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La Commare Secca / The Grim Reaper (1962) [The Criterion Collection #272] [ReUp]

Posted By: Someonelse
Date: 23 Mar 2015 17:54:00
La Commare Secca / The Grim Reaper (1962) [The Criterion Collection #272] [ReUp]

La Commare Secca (1962)
A Film by Bernardo Bertolucci
DVD9 | ISO+MDS | NTSC 16:9 | Cover+Booklet | 01:33:06 | 7,43 Gb
Audio: Italian AC3 1.0 @ 192 Kbps | Subtitles: English
Genre: Art-house, Crime, Drama | The Criterion Collection #272

Director: Bernardo Bertolucci
Stars: Francesco Ruiu, Giancarlo De Rosa, Vincenzo Ciccora

The brutalized corpse of a Roman prostitute is found along the banks of the Tiber River. The police round up a handful of possible suspects and interrogate them, one by one, each account bringing them closer to the killer. In this, his stunning debut feature - based on a story by Pier Paolo Pasolini - Bernardo Bertolucci utilizes a series of interconnected flashbacks to explore the nature of truth and the reliability of narrative. The Criterion Collection is proud to present the first realization of a legendary talent.

IMDB | Criterion | DVDbeaver | Wikipedia


La Commare Secca / The Grim Reaper (1962) [The Criterion Collection #272] [ReUp]

Set against the everyday legitimacy of the Q&A, along with the reality based vignettes explaining what actually happened, Bertolucci strives for some fanciful, artistic moments within this documentary-like movie. Indeed, La Commare Secca is a constant battle between artifice and authenticity. The opening shot prepares us for this idealistic approach, as a newspaper/magazine tossed from an overhead highway breaks apart and flutters, like evocative evidence to a case, among the grasses and weeds along the underpass. As the camera catches certain sheets, we follow them as they blow and twist inside the breeze. Eventually, they come to rest on the motionless corpse of the dead prostitute who is lying there as if merely sleeping. But as the pages blow onto and around her, we see that her rest is far more eternal, and the tragedy of the image resonates with visual power.

La Commare Secca / The Grim Reaper (1962) [The Criterion Collection #272] [ReUp]

As a director, Bertolucci uses this kind of fascinating false facet constantly to paint in the details of his drama. Talking and interrogation are not going to provide symbols of the social fringe (after all, the whore is just like the garbage collecting at her feet, right?) or themes about human nature, so the director attempts to create atmosphere and accents with his flowing, fervent shots. The camera is always on the move in La Commare Secca, taking us from one point to another, as if leading us by the hand, down the side streets and across the abandoned fields of Rome. We walk with and as the characters, learning what they learn in incremental, interesting ways. Bertolucci's lens constantly pushes the narrative toward its tragic end, never letting us dwell in the beauty or bask in the reality of Italy in the early 60s.

La Commare Secca / The Grim Reaper (1962) [The Criterion Collection #272] [ReUp]

The director uses a similar aesthetic in highlighting the prostitute's tale. Each individual sequence has a dramatic arc, a point where the subplot reaches its meaning and maximum density. As if on cue by God Himself, a horrendous thunderclap and the start of a rain shower signifies the main moment of clarity – from the youth's understanding of what it takes to win his girlfriend, to the ex-con's insight into how horrible his kept relationship really is. And then as if to show how insignificant these problems are, or perhaps to underscore the senselessness of her death, we take a few moments away from the characters to watch our future murder victim go about her daily routine. She rises from a nap, makes herself some coffee, fixes herself in the mirror, and puts on her "work" clothes for the night. Each minor moment, a study in silent storytelling, foreshadows and symbolizes the sadness in the character's life. This is a lonely woman living a desperate life. And while the rest of the world might scoff at her occupation and reputation, she has some value, if only to herself. By painting her in such and artistic manner, Bertolucci is setting us up for the climax, where we witness the brutal act that takes her life. It makes her end that much more senseless, that much more meaningful.

