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Paolo Taviani on Filming ‘Leonora Addio’ Without His Brother

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Four years after the death of his brother Vittorio, with whom he shared a celebrated career, Paolo Taviani is back in the Berlin competition solo, with “Leonora Addio.” 

The brothers won the Golden Bear in 2012 with “Caesar Must Die,” about high-security inmates performing Shakespeare.

The free-form film he made –– screening on Feb. 15 –– takes its cue from a story titled “Il Chiodo” (“The Nail”) by Italian playwright and author Luigi Pirandello, written shortly before he died in 1936. That aspect of the pic is a long-gestating project that Paolo, who is 91, says he and Vittorio had long intended to film together.

The Taviani brothers previously drew from Pirandello, most notably for their 1984 drama “Kaos.”

“We even wrote it,” said Taviani, referring to “Il Chiodo.” “Then, when I started working on it alone, as always happens, I modified it. But that’s the origin [of “Leonora Addio”].” 

The film begins with with Pirandello receiving the Nobel Prize for literature in 1934 and segues to his funeral. This led to Pirandello’s ashes being first hastily laid to rest in a burial site in fascist Rome and then being taken, 15 years later, to a permanent resting place in Sicily, in accordance with his last wishes, on a trek that in “Leonora Addio” takes the audience through post-war Italy and its filmed memories, seen in archive material and fragments of Neorealism, woven into the journey.

“Vittorio and I considered this [cinematic] era just as important as the Renaissance,” he said, adding that there is a truth in Neorealist films “that is superior to any archive material.”

Once Pirandello is finally buried properly, “Leonora Addio” shifts from a black-and-white Italy-set road movie to an early 1900s Brooklyn setting, in color, segueing into an adaptation of “Il Chiodo” that closes the film’s circle with what Taviani called one of Pirandello’s most tragic works.

“I wanted to communicate to the audience, both at the start and at the end [of the film], that what they are seeing is spectacle,” said Taviani. “Just as it was for Pirandello, I wanted to communicate that everything you’ve seen is theater: life and theater at the same time.”

“Leonora Addio,” which is dedicated to Vittorio, can also be seen as moving brotherly farewell. But it’s clear that this is Paolo’s film. And that’s also how Vittorio would have wanted it.

Before he passed, “Vittorio told us: ‘After I’m dead I don’t want any movies to come out with my name on them, without being able to check them and love them,’” Paolo affectionately pointed out.

 




Four years after the death of his brother Vittorio, with whom he shared a celebrated career, Paolo Taviani is back in the Berlin competition solo, with “Leonora Addio.” 

The brothers won the Golden Bear in 2012 with “Caesar Must Die,” about high-security inmates performing Shakespeare.

The free-form film he made –– screening on Feb. 15 –– takes its cue from a story titled “Il Chiodo” (“The Nail”) by Italian playwright and author Luigi Pirandello, written shortly before he died in 1936. That aspect of the pic is a long-gestating project that Paolo, who is 91, says he and Vittorio had long intended to film together.

The Taviani brothers previously drew from Pirandello, most notably for their 1984 drama “Kaos.”

“We even wrote it,” said Taviani, referring to “Il Chiodo.” “Then, when I started working on it alone, as always happens, I modified it. But that’s the origin [of “Leonora Addio”].” 

The film begins with with Pirandello receiving the Nobel Prize for literature in 1934 and segues to his funeral. This led to Pirandello’s ashes being first hastily laid to rest in a burial site in fascist Rome and then being taken, 15 years later, to a permanent resting place in Sicily, in accordance with his last wishes, on a trek that in “Leonora Addio” takes the audience through post-war Italy and its filmed memories, seen in archive material and fragments of Neorealism, woven into the journey.

“Vittorio and I considered this [cinematic] era just as important as the Renaissance,” he said, adding that there is a truth in Neorealist films “that is superior to any archive material.”

Once Pirandello is finally buried properly, “Leonora Addio” shifts from a black-and-white Italy-set road movie to an early 1900s Brooklyn setting, in color, segueing into an adaptation of “Il Chiodo” that closes the film’s circle with what Taviani called one of Pirandello’s most tragic works.

“I wanted to communicate to the audience, both at the start and at the end [of the film], that what they are seeing is spectacle,” said Taviani. “Just as it was for Pirandello, I wanted to communicate that everything you’ve seen is theater: life and theater at the same time.”

“Leonora Addio,” which is dedicated to Vittorio, can also be seen as moving brotherly farewell. But it’s clear that this is Paolo’s film. And that’s also how Vittorio would have wanted it.

Before he passed, “Vittorio told us: ‘After I’m dead I don’t want any movies to come out with my name on them, without being able to check them and love them,’” Paolo affectionately pointed out.

 

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