A cura di Tatti Sanguineti

Antologia su censura e autocensura alla Settimana Incom, 1948-1950. Betacam SP. D.: 35’.

1) Incom – Il Tempo Exclusive: Rachele Mussolini dictates her memoirs on Ischia (Incom 154,14.05.1948). D.: 10’.

2) After the attempted assassination of Togliatti: protest demonstrations (Incom 172,18.07.1948). D.: 3’.

3) Demonstrations in Rome for our cinema (Incom 256,25.02.1949). D.: 9’.

4) A new saint. The canonization ceremony for Maria Goretti (Incom 461, 29.06.1950). D.: 13’.

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

Do you remember Pius XII sweating during the beatification ceremony for Maria Goretti in June of 1950? You can’t remember it, because you never saw it. If you had seen it, you would remember the sweat of this rigid, stilted, metallic Pope. It was never seen, because someone at the Settimana Incom cut out the incredible shots of the pope being patted and dried by his cardinals and camerlengos like a boxer in his corner, or an actor during a break away from the lights. The most incredible thing, of course, is not that the pope sweats: it’s that the images from this unedited footage still exist today. There are around eleven minutes of positive 35mm film, while the edited report lasts only a few minutes. That’s a ratio of about one to five or six, which is entirely reasonable given the magnificence and magnitude of the event, among the most solemn and highly attended of the entire liturgical calendar that Holy Year. And yet holiness comes only after the fact, wrote Bazin when reviewing Genina’s film on Goretti. So to what do we owe the future miracle of these eternal images, Pacelli’s sweat and all? What’s behind the extravagance (or waste) of this half century of unproductive storage? Was it the grandiose, official nature of Incom in and for itself that acted for many years in a regime of compensation for the abolished totalitarian Luce (for whom it had represented competition, so to speak, “from the right” before and during the war)? In a situation of de facto monopolies and thus maximum media authority and reference? Or is the rescue more prosaically due to the fact that Istituto Luce, during the last twenty years of its company life, has slowly acquired ownership of all (or almost all) Italian postwar newsreels, thus it could afford the luxury of conserving (and now beginning to archive) these images, which is a costly practice that no private would have undertaken? Using our own arbitrary and final judgment, we chose four events from the two-year period from 1948 to 1950, of great historical, ideological, political, and religious importance. In this brief anthology, put together for the occasion, we have paired the events with the Incom footage and final cuts. One of the four events is among the most crucial and legendary of the entire history of Italian cinema.

Tatti Sanguineti

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in collaboration with Progetto Italia Taglia