Tre passi nel delirio

Call me deprived. This was my introduction to the films of Federico Fellini, way back when. But it was perfect, it was short enough and contained just enough to leave me wanting to see more.

The section is, of course, the "Toby Dammit" segment and, to me, was just so far ahead of it's time. Maybe it was just ahead of MY time and I had to age a little more to "get" more of it. I don't know, I just know that as I get older and, unfortunately, more cynical, the segment makes more and more sense to me. Well, as much sense as it ever will have anyway, let's not forget who we are talking about here.

Since it is my favorite segment and the only one I usually fast-forward to when watching the video, I will confine my comments to it alone. It concerns a celebrity deep in crisis who is invited to Rome to participate in an awards show. While there he is courted to appear in a movie and is given a Ferrari as part of his compensation. The segment is harrowing and nightmarish, a waking dream as only Fellini could have presented. You see people walking backwards, nuns, paparazzi, mannequins, people with paper masks, spectacularly lit roadside glass shops, gypsy fortune tellers, floating balls, a devilish girl in a white wig and dress looking very kabuki-esque, meat trucks and on and on. Get it? I don't, but it's a trip, man.

Like a dream, it is multi-layered and impossible to fully understand. I am certain that Fellini himself would be hard-pressed to explain every image. I am sure some were quite improvisational, occuring based more on what came up that day of shooting rather than planned out precisely.

Allow it's images to flow without getting bogged down in what this or that means when you first see it. You can always rewind the tape and try and take it apart scene by scene later if you are so inclined. Treat it as a celluloid dream / nightmare and you will probably be closest to the truth here.

Recommended to those who are new to Fellini, its a great introduction. You will be either drawn or repelled.

Many of the reviewers were on the same page. I have to fall in line, I'm afraid. The first of the trio, "Mazzengerstein", was just plain dull. You have the beautiful young Jane Fonda becoming an heiress from hell. She runs the show at all times because of her financial power. Don't cross her. However, could they have chosen someone else but brother Peter as the ultimate love interest? Fortunately, I didn't notice him in the credits. Beyond that, the story was slow moving and downright dull. "William Wilson" is a great example for English teachers of the "Doppelganger" story. In this one the young Wilson does terrible things, primarily to women. He is a psychotic. Getting quite Freudian, we see where his corporeal superego moves in to stop him. Unfortunately, in at least one case, the damage has been done. The story works better than the first, but it is hackneyed. In the third, Terrence Stamp, "Far from the Madding Crowd," is an alcoholic actor who comes to Italy to make a weird western. He is accosted by the paparazzi and driven to distraction. Of course, he is drunk the whole time. But in typical Fellini fashion, he is met by a herd of surrealist images. He has been promised a Ferrari and when he gets his hands on it, he goes crazy. We can see this coming, but no one can create a nightmare world like the wonderful Fellini. All in all, I had never heard of this film and hung in there until the highly superior last offering.

It's interesting that no IMDb commenters seem to have caught Malle's significant homage in "William Wilson."

Malle makes Wilson far more sadistic than Poe's character. In the opening school sequence, Poe's Wilson is, to be sure, a leader of the other students: "the ardor, the enthusiasm, and the imperiousness of my disposition, soon rendered me a marked character among my schoolmates, and by slow, but natural gradations, gave me an ascendancy over all not greatly older than myself." Any sadism is, at most, implied: "If there is on earth a supreme and unqualified despotism, it is the despotism of a master mind in boyhood over the less energetic spirits of its companions." In Poe, Wilson does not try to strangle his doppelganger, nor is he expelled from the school. He approaches the other's bed at night, apparently sees his own face on the sleeping boy and "passed silently from the chamber, and left at once, the halls of that old academy, never to enter them again."

In Malle's film, Wilson is torturing another student as a snowball fight rages in the background. The doppelganger makes his first appearance by hitting Wilson with a snowball. The snow fight, the torture, the significant hit by a snowball, the expulsion from school are not in Poe's tale.

