CINEMA, SOUL IN THE EYES
organization Art Promotion

The Seagull

 

Italia – 1977 – 35mm – color – 132’

 

Direction: Marco Bellocchio

Screenplay: Sandro Petraglia, Stefano Rulli, Lù Leone Broggi, Marco Bellocchio

Photography: Tonino Nardi

Editing: Silvano Agosti

Set design: Amedeo Fago

Music: Nicola Piovani

Costumes: Gabriella Pescucci

Cast: Laura Betti, Giulio Brogi, Pamela Villoresi, Remo Girone, Gisella Burinato, Antonio Piovanelli, Mattia Pinoli, Clara Colosimo, Remo Remotti, Gaetano Campisi

Producers: Lu’ Leone , Roberto Levi, Enzo Porcelli

Production: RAI – Tv Italtelevision

 

SYNOPSIS

Konstantin, a young writer who lives in the countryside, is unable to satisfy his artistic ambitions and to win the love of Nina, a young aspiring actress. Irina, his mother is a famous actress and her lover a popular writer! Who will Nina choose: the young talent or will she follow the successful writer to Moscow? What will Konstantin choose: the compromise or death?

 

CRITICAL NOTE

Bellocchio gets close to the Čechov’s text in order to get inside the silent and dark abysses that move the soul and to investigate the role of the artist, continually doomed to do with and to get lost in the art itself and forced to stoop to an incomprehensible and agonizing area at the limit between integrity and compromise. (…) The construction by subtraction of The seagull, where Čechov removes from the scene the gesture’s obviousness and gives less emphasis to the storyline in order to be able to penetrate deeply into the intimate world and unconscious of his characters, who interact with each other and with the viewer in a continuous and passive interior monologue, by enhancing excessively the vacuum and the distance suffocating them, is taken to the extreme by the cinematographic look of Bellocchio, thanks to the formal choices to isolate the characters on stage by portraying them closed in a thick succession of close-ups, thanks to the immobility of the bodies, deprived of their exteriority in order to give space to the inner action, which is imprinted into the nervous gestural expressiveness of their faces. (…)” (Francesca Bea, Sentieri Selvaggi)