By Matilde Hochkofler

Anna Magnani si è sempre sentita abbandonata sin da quando bambina viveva a Roma con los angeles nonna “tra una lacrima di troppo e una carezza in meno”, quella carezza che avrebbe voluto ricevere dalla mamma lontana. Proprio dal desiderio di quell’amore negato nasce los angeles sua vocazione artistica che l. a. spinge a cercarlo nell’applauso del pubblico. Dalle tavole del palcoscenico dove si rivela interprete di dolente drammaticità all’affermazione comica nelle riviste accanto a Totò, dalle particine nei movie degli esordi al grande riconoscimento internazionale con Roma città aperta, fino a los angeles rosa tatuata che, prima attrice italiana, le fa conquistare l’Oscar. Nei suoi ricordi, in quelli del figlio Luca, nelle lettere degli amici e dei compagni di lavoro rivivono i retroscena drammatici e irresistibili del cinema tra Cinecittà e Hollywood sullo sfondo della società italiana e dei suoi cambiamenti.

Il volto irregolare segnato dalle esperienze della vita, i grandi occhi luminosi, i capelli scarmigliati, los angeles voce roca, l. a. risata improvvisa, Anna vive il profondo bisogno di libertà che los angeles porta a cercare l’indipendenza. Le sue appassionate storie d’amore, le tempestose litigate, le polemiche e le provocazioni ne fanno l’interprete-personaggio che sullo schermo si alimenta della propria fragilità, delle insicurezze e delle contraddizioni di un carattere area of expertise, sempre sul punto di esplodere. los angeles donna e l’attrice non sanno separarsi l’una dall’altra nelle determine femminili a cui dà vita con tutta se stessa, con los angeles partecipazione totale di chi non si allontana mai dalla propria autobiografia. Nei personaggi indimenticabili dei suoi movie – los angeles chief di L’onorevole Angelina, l’amante di Una voce umana, los angeles mamma di Bellissima, l. a. darkish girl di Nella città l’inferno, l. a. comparsa di Risate di gioia, los angeles prostituta di Mamma Roma – Anna ci viene incontro con le braccia aperte in una richiesta di aiuto, di complicità, d’amore.

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Indd 36 2/13/12 11:19 AM The Gloom of Gloom 37 would shake. But he assured them that no matter how fearsome things might seem, they would be quite safe and well protected and could speak their lines with no trouble whatsoever. When the farmers started to tremble, they were ordered to open their eyes. Staring far beyond Herzog and the camera, they looked awestruck, petrified. The costume women removed their cloaks, and soon the frigid morning air made them shiver. Herzog raised the clapboard to begin the scene.

To me, filmmaking is as much body work as it is mental,” he commented as he took the heavy Arriflex camera down the side of the cliff. “There is nothing more important for me, I think, than fulfilling a task with physical work, with the body, especially to create my films. ” I asked him if his filmmaking would change at all with the luxury of a big-budget production. “A large amount of money for a film production makes me very suspicious,” he answered. “There is something basically bad about that.

Everyone’s got the blues. Even in the United States, man—even in the United States they got the blues. You gotta have the blues, oh yeah—it’s everything, you know, the blues is everything. I tell you it’s the only thing. indd 28 2/13/12 11:19 AM The Scenario via mala There is a somber fog, which gradually dissolves: now we behold the most dismal abyss of all. The craggy walls decline dramatically, and, down there, the panic of death is crouching. The rocks exhale a wet coldness. At a point where you can discern a piece of the horizon, two old stone bridges arch across the void; they stand at a nearly imperceptible angle against each other.

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