FEATURE LIST
not very important.’ Rosi explains. ‘What is important lies elsewhere. The murder is just a starting point for a meditation on that subject of individual and collective responsibility. The fiancee ofone of
‘Murder is just a starting point‘
the murderers says she won‘t marry him if he doesn't do his duty. So. she pushes him. I wanted to present all these elements and also. perhaps. show what love is.’
Rosi is aided immeasurably in his quest by an all-star European cast that includes Irene Papas. (iian Maria Volonte. ()rnella .\luti and. most controversially Rupert Everett as the iconic man of mystery who sails into town. Rosi selected Everett on the basis of his screen presence and retained his native tongue of English as a way of representing the mix ofcultures in the (‘aribhean of the I94()s. Everett. in his turn. found the experience of his first European film ‘V'ery good. In British and American films its usually the dialogue that expresses emotions. here I have about 3()() words in the entire film. In Britain. the dialogue will say I hate you or I love you and it is conclusive. people will believe that information. In this film everything is silent. expressed through the eyes or the body: it's what you do without speaking and I‘ve found that the
main difference. It’s been really brilliant.‘
After his wretched turn as a 'spiv' violonist in Duel/or ()ne. ('hronicle ofa Death Foretold certainly marks an improvement in Everett‘s erratic screen fortunes. In Britain his acting credentials may remain open to question but his pin-up status is undisputed. In Cannes he was upstaged by the even prettier Anthony Delon. the son of Alain [)elon making his first major screen appearance as the doomed innocent Santiago. Rosi chose him as part of a fastidious overall plan for populating his canvas with the right people. ‘When one makes a film with different people one looks for actors all over the place. It's most important to choose the actor who best represents the role. I have to find the characters among professional and non-professional actors. There are a lot of (‘olombian actors in the film and others who have since become actors. I tried to respect the cosmopolitan situation in the (‘aribbean and a co-production like this requires a certain percentage of Italian and French actors. I chose Anthony because I needed somebody who could represent youth and beauty. who looked rich and perhaps because of his privileges represented a certain fragility. Also he is not yet very well known and therefore more pliable and could show a certain naivety.‘
Like any good aspiring actor Delon did his homework and listened to his director. ‘I read the novel and did a kind of psychological study of the character. I received some notes from Francesco and knew how he felt. The character moved me — his tiaivety. his detachment. his youth and mostly because he was a victim of something that exists very little today.'
‘A deeply political film‘
Delon is 22 and his thoughts are of his role. his career. his future and the long shadow of his father’s past achievements. Irene Papas however is a veteran of the film scene with a more considered overall view of the enterprise and her comments serve to underline just how much ('hronit'le ofa Death Foretold does share with the bulk of Rosi‘s previous work and perennial preoccupations as a filmmaker. ‘lt's a deeply political film.’ she avers. "The actions these people take come from decisions the government made years ago. The death is a result of political decisions and economic motives. If the brothers had been rich the question of a marriage for money might not have mattered so much. if the village had not been such a small. closed community then jealousy might not have been as rife. These are not party politics but human politics of which people are always the victims.’
('hronicle ofa Death Foretold opens at the ( 1‘ las go w Film Theatre on July 27and the (.‘ameo Edinburgh on J aly 3 1. See (‘inenza Listings for details and a dissenting review ofthe
film.
EDINBURGH BOOK FESTIVAL
CHARLOTTE SQUARE GARDENS 8-23 AUGUST 1987
FULL PROGRAMME FOR BRITAIN‘S BIGGEST BOOK EVENT NOW AVAILABLE FROM
Box R. Edinburgh Book Festival. 25a South West Thistle Street Lane. Edinburgh EH2 IEW.
TICKETS ARE NOW ON SALE FROM The Edinburgh Bookshop. 57 George Street. Edinburgh. Mon—Fri 10am—6pm & Sat l()am—5.3()pm.
Phone bookings (Access and Visa only) ()31 220 125‘). Postal bookings to Edinburgh Book Festival. 25a South West Thistle Street Lane. Edinburgh EII21EW.
FOR FURTHER INFORM/I 'I'I()N PLEASE PHONE 031 225 1915
Russia’s, and perhaps the world’s, most famous poet.
Yevtushenko rose to fame in the early 60’s when he collaborated with SHOSTAKOVICH on the 13th Symphony which was set to his poem BABI YAR.
His fantastic solo performances have filled New York’s Madison Square Gardens.
As a performer his talents match his
poetry. KING’S THEATRE August 14:
2.30pm & 7.30pm Tickets from £3 to £8
Postal and personal booking offices now open at Festival Ticket Office, 21 Market Street, Edinburgh.
Credit card bookings can be made by phone on 031-225 5756.
EDINBURGH
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9-31 st August 1987
The List 24 July b August 7