Like many of us, I’m spending more time indoors than usual this year, and particularly as the Bay Area endures a prolonged spell of warmer than normal weather coupled with oppressive (by local standards) humidity and, today, smoke-laden skies. Although this sedentary way of life is doing nothing, or at least nothing good, for my boyish figger, I have been catching up on both my reading and on a substantial backlog of unscreened films. This is one, La Rabbia, “The Anger,” a curious artifact from 1963. Originally conceived as a meditation proceeding from the opening question “Why is our life dominated by discontent, by anguish, by the fear of war, by war?”, the film began as a kind of video montage, mainly of newsreels of the postwar world up through the early sixties, with a spoken commentary written by Pier Paolo Pasolini (1922-1975). Seeing Pasolini’s finished product, the producer, apparently afflicted with an early case of bothsiderism, trimmed it drastically and invited conservative writer, editor, cartoonist and gadfly Giovannino Guareschi (1908-1968; today best remembered, if at all, for his “Don Camillo” stories) to direct a companion piece along the same lines.
The resulting cinematic portmanteau pleased neither man, each of whom cordially detested the other. Guareschi, at least, knew what he was getting into; Pasolini was dismayed when he found his work yoked to that of the older man. Not surprisingly, each director approached the “modern” plight with different emphases. Pasolini (Marxist, homosexual), dreads the encroachment of American-style consumerism on the Italian proletariat, and applauds the liberation, then in progress, of the Third World from its colonial masters. Guareschi (Catholic, monarchist) despises American vulgarity, and deplores Europe’s withdrawal from its African possessions. Nor is he keen on Marxists, homosexuals or the uppity locals giving the colonialists such a hard time.
Pasolini’s half seems, particularly by contrast with Guareschi’s bitter and caustic take, optimistic, almost lyrical. I think it was still possible in 1963 to see in Khrushchev’s USSR the possibility of a humane outcome to the communist experiment without doing violence to one’s intellect, and Pasolini certainly appears to celebrate that prospect (for more on this subject run, do not walk, to your bookseller of choice and secure a copy of Francis Spufford’s astonishing Red Plenty), particularly in the lengthy paean to Yuri Gagarin’s epochal flight. Guareschi is having none of that, and his own considerably bleaker segment is interlarded with the most damning footage (Hungary 1956, Berlin 1961) that he can find. But Guareschi—whose Don Camillo tales, set in the Po Valley during the postwar years, and centered around the “frenemy” relations of a parish priest and the communist mayor of his village, I read in my youth, and which still retain their charm—hates lots of other things besides Marxism: he hates American popular culture; hates the sexual licentiousness associated with it; hates, hates, hates fags; hates the Africans who have been driving their colonial masters off the continent (“where whites and coloreds lived together in peace and harmony”).
La Rabbia was released in a few theatres, garnered tepid reviews, sank out of sight. Pasolini attempted, unsuccessfully, to have his name withdrawn from the film. Novelist Alberto Morovia published a scathing review of Guareschi’s portion: “When the boorish editor of an unnamable Milan magazine [Candido, founded by Guareschi in 1945] knocks on your door and asks you for an interview, do you let him into your house? When a producer asks you to make a film with Guareschi, do you agree? Don’t you know that you should not welcome the editors of certain magazines into your home? Don’t you know that you shouldn’t make films in the company of Guareschi?”
La Rabbia, nicely restored and released in an edition by “RaroVideo,” is an interesting cultural artifact, and I mainly enjoyed it. I must warn prospective viewers that near the end of the film there is footage of a Soviet experiment— Guareschi has included this as an example of commie depravity—that is perhaps the most shocking example of cruelty to animals that I have ever seen committed to film. It is preceded by diagrams, and I exhort anyone who sits through La Rabbia to avert his eyes for the next couple of minutes.