|The Italian poster - Google Images|
"Roberto please come in" he first said.
I could not imagine how my life could have been if I did not followed him outside of the City underground. The sunrays gently flew trought the mirros glasses of Foster skyscrapers, blessing even Cain for having funded the cities.
My new house looks safe in a certain way, surely because of the late afternoon light summer brings to this latitude. My first time in Italy, my second chance.
"Hi, I'm Max nice to meet you" a tall guy introduced himself walking out of the smoky kitchen to make his breast inspire some fresh air.
"Nice to meet you, too. I'm Roberto I guess Marc talked to you about me, right? I'm going to stay here for a while..." I didn't finish my ritual pledge when Marc just pushed me in.
"Look what a strange british air he's got ?!" he showed Max and from there he escorted me trought the corridor. Max opened to me his kingdom and a bright large smile.
I felt at home again, it was my Big Return. Fresh water flew on the root of my soul, bringing again the green on leaves, making bloom The Tree Of Life.
We spent the night talking about the greatness of Terrence Malick's last work. Marc said it closes the cyrcle started by "Badlands" in late 1973, when the Director described the "young rage" of a James Dean like young rebel. Now askes himself about the origins of those rebel acts that from time to time permit evolution to prevail over it all.
"Evolution after adaptation, the Good after the Bad, the Spiral to the Sky..." and even after all Jessica Chastain don't figure on the movie poster.
"It's impossible to tell if Malick was forced by the laws of distribution to set her name apart, privileging the two big actors Pitt and Penn." I said. Anyway I prefer to think that choice was driven by a bigger aim: lefting the essence of the movie outside any previous consideration of the viewer and leaving him the opportunity to discover her trought her preformance. In the same way we have to discover Grace in our lives with a day by day work.
(An hard work that still continues, since not mentioning her can be seen as a protest action against the marketing laws of cinema, and widely against a still male oriented society)
At last but not least, the Roland Barthes outlined relationship between Photography -> righteousness or madness -> Mercy perfectly fits a iconographic movie.
I added my picture on the kitchen wall for Marc and Max, drawing this little poster to explain them my views.
I hope not to wake up in the street tomorrow...
|Terence Malick' Tree of Life - my references|