But all these elements ARE in Jean Cocteau's novel LES ENFANTS TERRIBLES. The snowball fight not only is featured in Jean-Pierre Melville's film of the novel, but Cocteau filmed the scene earlier in his own BLOOD OF A POET. The torture is briefly in Melville's film, but described more fully in the novel: "By the spasmodic flaring of the gas lamp he could be seen to be a small boy with his back against the wall, hemmed in by his captives...One of these...was squatting between his legs and twisting his ears...Weeping, he sought to close his eyes, to avert his head. But every time he struggled, his torturer seized a fistful of gray snow and scrubbed his ears with it." As the snow fight continues, Cocteau's iconic character Dargelos throws a snowball that hits another student and puts in motion the events of the novel/film.

Dargelos is the same sort of malignant leader of his schoolmates as Malle's young Wilson. The headmaster calls his influence on his classmates unhealthy, and after an outrageous act he is expelled from the school. Even more to the point, Dargelos has a doppelganger in the form of the character Agathe. In Melville's film Dargelos and Agathe are played by same person, and their mysterious resemblance is important to the story.

All of these added Cocteau elements are so strong that one assumes that Malle intended viewers to recognize the reference.

it is strange to see a film ignoring its artistic virtues. because it is only a puzzle of directors and texts and actors and memories. a sort of experiment. seductive. and full of nostalgia. eccentric. and bizarre. stars, Romanticism, the shadow of Edgar Allen Poe and the mark of directors. it is strange to say what part is most remarkable. because, after the final credits , remains only the drawings in dust. and pieces of old velvet. a good kick to read Poe. again. because, maybe at the first sigh only, the film seems use his work only as pretext. but, like each part of film, it could be an impression.

I'm a big fan of horror anthologies, especially the Poe/Hawthorne ones from Roger Corman and the Amicus films. Spirits of the Dead, based on Edgar Allen Poe stories and directed by Europe's most acclaimed filmmakers of the time, didn't disappoint...well, except for the first story.

#1, "Metzengerstein," directed by Roger Vadim. A cruel nymphomaniac countess (Jane Fonda) destroys the one man she can't have (Peter Fonda). That's right, this segment's biggest distinction is that it features a romance between real-life siblings Jane & Peter. Maybe I'm just a boor with no appreciation of high art, but watching those two gaze longingly at each other gave me the serious skeeves. Somewhere amongst the implied incest, the near- implied bestiality, and Jane's leftover costumes from Barbarella is the very thinnest of plots and narrative structure. Vadim doesn't seem to have any comprehension of suspense or what it takes to present a story that, if not scary, is at least spooky. You'll be constantly looking at your watch, but don't let "Metzengerstein" discourage you from seeing the other two stories.

#2, "William Wilson," directed by Louis Malle. An angel-faced but throughly rotten and sadistic man (Alain Delon) is hounded by a mysterious man that shares his name. This was a tight, satisfying little story. In contrast to Vadim, Malle is so talented at the art of suspense that he can make a simple card game exciting. Some reviewers have been put off by the scenes of misogyny--and to be honest, they did seem to spill over into exploitation. But I think it was necessary to present just how horrible the main character was, and to contrast it with how attractive he is physically (which to me was the most fascinating aspect of the segment). I found the ending slightly confusing, but still effective & tragic.

#3, "Toby Dammit," directed by Federico Fellini. This segment is so virtuoso and packed with Higher Meaning and Symbolism and Commentary On The Nature Of Man, God and the Devil that it really feels like its own movie. A jaded, alcoholic actor is invited to Rome to film a spaghetti western based on the life of Jesus Christ and attend a bizarre Italian version of the Oscars. The world as seen through Toby's eyes is populated with freaks, liars, and soulless puppets-- no wonder he prefers the Devil (uniquely and quite chillingly presented as a little girl). The scene where he is driving the Ferrari is a little overlong, but the ending is quite jarring and the last shot one of the unforgettable images of cinematic horror. The only real negative is that Terrance Stamp, who gives an incredible performance, has his voice completely dubbed by a French actor. If only we could have heard his own voice! It would be nice if Criterion could put this segment out on its own and give it the attention & study it deserves.