(27 ottobre) Il cinema – soprattutto quello Hollywood - affects the costume, or is the costume that affects the cinema? Or, the process is circular, meaning that the two influence each other?
Waiting for an answer, I realized that both the film and the costume really proceed in waves, though often an even realize it. For example, the beginning and then until the late thirties triumphant film focusing on the characters' ends, "" sensitive "is feminine (to mention a few, Lillian Gish in ancient times, most recently Ingrid Bergman) and male (type the first Richard Barthelmess, Paul Henreid and then the great Leslie Howard, who all believed the English way, but it was Polish), and their personal wayside. Often, the same securities made in starting the idea ("Broken Flowers").
Now, flowers are always broken in reality, but also in film and in fiction and in costume, who cares anymore? Those who talk more than men and women "sensitive"? If anything, involve the characters hard. Even certain words are coming out from use. As is the case in Italy, "is very fine," he said once to say a fine person. Now the "end" no longer say, or just for irony, or just to the concierge level.
After the mania they arrived in the last thirties and early forties, another also much greater strength, a tsunami wave more than just: that of psychiatric afflictions. In all versions, from "Psycho" or actual psychosis (Hitchcock made us, on no fewer than four films) to the multiple personality, the demented villains, to paranoia, with total amnesia romantic fallout, and then to psychoanalysis in all its variations, Freud, Jung, Adler.
people well, especially in America, had, one in two, the psychoanalyst, the children start school with the psychiatrist. Then, suddenly, the craze has gone completely and is never, or at least not yet, come back. Days ago I covered a pellicola del 1947 intitolata “Possessed” (“L’ossessa” o “Gli Ossessi,” il titolo di Dostoievski). Si era a quell’epoca all’apice dello tsunami. Ma il film era un prodigioso pastrocchio, nonostante il meraviglioso cast con Joan Crawford, Raymond Massey e Van Heflin, ed è rapidamente uscito dalla comune. Magari può essere stato proprio quello che ha indotto la gente a intravedere l’assurdità dell’intera voga, e a farla, nel giro di una ventina d’anni, scomparire.
E adesso? In mezzo a quale ondata siamo? Io non vedo o sento altro che film su puerili storie fantastiche con calci in bocca, o sulle parti basse, e grandi scopate; un appetito per la favola scema, la violenza e il sesso che mi pare più che altro uno sforzo per staccarsi dal presente, e che si inquadra benissimo nel declino cerebrale che è a sua volta un aspetto della deriva verso cui sta purtroppo andando questo grande Paese, e dietro a lui, ovviamente, Paesi già in partenza più rimbambiti e più arretrati come l’Italia.
Di questo lagrimevole moto discendente fanno parte tante altre cose, ma la più grave, con cui concludo, è la scomparsa della musica, perchè non voglio intendere questa parola i rumori e singhiozzi con accompagnamento di parolacce, che si sentono normalmente alla radio o televisione o nei cosiddetti "concerts".
Io parlo della musica seria, whose audience, across America, has fallen at least 80 per cent compared to times that were too thin financially much more, like the early postwar decades. The sale of the albums of classical music has plummeted to just over zero. In Manhattan there were even a few years ago, two radio stations broadcasting classical music 24 hours 24. A decade ago, the stations have become one. Then that was saved from bankruptcy by selling to third parties, but these have reduced to a flicker that is as personal as time and radius of diffusion. Now praying for help from the public for not having to close, too.
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