Tag: Milan

Movies As Education: Books and Selves

La Notte (English: The Night) is a 1961 Italian drama directed by Michelangelo Antonioni. The film stars Marcello Mastroianni, Jeanne Moreau, and Monica Vitti (with Umberto Eco, the novelist, appearing in a cameo).

Filmed on location in Milan, the film depicts a day in the life of an unfaithful married couple and their deteriorating relationship.

In 1961, La Notte received the Golden Bear (at the Berlin International Film Festival, the first for an Italian film) and the David di Donatello Award for Best Director.

La Notte is the central film of a trilogy, beginning with L’Avventura (1960) and ending with L’Eclisse (1962).

The movie follows Giovanni Pontano (Marcello Mastroianni), a distinguished writer, and his beautiful wife Lidia (Jeanne Moreau) as they visit their dying friend Tommaso Garani (Bernhard Wicki) who is hospitalized in Milan. Giovanni’s new book, La stagione (The Season), has just been published, and Tommaso praises his friend’s work.

La Notte reflects the director’s intuition that “you are what you read,” and books create a kind of thread through the story.

The dying, hospitalized patient has recently published an article on the famous philosophical writer Theodor Adorno. At the party the couple drifts into, the works of the Austrian–Jewish writer, Hermann Broch, are mentioned. Essentially, in a depressing glitzy world of lost and semi-lost souls, reading and books constitute a kind of emotional life raft or direction-finding compass, at least potentially. Antonioni frequently uses this motif.

We find this kind of reading and books-centered view of people interpreting their (bewildering) worlds in the works of the French thinker Charles Péguy (who died in battle during World War I in 1914):

“The Jew,” he declares in a passage that has become famous, “is a man who has always read, the Protestant has read for three hundred years, the Catholic for only two generations.”

(quoted in Consciousness and Society, H. Stuart Hughes, Vintage Books, paperback, 1958, page 355)

Charles Péguy is also central to Louis Malle’s classic French film Au revoir les enfants (English: “Goodbye, Children”).

If we “zoom out” and look for a meta-intelligent lesson, we can say that reading, writing, and arithmetic, the three basics mentioned in the phrase we all know, are very deeply entwined with who we are. Stories explain us to ourselves, and stories involve books and reading in our “Gutenberg world.”

The replacement of these by various (post-Gutenberg) screens and games may or may not be thought of as a variant since they constitute a kind of “pseudo-participation” and not participation based on perusal.

Education and the World’s Confusion

Students need to understand that the world and history and the mood of the moment are always a “confusing swirl,” as experience shows, and that implies the present intersection of world/history/mood is also such a confusing “opaque windshield.”

Take the example of Europe after World War I. Mussolini leaves his position at the left-wing paper Avanti! (English: “Forward”) and founds the bellicose Il Populo d’Italia (English: “The People of Italy”), which is nationalist and warlike.

Avanti! was an Italian daily newspaper, born as the official voice of the Italian Socialist Party, published since 25 December 1896. It took its name from its German counterpart Vorwärts, the party-newspaper of the Social Democratic Party of Germany. Il Populo d’Italia, was an Italian newspaper which published editions every day with the exception for Mondays founded by Benito Mussolini in 1914, after his split from the Italian Socialist Party.

Mussolini was a complete tactical opportunist and his profound flip-flops indicate that “the winds” of mood and opinion were capricious and somewhat blind to its own twists and turns.

Take the case of the (later) famous anti-fascist Arturo Toscanini, the great music conductor. His trajectory is non-linear and as “jumpy” as Mussolini’s, going the other way:

“From the start Fascism was an eclectic movement and in its early days in 1919 it attracted a number of people who, including some, such as the great conductor Arturo Toscanini, who soon became its most determined opponents.”

(James Joll, Europe since 1870: An International History, Penguin Books, 1976, page 266)

Toscanini ran as a Fascist parliamentary candidate in Milan (1919) and this is a clue as to the tremendous disorientation in the wake of World War I.

In 1983, the outstanding Hebrew University scholar, Professor Sternhell, wrote Ni droite ni gauche. L’idéologie fasciste en France, which was translated to English three years later under the title, Neither Right nor Left: Fascist Ideology in France. The title of this classic by Sternhell—“neither right nor left”—captures via its very title, the indeterminate fusion and hodge-podge quality of modern ideologies. If they’re neither right nor left, where are they?

We could say there’s a deep pattern: World War I (yielding communism and fascism and Nazism) and then World War II (with atomic weapons and Auschwitz) and the Cold War have all left very disorienting legacies and since people in 2022 are legatees of these three wars, outlooks are very foggy. As the world becomes extremely confusing, people react accordingly and veer from mood to mood and opinion to opinion.