GALILEO
US, 1974, 144 minutes, Colour.
Topol, Edward Fox, Colin Blakely, Clive Revill, Georgia Brown, Margaret Leighton, John Gielgud, Michael Gough, Michel Lonsdale, Tom Conti.
Directed by Joseph Losey.
Galileo is a filmed version of an American Film Theatre stage production. There is great respect for the text and the film is very theatrical in its style. It relies very strongly on the dialogue written by playwright Berthold Brecht. It is an opportunity to have a screen version of a Brecht play.
The film was directed by Joseph Losey who had begun his career in the United States with some offbeat films including The Boy With Green Hair. However, he fell victim to the Mc Carthy black list and moved to England, making such films as Sleeping Tiger under a pseudonym. However, he was able to emerge during the 1960s with a strong set of films made in England including The Servant, King and Country, Accident as well as Modesty Blaise, all with Dirk Bogarde. He was able to continue his career during the 70s and 80s, principally in England and on the continent.
Topol who had great success in the screen version of Fiddler on the Roof appears soon after that performance in the central role of Galileo.
Of great interest are the themes that surround Galileo as a scientist and as a church man. In the 17th century, Galileo was considered a revolutionary and became a victim of Inquisitorial investigations. He was put into dilemmas of conscience as well integrity of science and this features very strongly in the film. It is particularly interesting as portrayed by Brecht who came from a communist and German background.
The academic aspects of the film are strongly stressed – as well as the investigations and discussions between the cardinals. Details of his more personal life are subjugated to the main themes.
The film is solid going – but offers the opportunity to learn something about Galileo in his context, about the changing attitudes of the church towards science, of the role of the Inquisition, of the dilemmas for scientists with Catholic conscience faced with condemnation.
1. The productions of the American Film Theatre: filmed plays, the respect of the text, the use of theatre styles? Transition to cinema? The ability to communicate play and its stage performance via cinema? Its success with Galileo?
2. The work of Brecht? German background, interests in the Left? his interest in science and the development of science through the centuries, influence on the 20th century? The problems and dilemmas of science? Attitudes towards religion, towards the Church and its exercise of authority? The clashes of religion and science especially as regards the Bible? The Church's authority over scientists and their work, their minds? Brecht's attitude towards society, its development, class struggles? History, economics? The integrity of the individual man within this society?
3. Brecht's devices for involving and distancing the audience: the use of the choir, the songs, the particular medieval Renaissance style and singers? The specific scenes and their captions? The long speeches? The blend of drama and pageantry? The irony for the audience to judge characters and situations?
4. The adaptation of these devices for the cinema: the strength of the dialogue sequences, the specification of the scenes with both singing and captions? Decor and the artificial look of the stage? The cyclorama sequence and its particular theatricality? The clothes and pageantry? The musical score? The cinematic devices of groupings, close-ups? The importance of editing and the editor judging the audience's eye point of view, response to particular characters and sequences? The melodramatic effects, for example the bell tolling?
5. Audience interest in Galileo: his reputation over the centuries, his contributions to science, his attitudes towards the Church and religion, his being a martyr in his own times? The 20th century vindication of Galileo? Galileo as revolutionary, genius? The introduction and Galileo being seen with his students? His work with the telescope - discovery and exploitation of the Dutch? Galileo as a passionate man, sensual? His relationship to Sarti - and his being idolised by Sarti, later to topple from his pedestal? His continued love for Virginia? Venice and his loyalties, his having to move? The transition to Florence and official patronage - and yet suspicions? Galileo as a man of enormous potential, vision - his frustrations and lack of achievement?
6. The changes in Galileo during his career? his dependence on money, the Venetian state, the Church, the Florentine nobility? Galileo as both proud and humble? A man of hopes and defiance? Principle? His succumbing to torture? His need for status? His winning in the end - at the expense of integrity? Andrea and his loyalty, disappointment, criticism? The final visit? The audience seeing Galileo through Andrea's eyes and judging him?
7. The portrait of the 17th century: the Italian states, their political organisation, patronage, attitudes towards science, the Church? The influence of the Church? The influence of Rome, the Pope, the 6ardinals, the Holy Office, Inquisitors? The bourgeoisie and its emergence? Authority clashes? Commerce and tradition? The military? Theology and its hold over educational policy? Theology and science? Europe, Italy and its leadership, scientific development, for example in Holland?
8. The presentation of the characters surrounding Galileo: Virginia and her loyalty, her desire to marry, the friendship over the years with Ludovico, the Maris and their arrogance, snobbery towards Galileo, their attitudes towards the Church? Ludovico and his arrogance towards Galileo, the possibility of his marrying into the family, his decision not to? The effect on Virginia and. her staying with her father? Andrea and his enthusiasm growing up with Galileo? His work, his hoping for Galileo's integrity, his disillusionment and his moving away? The significance of his return and forgiveness? The importance of the visit of Fulgenzio, the little monk? His spirit of investigation, the religious dilemma, his fascination with Galileo's experiments and information? His staying with Galileo and being loyal to him? Andrea's mother and her role as housekeeper, her service of Galileo over the years, keeping him down to earth? The domestic sequences as giving background to Galileo?
9. 'The academic aspects of Galileo's life and career: the importance of the strong friendship of Sargredo in Venice, their discussions together, looking through the telescope at the stars, the discussions of the implications? Priuli and his friendship and patronage in Venice, the patenting of the telescope? Clavius and his reputation in Rome, his examination of Galileo's work and his approval? Scientists, research, the silencing of Galileo, his keeping notes and writing his book - the importance of Andrea's seeing the book at the end?
10. The inquisitorial attitudes of the Church and the way these were presented, the atmosphere of fear? The old. Cardinal (played by John Gielgud) and his hostility and suspicion? The importance of the various Cardinals and their discussion - especially Cardinal Barberini and his finally becoming Pope? Cardinal Bellarmine and his suspicions, comments on orthodoxy? The discussions between the two Cardinals? The importance of Barberini becoming Pope and Galileo's hopes? The significance of the long sequence of the Pope being dressed - from the ordinary man to the papal authority in splendour and pageantry, his decisions about Galileo? The ever presence of the Cardinal Inquisitor, his walking through the corridors of power, the inquisition of Virginia, his hold over Galileo, confessions, torture? His visit to Florence? The sinister power of the Cardinal?
11. The variety of Church characters and their being presented? The possibilities of a reconciliation with theology and science?
12. The details of the Venetian sequences - the patenting of the telescope and the presentation of the Venetian nobility? The contrast with the sequence in Florence with the Medici court and their listening to Galileo but not patronising him?
13. The important sequence of waiting for Galileo after his torture, the cyclorama stage style, the tolling of the bell? Andrea and the others and their disappointment? How well did this stylised sequence fit in with the others?
14. The relevance of this portrait of Galileo for the 20th century? Issues of exploration, science, conservatism, persecution? The effectiveness of the stylised dramatisation? The raising of issues through interest, entertainment, questioning?
