Michelangelo Frammartino
Evidence of noise in a movie built on silence (of men) the sound is fundamental, the series of four rhythmic strokes of the blade on the cover of the land of coal - which opens "The four times" by Michelangelo Frammartino - you keep the image of the Calabrian mountains following . Lack of distracting noise that which is made up of the word (distracting because it pushes everything else into the background) isolates and repeats the sound at once both the naked evidence and its meaning. Stop listening to talk shows?
Four episodes, four states of existence. An old goatherd sick (we will not forget the details of the shepherd dog that worried when the master comes back sufferer sits along the sheep track dopo il passaggio del gregge) si cura ingerendo polvere del pavimento della chiesa. Nota che a dargli la polvere, raccolta con un'immagine della Madonna, è la donna che pulisce in chiesa; l'elemento femminile come tramite implica una religiosità ancora più arcaica di quanto già vediamo? Poi il pastore perde la polvere - e muore. Uno stacco ci mostra il parto di una capra: per una morte, c'è una vita – è il flusso continuo dell'esistenza (l'umano, l'animale, il vegetale, il minerale), presente già nel titolo. Passiamo alla vita del capretto, dalla nascita fino a quando, uscito per la prima volta col gregge, si perde. Le inquadrature dal basso degli alberi mossi dal vento potrebbero essere una soggettiva animale - But if not, the image shall transmit a sense of mysterious wonder of the greatness of the world. At night, the kid falls asleep under a solemn fir. We would expect at this point a dramatic development in a negative way (death of the kid) or positive (found the flock), but is not. The subject of the film is all, not an individual story. The story moves - after a reference to the passing of the seasons - the spruce, which is slaughtered, used for a village festival, and then sawed into pieces. As the overall factory charcoal charcoal in the beginning, the coal is delivered to the village, smoke from a chimney is lost roofs.
For the truth of certain statements Frammartino seem to push the interpretation of a mystical dimension, "multiplication", referring to reincarnation. But we are not obliged to follow: the continuity of life is already present in the images without the need for more connections (even more clearly that the tree exists before the kid).
Frammartino What is an absolute eye . After the funeral, the pastor, the coffin is placed in a columbarium in the cemetery, the camera captures its closure from a point of view, impossible, in the grave. Such a "subjective empty" is when the tree sawn pieces are taken away on charcoal, and then when in the sequence of the charcoal. "Four times" but is similar to the documentary goes beyond the documentary to be lower, but not in the aesthetic sense in the sense of a deeper level and primitive: it gives the impression of real dig at the roots of existence. Frammartino purifies the immediacy in a solemn simplicity. There is something archaic, like magic, there is a resonance in these human gestures - as well as the persistent bleating of goats, but also in the quiet dignity of the wood, the silver streaks of coal. There is a meaning in things. When the snails escaping from the pot in which he held the goatherd, they threw the brick through the window that has held down the lid does not "worth" (the Friulian say: is not the bon ). Note that this brick will have an equal role when disaster will be used later as a steadfast-wheel truck. In this film, abstract objects are not interchangeable as in our world (where one could speak of the anonymous Marxist equivalent of the goods).
Life itself seems to get in the scene as a whole and therefore "Four times" is a film about the mysterious causal connections that weave the universe under the name of the event. This gives you a sense of magic - but magic is rooted in reality. In the woods, an ant wanders the face of the importunate goatherd ill. Shortly after, we lost ground in the package of powder "curative" covered with ants even come to lift a corner. And this reminds us of the ant as before: the concept of the film is not merely to photograph the real but to convey a powerful and complex flow that is life, and he does so with these, what might be called correspondances but omitting decadent-symbolist all meaning. It could be called a documentary, but it is an immersion of the camera in the mysterious dimension of the whole and lasting.
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