Christus kam nur bis Eboli

this movie did more than any other Italian film i've seen to interest me in italy itself--the people, the land, the culture. it also opened my mind to the intelligence of the uneducated among us--i loved that guilia was so real and right-n and so full of peasant superstition that in no way interfered with her ability to "get it." i have begun to travel in italy and having seen this film i am driven to see the south and visit the carlo levi house and museum. his paintings see into the object, to me, like a quality black and white study which i find the most expressive medium. as soon as i see the faces in the beginning of this film, i am drawn in. i found the melancholy music somewhat sentimental (like the music in truffaut's films) but a necessary comfort.

I have seen this TV film several times after reading Carlo Levi's book and having been to the Basilicata area in which Levi was exiled.

I consider the film to represent the book's aims which is to show the oppressed state of the peasants in Basilicata, the remoteness and lack of care of central government in Rome and the way in which the fascists could control the local area with very limited support - but of the people who mattered, the mayor, doctor, police. The rest of the populace could be, and were ignored.

A brief nitpicking comment on the title. It comes from something the priest said - on the lines that Christ never reached Aliano but stopped at Eboli some 150 miles distant. Eboli plays no part in Levi's book and the start of the film is wrong in showing him changing trains there, and picking up the stray dog. To get to Matera, where he started his exile he changed in Bari and would not have gone anywhere near Eboli.

"If these people in Rome have so much money to spend on war, why don't they spend it here?"

For his antifascist views, the writer and painter Carlo Levi was exiled by Mussolini in 1935 to the gorgeous but rugged and isolated stone town of Aliano in Basilicata, 90km away from Matera. At this time it was an area known for being unchanged over centuries and rather backward by people in the north, and Levi describes it as not even having been visited by Christ, who he says went no further than the train station in Eboli. In one sense religion plays a role here, with one devout landowner saying he's seen a saint at a religious site and a gravedigger saying he saw the devil on a stormy night, but in another sense, they seem to believe more in folklore, ignore the local priest, and only attend mass at holiday time.

From the beginning Levi (played by Gian Maria Volonté) encounters conservative customs and ignorant superstitions, e.g. Daughters who have to spend a year in seclusion if a brother dies (three if it's the father), a doctor who believes the women in town put menstrual blood in "love potions," and the woman whose house he's staying in believing her husband died because a peasant witch put an "evil eye" on him before giving him a deadly magic potion. Eventually Levi takes his own place and hires a maid (Irene Papas) who expresses the peasants' belief that a rainbow causes a certain disease, trash can't be thrown out at night lest it hit the angel that guards the house until daybreak, and that the spirits of the unbaptized can reveal locations of treasure to people in dreams.

Despite being in the middle of nowhere, Levi came to appreciate the hard lives the poor peasants led and saw the injustice of them being ruled from afar by the government to the north, practically a separate Italy, leaving them not represented well at all. They were largely forgotten by the rest of the country until it came time to extract something out of them, e.g. Money for taxes, or young men for war. An example of a new law is higher taxes on goats because they're believed to be bad for farming in the north, but this is terrible for the peasants in this south who depend on them and now feel they have to kill them (beware, there is a butchering scene during this segment, as well as a graphic pig castration scene later). Meanwhile, a cranky tax collector is bitter over how the locals treat him, but who can blame them when he describes his job as taking whatever they have to collect what they owe - a goat, rabbit, wheel of cheese, or bottle of olive oil.

As a warning, this is not a plot-heavy story, and Levi soon settles into the sleepy rhythms of the town, among other things wandering about and watching the kids up to various mischief, like harassing a goat by hitting it with a stick while riding it, or throwing rocks at the local priest. One day Levi lies in a freshly dug grave to beat the heat, and in general he spends time painting and reading the books he can get his hands on. His copy of a book by Montaigne is confiscated by the town mayor as it's in French and deemed "dangerous." The mayor gives a speech to the townsfolk where attendance is mandatory and he extols the virtues of Mussolini invading Abyssinia. He says "The Roman legions once ruled the world. Rome's renewed greatest shines on its seven hills!" to which Levi says privately to himself, "...Shines on the seven hills. But here the hills crumble and turn to dust."

There are some in the town who have escaped their hard life by going to America, but as they're separated from family many of them return. One has a photo of FDR on his wall and is listening to aviator Francesco de Pinedo on a phonograph when Levi meets him (Pinedo was a pioneering Italian aviator who had died in a crash just a couple of years earlier). In another scene there is a rousing folk song performed, one reminding me of Portuguese fado, expressing the bittersweet feelings of being separated from loved ones by going to America.

