IL CRISTO PROIBITO (THE FORBIDDEN CHRIST)
Italy, 1950, 99 minutes, Black and white.
Raf Vallone, Rina Morelli, Alain Cuny, Gino Cervi.
Directed by Curzio Malaparte.
Il Cristo Proibito is a significant religious film as can be gauged by its title. It was written and directed by Curzio Malaparte, his only film. He was better known as a novelist and writer, dying in 1957.
This film was awarded a special prize of the city of Berlin at the festival in 1951. It is interesting in its memory of World War Two.
The film focuses on a soldier returning from a way. He is played by Raf Vallone (who appeared in many Italian films during the 50s including Bitter Rice and became an international star with such films as The Cardinal and The Godfather III). The soldier is intent on revenge against the man who betrayed his brother and caused his death. When he returns to the village, he finds a strange character, Antonio, who is willing to be the sacrifice instead of the guilty man. He is portrayed by Alain Cuny (Fellini’s Satyricon and other French and Italian films).
The film is a story about redemption, set in the context of the Italian experience of World War Two and its aftermath. It is very strong on a theology of redemption and expiation.
Malaparte also composed the musical score for the film.
1.The impact of the film in its time? Italy in the 1950s? The immediate aftermath of the war? War memories? Style and themes, styles of film-making? The impact now?
2.The work of Curzio Malaparte: journalist, screenwriter, director? His personal allegiances? Italy and Christianity?
3.The black and white photography, the detail of the village itself, the neo-realism and atmosphere, the musical arrangements – and the compositions by the director?
4.The film taken as a realistic drama? How credible? Insight and message? The film taken as an allegory? The title indicating allegory?
5.Raf Vallone as Bruno? His life in the village, relationship with his mother? His going to the war, the war experience, the return, prison? His discovering the village again? Jules, his death? The betrayal to the Nazis? The behaviour of the Nazi force? The effect on Bruno, the powerful motivation, consumed by revenge? His reactions, the detail of the walk, watching, asking questions? With his mother at home? Silence? Maria and Nella? Antonio and his place in the village, Bruno’s friendship with him, the relationship? Antonio and the confession, his death? The achievement of vengeance? The truth and its effect? The contribution of Bruno’s mother? Pinin and his contribution? The encounter? Impotence? The final effect, Bruno prostrate, asking why? Bruno as a character, his experience? As a symbol – of post-war Italy?
6.The detail of life in the village, the experience of the war, the occupation, the bloodshed, the betrayal, secrets and the keeping of secrets and the consequences?
7.Bruno’s mother, her having to cope, her own secrets, her finally revealing them?
8.Maria and Bruno, Jules, the secret, coping? The difference with Nella? The handing over to the Nazis? Pinin?
9.Pinin in the village, shadow, secret, guilt, hiding? Confrontation, fear? Death?
10.Antonio as the forbidden Christ, simple, a friend, a carpenter? His secret? The effect on Bruno? The confession and the murder? Martyrdom? His motivation and the consequences? Final veneration?
11.The film as poetic? The blend of realism with the poetic, the buildings and the streets, the grape festival, the butchers’ heads, the masks? The symbolism of the Festival of the Cross? The crypts? The gallery?
12.The overall impact of the film as presenting World War Two but with Catholic and religious symbolism?
