Retrospectives are never better when they honor so-called petty filmmakers. The title is often attributed to people who make films without worrying about getting things done. Because the “little masters” are often the ones who make the most of their time, simple and with the tastes of the masses.
Alberto Latuada is one of them. In addition, he himself says:
I’ve always worked hard to adhere to a “triumphant” for my time. I have only the comfort of wanting to understand with some delay, and, consequently, trying to guess some subjects, some methods.
Whether it does not have the prestige of a Rossellini, the singular universe of a Fellini, the ambition of a Visconti or the meditative elegance of an Antonioni, Lattuada has passed through nearly 50 years of Italian cinema history, with all genres, vibrancy and acuity. The director of the Locarno Festival compared him to an Italian chabrol. Lattuada is also known for being an excellent director of actors and especially actresses.
Catherine Spak in “Les Adolescents” (1960) [Titanus – Laetitia – Marceau Coc / Collection ChristopheL via AFP – Collection ChristopheL via AFP]
Participating in the neorealist movement, he signs some Italian humor of reference, inspired by literary texts, particularly those borrowed from Russian literature, branches towards melodrama, venturing towards antimilitarist pamphlets.
But the Italian is also famous for his tendency to exalt the beauty of young free women, which would cause scandal (“Gundalina”, 1957; “Les Adolescentes”, 1960; “L’Imprevu”, 1961; La Bambina, 1974) . A decade later, her taste for Lolita did not escape a certain visibility (“The Girl”, 1978; “La Sigala”, 1980; “A Thorn in the Heart”, 1986).
Ugo Tognazi in “Come and Have Coffee with Us” (1970) by Alberto Latuada. [MARS FILM / PHOTO12 VIA AFP – MARS FILM / PHOTO12 VIA AFP]
That’s enough to feed the debate around the famous “male gaze”, the way in which audiovisual culture shows women from the perspective of men, often as objects of desire and pleasure. They are in Latuda but with temperament, a genuine desire for liberation and the ability to take their own destiny into their own hands.
>> To watch, the trailer for “Gwendalina”:
In eclectic and ongoing renewal, Latuada has changed actors and writers in almost each of its films. His filmography nevertheless conforms to some recurring themes: loneliness in which many characters are immersed, the mystery of youth, criticism of the well-intentioned bourgeoisie, condemnation of Catholic hypocrisy, in a bittersweet manner. .
There is a secret in Latuada. He gives a gentle, bitter and humorous way to loneliness in every possible way. He is the king of invisible silence, He is always below, never beyond.
In the 80s, Alberto Lattuada devoted himself primarily to television, producing a large fresco, “Cristoforo Colombo” in 1985, with Gabriel Byrne in the title role, and a mini-series called “Fratelli” in 1988. Was.
Locarno presents 41 works by the filmmaker in small and large formats, including television productions. Part of this retrospective will migrate from 25 August to 14 September at the Cinemathque de Lausanne.
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