- transcript from the book "Life of Carmelo Bene" by Carmelo Bene and Giancarlo Dotto -
1970. Years of key meetings: Eduardo De Filippo and Salvador Dali
Eduardo I had already known. He came to feel in the cellar. Perched like a raven on one of the many school. We then found himself on the terrace of the house of Elsa Morante talking about music theater literature.
theater Eduardo has never understood a thing: the much-celebrated "text input", vainglorious left to posterity, he used as a handicap to contradict the writing scene. All the sleeves rolled up, the steps involved in accidents, voids, amnesia, recitative back to the audience. A stop could also vent in an hour and a half. His masterpiece is the Neapolitan version of Storm, definitely worthy of the original Shakespeare.
Nuje symmetry made the fabric cu de
suonne them, and our
piccerella Chesta life is surrounded by suonno, suonno forever.
not have written other things, would have been more than enough to recognize greatness. Trashing everything else, the crap written redeem him on stage, would be revoked.
Once we were called expressively, Eduardo and I Gassman, as the most glaring examples of three different generations theater. They tried to fight us but it was always more of an agreement. They asked Eduardo, "What can be done to the plaintiff?" And he "make his life!" Together with De Filippo
planning to do the film The evening at Colonus, the masterpiece of Morante, top of the Italian poetry of the twentieth century . Elsa
urged us to realize, considering that the only ones who can. Witness then also Carlo Cecchi, who was close to the extremes of coma in the days Morante.
With Eduardo still part of another project in 1970, commissioned by Rai. A "Don Quixote" in twelve episodes from the television cast sensational writer and director Carmelo Bene, Eduardo part of Quixote, the clowns in that of Sancho Panza Popov and Salvador Dali to paint live visions of Quixote.
We developed the design of this memorable Don Quixote. There was
ok Rai.
We spent hours and hours at the home of Eduardo to discuss and browse illustrations of Dore.
The big idea, shared by Eduardo now: go to Paris and meet Salvador Dali Hotel Maurice, where he was permanently assigned to a luxurious suite that genius was paying with his paintings. It was to convince him to paint live to the subjective Quixote with his team of students in tow. In direct return of the delirium Cervantes, delirium on delirium. By Eduardo
there was a battle over the role of Sancho. "We Peppino" I suggested, my great friend. Eduardo acid: "No! Peppino is old. " I had to resign, with the grieving soul. Eduardo
proposed Popov, the great Soviet clown. From Paris, after Dali's ok, we would leave for Moscow to close the whole.
How did the meeting between you, Eduardo and Dali in Paris?
He had just seen my "Our Lady of the Turks" in a private screening. He was enthusiastic. "Fort bien, fort bien, c'est Dalinien." He considered the best film ever, together, the mysteries of genius, in Antonioni's Red Desert.
We talked for hours about art.
"Excuse moi," every now and then knocked on the door that Captain Moore (servant-secretary, ex officially retired, that Dali had signed up dressed in uniform as long as the Irish) with bulky bundles of red roses, always welcomed by Dali in his knees waiting for some kind of lost lady.
Among a bunch of roses and the other said, "your movie is great, but there is still too much suffering, you're a great artist but not a genius. I am a genius. "
Dali mistrusted Rai (and he was right) but accepted for a modest fee. He set one condition, that it rains in La Mancha shooting lasted forever. (!)
Triumphant booked their trip to Moscow. The call
Rai froze us, "Well, she's running too, but that Moscow and Moscow."
The project fell through. Rai incredible motivation of managers: "It would be too unpopular a Don Quixote." Unique case of managerial genius. Even
Eduardo had always been wary of Rai, whose impersonal phone calls ("Hello, here is the TV") made a clean break "for a moment, I pass the vacuum cleaner ..".
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