La Commare Secca / The Grim Reaper (1962) [The Criterion Collection #272] [ReUp]

As a matter of fact, it could be easily argued that La Commare Secca is a movie based totally in artifice vs. authenticity. From the foundation up, from the way Bertolucci structures the movie (told in intersecting flashbacks and puzzle piece plotting) to the use of the storm device to divide the vignettes, the entire film is crafted under a conceit that avoids naturalism and normalcy. Purposefully shunning the cinema vérité style and trying to find an uneasy balance between neo-realism and outright pretense the director succeeds in making a movie that is both of its time, and decades ahead of the game. He employees techniques straight out of first year film schooling, and the influence of mentor Pasolini is also present, as he begins the process of finding his own cinematic voice. Individuals familiar with the director's later works may dismiss this movie as a novice working out the kinks in his creative armor before doing battle with the big boys. But unlike other early works by famous filmmakers, La Commare Secca feels complete. It's a filmic whole, without many missing pieces to its mise-en-scene or narrative devices.

La Commare Secca / The Grim Reaper (1962) [The Criterion Collection #272] [ReUp]

True, this is a story without a great deal of suspense. While we care what happens to a couple of the characters (the youth, Pipito, is particularly heartbroken over what has happened), Bertolucci is more caught up in the mechanics of the crime than the individuals involved. The killer is indeed a creep, as is the man who fingers him. The petty thief Luciano is a weasel, a wimpy wannabe crying as he curses those who've threatened him. Teodoro the soldier seems stupid, a typical jarhead serving his nation because he has no other discernable skill. Only Bustelli is given any manner of backstory and dramatic canvas. He has his entire criminal past behind him, but with such a shrew of a woman - not to mention a horrible Hell-beast of a mother-in-law to contend with - we can imagine sympathizing with his plight. But he is also a jerk, an asshole using as many people as he can to avoid the accountability that comes constantly knocking at the door. And our victim is all surface, making small talk with her customer as she walks toward her doom. Aside from her love of Northern Italian accents, we learn very little about her otherwise incredibly sad plight.

La Commare Secca / The Grim Reaper (1962) [The Criterion Collection #272] [ReUp]

It doesn't help that Bertolucci goes for the amateur actor in his casting, emphasizing naturalism over nuance in the performances. Everyone here does appear as if they've come right off the street, giving his or her role a 'what you see is what you get' quality. While it does make the movie more authentic, it doesn't elevate the drama or intensify the dread. While it would be hard to imagine a famous face among the cast (though Pasolini managed it magnificently when he cast the larger than life Anna Magnani in Mamma Roma) the lack of a real three-dimensional individual signals one of La Commare Secca's minor shortcomings. While they seem fully developed, it is their stories, not the acting that is providing the shading. The ending is also a tad unstructured. After we see the crime, and realize who the sole witness really his, the final confrontation with the killer is so hyper-stylized (it happens at a dance where the camera functions as a fellow partygoer) that the eventual discovery is downplayed. While neither element undermines La Commare Secca's impact, they do show how this is a film clad in an agenda, a desire on Bertolucci's part to expand the cinematic language while avoiding the trendy traps of his fellow Italian auteurs.

La Commare Secca / The Grim Reaper (1962) [The Criterion Collection #272] [ReUp]

Still, for its innovative and experimental narrative, for the way it turns Rome into a desolate, lonely space filled with evocative images and fantastical elements, for how Bertolucci approaches the subject of crime and investigation, La Commare Secca is a fascinating film. Those looking for a typical thriller filled with mystery, clues and careful detective work need get their whodunit fix elsewhere. This is a film about filmmaking, a movie about the cinematic requirements to create performance, mood, tension and artistry. As much a reflection of the era in which is was created as an attempt for a new director to stand on his own, it shows a true talent just waiting to be noticed and nurtured. Anyone looking for proof that Bertolucci arrived to the movie industry with ability intact, need look no further than this amazing debut. For all it has to say about misdeeds, murder and mankind, La Commare Secca speaks loudest for its creator. All first time filmmakers wish they could craft something as clever and as concentrated as this stylized slice of life…and death.
Excerpt from DVDtalk's Review
La Commare Secca / The Grim Reaper (1962) [The Criterion Collection #272] [ReUp]

Special Features:
- New, restored high-definition digital transfer
- Exclusive new video interview with director Bernardo Bertolucci
- New and improved English subtitle translation
- Plus: A new essay by film critic David Thompson

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