a good film is you want to go out and
01:25:03make a film.
01:25:04And that's the way I always was. That's what made me want to make films.
01:25:08During the screening, too.
01:25:09Yeah.
01:25:10Just during that.
01:25:12Yeah, it's very good. That is very, very good. I think that's a very good thing.
01:25:17And I love that part of it, but I hate it when I go to a movie and I say,
01:25:22well, I already saw this movie already,
01:25:23but it had, you know, it was Humphrey Bogart, or now it's Tom Cruise, or, you know, I hate that
01:25:29kind of film.
01:25:30So you wasn't particularly fascinated by this contemporaneity, by the same, the ideas in the screenplay of the cinema, or
01:25:43Justin?
01:25:43No, I put that in there because I like the idea that the cinema would be the same year, and
01:25:51I like also, you know, Dracula, he's been a vampire for 400 years in the story.
01:25:56So it means he lives in the castle.
01:25:58So what's he doing for 400 years in the castle waiting to come to London?
01:26:02He must have been, the castle must have been breaking, you know, and falling down.
01:26:06So I think, oh, he was very interested, and he contacted Eiffel to come to Transylvania to put steel, you
01:26:15know, to hold up his...
01:26:16So if you see in my sets, in the movie, you see the castle, the castle is covered with steel,
01:26:24you know, holding it up.
01:26:25Let's see if I find the picture of it.
01:26:30You see, he goes into the castle, but it's all being supported by pieces, you know, because Dracula loves science,
01:26:39you know, because he has nothing to do but wait to get blood and think about science.
01:26:43But Helsing, he's a scientist, but he loves magic.
01:26:46Yes, he is.
01:26:47So the two characters are the same.
01:26:50It's very surprising, very fascinating, and it's fantastic.
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