Levi toes the line in not agitating with his political views, but quietly chafes when the mayor reads all his mail and finds certain correspondences objectionable. The mayor wants to believe he's an educated man like Levi and to talk to him like a fellow intellectual, and their discussions were among the most interesting scenes in the film for me. It's notable that the mayor excuses himself from enlisting in the invasion against Abyssinia because of his "health issues," for isn't this usually the way with these kinds of guys? And meanwhile, Levi expresses a deeper truth, that the peasants have a fundamental distrust of all flags and wars based on history, and moreover, that they view the government as something to be endured, like an event out of nature, completely separate from them. He says:

"The State is 'the people in Rome' who have always existed and always will, like hail, landslides, drought, and malaria. For the peasants, the State is farther away than the sky, and more evil because it's always their adversary. The State is a form of fate like the wind that burns the crops, and the fever that burns the blood."

It's in these moments we get the best feeling for the dynamic between north and south, and some of the south's history, like local feelings for the brigands who surfaced after unification 75 years earlier.

The final episode was rather slow as not much new was revealed, and not much had ever developed with Papas's character. It's probably true to life that way, with Levi expressing his goodbyes to the peasants who had appreciated his doctoring, and ultimately never returning. He has a conversation with his intellectual friends in the north, however, and surprises them by saying that to the south, it wouldn't matter what type of government ruled in Rome - fascist, progressive, or communist - as long as it didn't involve the peasants directly. Even though the book was published nearly 80 years ago, this adaptation is fascinating for its window into an era, as well as a springboard into further reading on Italy's "Southern Question."

This is a story that had to be told. It might not have been had not Carlo Levi been exiled in 1935 for his anti-fascist activities to a town in the remote, impoverished Southern province of Lucania. His non-ideological, unsentimentalised, beautifully observed memoir of the year he spent there has been vividly realised by Francesco Rosi whose films are noted for their depiction of inequalities and injustices. The political activism of Gian Maria Volonté has been well-documented so this film could be seen as a distillation of the beliefs of both actor and director. The author himself had passed away four years earlier but this adaptation would surely have met with his approval.

Volonté's mellow, nuanced and understated portrayal of Levi, sadly overlooked in terms of awards, is indisputably one of his finest. It was the performance of Lea Massari in a comparatively small role as his wife that was recognised and very good she is too. Also appearing are the glorious Irene Papas and the always enigmatic Alain Cuny. Rosi of course was renowned for his skill with actors.

This is about a region that time has forgotten and for which its nation does not care. Looked down upon by the rich, industrialised North, economically depressed, lacking the basics of life and with no facilities, its residents have succumbed to superstition and mysticism. As for Religion "Christ stopped short of here" and its sole representative is a drunken, discredited priest. The pro-fascist mayor, played by Paolo Bonacelli, tries to get the inhabitants interested in the radio broadcasts of Mussolini but they are totally indifferent and simply do not care that Addis Abbaba has fallen! Ironically it was the young men of this region who supplied so much of the cannon fodder in the trenches of WW1 which was the subject of Rosi's earlier 'Uomini Contro'.

Originally made for television this slightly truncated version certainly belies its length and epitomises Rosi's aim to make his audience more than just 'passive spectators'. Piero Piccioni has composed a haunting score and the cinematography of Pasqualino de Santis is breathtaking. Unlike so many Italian films it is not marred by the booming voices of post-synchronisation and the dubbing of the gallery of characters is expertly done.

Carlo Levi wrote that "the whole of life is a tragedy without a stage" but here Rosi does not lay it on with a trowel and this magnificent film becomes, despite the hardships it depicts, an affirmation of life.

The transposition of Levi's autobiographical novel can recreate with effectiveness the atmosphere of absolute immobilism out of the history on which the novel really insists. Basilicata's and Southern Italy's setting helps to find a place absolutely uncontaminated by the modernity and the recent history. We wear the dresses of main character that works as a modern sonde in an anti-modern world: in this dimension we see all the contradictions of fascist Italy (of Italy tout court), divided by languages and geographies, where fight the fascism's rhetoric paroxysm against a world deaf to every modern rhythm. The farmer's world is a world based on the slow and circular rhythm of the nature, still impregnated with the sense of the superstitious of the events and of a mythology more ingrained than every fascist super-action.

The sedate interpretation of Volonté contributes to the assumption of a point of view curious, sensible, that can find the deep reasons of the presence of two (or more) Italies and reveal so easy and silent abuses that the potestà and others can carry on on farmers' shoulder. But the main strength of the movie is in a luminous and montalian photography, in a sensual and no overload pittoricism that makes a chromatic and geometric spectacle every single frame.