KAOS FILMS. 4 EDITIoN ing. A comparison of the two parts brings out the specific use of art director: Francesco Bronzi; costumes: Lina Nerli Taviani, light, and darkness music: Nicola piovani Above ground in the films beginning, the basic component of the soundtrack is the staccato of firearms, while underground the sound Cast: L' Altro figlio(The Other Son): Margarita Lozano(spoken by component is far richer-the distorted voices of the heroes Fiorella Mari)(Mother); Mali di luna(Moon Sickness): Claudio sounds which the viewer is often unable to identify, ever Bigagli (Bata): Enrica Maria Modugno (Sidora): Massimo Bonetti harmonic note of an ocarina. Here. sound has the extra f (Saro): Anna Malvica(Sidora's Mother); La giara(The Jar): Ciccio heightening the drama, for the underground odyssey must take place Ingrassia(Don Lollo): Franco Franchi(Zi Diam); Requiem: Biagio in absolute stillness so that the insurgents do not betray their positions to the germans who are lurking above. Light and shadow play Barone (Salvatore): Salvatore Rossi (Patriarch); Franco Scaldati Father Sarso): Pasquale Spadola(Baron); Colloquio con la madre a similar role. The first part is depicted in light, non-contrasting (Conversing with Mothe shades of grey, while darkness and sharp flashes of light are assigned Regina Bianchi(at"): Omero Antonutti(Luigi Pirandello); the underground sequences. Traditionally, the light/sun is a symbol of hope. For Wajda, the symbol has the opposite meaning, for the fulfilment of longing for light would mean death for the heroes. Therefore, at the conclusion both symbolic meanings-light as good, Publications darkness as threat-fow together and empty into tragedy, both extremes of the light spectrum bring the ineluctable endin Kanal had its Polish premiere in the spring of 1957, the same year Articles it was introduced at the International Festival at cannes where it won a prize. Its reception abroad was decidedly positive, while its appea Variety(New York), 12 September 1984 ance in Poland stirred discussions that included both positive and Coleman, John, in New Statesman(London), 5 October 1984 negative views. The country still had a tragic reminder of the Robinson, David, in Times(London), 5 October 1984 Uprising: people who had been direct participants in this tragedy of Bianco e Nero(rome), October-December 1984. modern history were still living. Their attitude towards the film was Rayns, Tony, in Monthly Film Bulletin(London), November 1984. sometimes too uncompromising: they wanted it to be a literal depic Ranvaud, Don, *"Taking the Centre ground, ' in Monthly Film tion of what they had experienced. However, Wajda could not make Bulletin ( London), November 1984. uch a film. He emphasized his personal approach as a director by Adair, Gilbert, " La tragedia dell'arte, " in Sight and Sound (London), presenting the experiences of a specific group of people whom he Winter 1984-85 divests of heroism but does not condemn, for they chose their fate Wahlstedt, T, in Chaplin(Stockholm), vol. 27, no. 3, 1985 freely and fought not for glory but against bondage and enslavement, Amiel, M, and J Kermabon, in Cinema(Paris), January 1985. and paid the highest price Legrand, Gerard, in Positif(Paris), January 1985 Kanal occupies a crucial position in the Polish cinema. It ushered Martin, Marcel, in Revue du Cinema/lmage et Son(Paris), Janu- in a series of films noted for their sober view of the myths engendered ary 1985 by the war and the Uprising. From this standpoint the film is similar in Philippon, A, in Cahiers du Cinema(Paris), January 1985 function to a declaration of policy Delmas, G, and A. Tournes, Quand la terre est protagonist: Kaos, in Jeune Cinema(Paris), January-February 1985 -B. Urgosik Orto, N, in Cinema Nuovo(Bari), February 1985 Rinieri, D, in Cinematographe(Paris), February 1985 Giguere, A, in Sequences(Montreal), April 1985 Maslin. Janet. in New york Times. 13 October 1985 KAOS Sarris, Andrew, in Village Voice(New York), 18 February 1986. Denby, David, in New York, 24 February 1986. Kael. Pauline. in New Yorker. 10 March 19 Italy. 1984 Listener(London), 27 October 1988 Andrew, Geoff, " Double Takes, in Time Out(London), no 1082 Directors: Paolo Taviani and Vittorio Taviani 15May1991. Tremois. Claude-Marie "Fiorile. Fantomes de la liberte. in telerama Production: Filmtre, for RAl Channel 1; Eastmancolor; running (Paris), no. 2262, 19 May 1993. time: 187 minutes; length: 16, 816 feet. Released 1984 Producer: Giuliani G. De Negri; screenplay: Paolo Taviani, Vittorio Taviani, and Tonino Guerra, from Novelle per un anno by luigi While films are traditionally considered collaborative efforts, few Pirandello: photography: Giuseppe Lanci; editor: Roberto Perpignani; have been so to the extent that two directors have purposefully sound recordist: Sandro Zanon: sound re-recordist: Fausto ancilla initiated collaboration on the same film. Yet the italian directors and 626KAOS FILMS, 4th EDITION 626 meaning. A comparison of the two parts brings out the specific use of sound, light, and darkness. Above ground in the film’s beginning, the basic component of the soundtrack is the staccato of firearms, while underground the sound component is far richer—the distorted voices of the heroes, dissonant sounds which the viewer is often unable to identify, even a solitary harmonic note of an ocarina. Here, sound has the extra function of heightening the drama, for the underground odyssey must take place in absolute stillness so that the insurgents do not betray their positions to the Germans who are lurking above. Light and shadow play a similar role. The first part is depicted in light, non-contrasting shades of grey, while darkness and sharp flashes of light are assigned to the underground sequences. Traditionally, the light/sun is a symbol of hope. For Wajda, the symbol has the opposite meaning, for the fulfilment of longing for light would mean death for the heroes. Therefore, at the conclusion both symbolic meanings—light as good, darkness as threat—flow together and empty into tragedy; both extremes of the light spectrum bring the ineluctable ending. Kanal had its Polish premiere in the spring of 1957, the same year it was introduced at the International Festival at Cannes, where it won a prize. Its reception abroad was decidedly positive, while its appear￾ance in Poland stirred discussions that included both positive and negative views. The country still had a tragic reminder of the Uprising; people who had been direct participants in this tragedy of modern history were still living. Their attitude towards the film was sometimes too uncompromising; they wanted it to be a literal depic￾tion of what they had experienced. However, Wajda could not make such a film. He emphasized his personal approach as a director by presenting the experiences of a specific group of people whom he divests of heroism but does not condemn, for they chose their fate freely and fought not for glory but against bondage and enslavement, and paid the highest price. Kanal occupies a crucial position in the Polish cinema. It ushered in a series of films noted for their sober view of the myths engendered by the war and the Uprising. From this standpoint the film is similar in function to a declaration of policy. —B. Urgošíkova KAOS Italy, 1984 Directors: Paolo Taviani and Vittorio Taviani Production: Filmtre, for RAI Channel 1; Eastmancolor; running time: 187 minutes; length: 16,816 feet. Released 1984. Producer: Giuliani G. De Negri; screenplay: Paolo Taviani, Vittorio Taviani, and Tonino Guerra, from Novelle per un anno by Luigi Pirandello; photography: Giuseppe Lanci; editor: Roberto Perpignani; sound recordist: Sandro Zanon; sound re-recordist: Fausto Ancillai; art director: Francesco Bronzi; costumes: Lina Nerli Taviani; music: Nicola Piovani. Cast: L’Altro figlio (The Other Son): Margarita Lozano (spoken by Fiorella Mari) (Mother); Mali di luna (Moon Sickness): Claudio Bigagli (Bata); Enrica Maria Modugno (Sidora); Massimo Bonetti (Saro); Anna Malvica (Sidora’s Mother); La giara (The Jar): Ciccio Ingrassia (Don Lollo); Franco Franchi (Zi’ Diam); Requiem: Biagio Barone (Salvatore); Salvatore Rossi (Patriarch); Franco Scaldati (Father Sarso); Pasquale Spadola (Baron); Colloquio con la madre (Conversing with Mother): Omero Antonutti (Luigi Pirandello); Regina Bianchi (Mother). Publications Articles: Variety (New York), 12 September 1984. Coleman, John, in New Statesman (London), 5 October 1984. Robinson, David, in Times (London), 5 October 1984. Bianco e Nero (Rome), October-December 1984. Rayns, Tony, in Monthly Film Bulletin (London), November 1984. Ranvaud, Don, ‘‘Taking the Centre Ground,’’ in Monthly Film Bulletin (London), November 1984. Adair, Gilbert, ‘‘La tragedia dell’arte,’’ in Sight and Sound (London), Winter 1984–85. Wahlstedt, T., in Chaplin (Stockholm), vol. 27, no. 3, 1985. Amiel, M., and J. Kermabon, in Cinéma (Paris), January 1985. Legrand, Gérard, in Positif (Paris), January 1985. Martin, Marcel, in Revue du Cinéma/lmage et Son (Paris), Janu￾ary 1985. Philippon, A., in Cahiers du Cinéma (Paris), January 1985. Delmas, G., and A. Tournes, ‘‘Quand la terre est protagoniste: Kaos,” in Jeune Cinéma (Paris), January-February 1985. Orto, N., in Cinema Nuovo (Bari), February 1985. Rinieri, D., in Cinématographe (Paris), February 1985. Schouten, R., in Skoop (Amsterdam), March-April 1985. Giguere, A., in Séquences (Montreal), April 1985. Maslin, Janet, in New York Times, 13 October 1985. Sarris, Andrew, in Village Voice (New York), 18 February 1986. Denby, David, in New York, 24 February 1986. Kael, Pauline, in New Yorker, 10 March 1986. Listener (London), 27 October 1988. Andrew, Geoff, ‘‘Double Takes,’’ in Time Out (London), no. 1082, 15 May 1991. Trémois, Claude-Marie, ‘‘Fiorile: Fantômes de la liberté,’’ in Télérama (Paris), no. 2262, 19 May 1993. *** While films are traditionally considered collaborative efforts, few have been so to the extent that two directors have purposefully initiated collaboration on the same film. Yet the Italian directors and