Brecht and the Single Girl: PROPERTY IS NO LONGER A THEFT (1973)

If you're confused about why Italy continually undoes the soundness of the Euro, Elio Petri's PROPERTY IS NO LONGER A THEFT, a nihilistic anti-capitalist Brechtian satire from 1973, can surely clarify for you toute suite. (Short answer: too many Commies --and they got a funny idea 'bout money.)

The "plot" follows neurotic bank teller Total (Flavio Bucci - the blind pianist in Suspiria) as he tries to escape his meager 9-5 barely-make-ends-meet job, which mainly consists of doling out cash to greedy titans of industry who proudly brag about their non-paying of taxes, oblivious to the seething rage welling up in the little guy who counts their capital. Snapping his pea brain after a robbery, Total becomes obsessed with a rich, corrupt butcher (Ugo Tognazzi), stealing all his signifiers: little butcher hat, favorite carving knife, his car, even his mistress (Daria Nicolodi!). Launching himself on an absurdist Harpo-cum-Karl Marx-Quixote odyssey, Total wind up lost in the out-of-bound weeds of Anarchy. Burning a lire note in his boss's office ("that's sacrilege!") to signify his resignation, he justifies his identity stealing operation by staying 'pure' i.e. not stealing any actual cash: "I'm a Mandrakian Marxist," he announces. "I only steal what I need." By Mandrake, naturally, he means 'the Magician'. When it comes to films equally indebted to crime, communism and comic strips, no one outdpes Elio Petri (The 10th Victim, Investigation of a Citizen Under Suspicion, A Quiet Place in the Country).

While I'm no fan of what I can't help but read as Petri's ingenuità utopica (given allowances for its time and place), I love his deeply cynical reading of a social structure so deeply ingrained most filmmakers don't even notice it's there. The title is confusing mistake, though, a riff on an old anarchist slogan revived for the 60s, when commie ideology was snuck into movie dialogue by leftist filmmakers like Petri, Fernando di Leo and Giuliu Questi. Italians really love the idea that stealing in time of necessity is justified. Obviously they have a violent reaction one way or another to their Catholic guilt, so keep belaboring it, ever evoking the 'bread riots' of the 1940s - as seen in Rossellini's Rome: Open City. (The kind of thing America was briefly allowed to explore (i.e. between the Crash and the Code) in films like Hero for Sale and The World Changes).  Also, they had an establishment much more corrupted and deadlocked government to actually work, so chaos descended. That's why 60s Italian master thief characters like Diabolik (who would be the villains in American comics like Batman) became the heroes of Italy, encouraging the average Italian to smash and grab what they want, leading to rampant crime in the streets and all the other things anti-capitalist Commie subversives would have loved to see become the norm in the US as well. So thank you, Joseph McCarthy, after all!

Property is No Longer a Theft is a child of that mindset in more ways than one. It's on Blu-ray from Arrow, and looks and sounds great, but--if you don't believe in money but do have a Prime subscription, you can pretend you're stealing it by watching it 'free'. Just don't wonder if Arrow suddenly doesn't have any money for new restorations. It's your fault.

What drew me to the title initially (aside from being enthralled by Petri's earlier masterpiece A Quiet Place in the Country) was a recommendation from horror film historian Tim Lucas on Facebook, who pointed out its proto-giallo greatness. Total may not be a crazed killer in high giallo style, but he does threaten people with a knife. Ennio Morricone delivers one of his most surreal breathy scores; Deep Red cinematographer Luigi Kuveller twists the frame with portentous shadows and expressionist angles (lots of doors within doors), star Bucci played the pianist in Suspiria, and longtime Argento collaborator Daria Nicolodi (1) looms tall and ungainly-albeit-sexy as Anita, the butcher's mistress. When she lets loose a deep throaty laugh during one of her Brechtian fourth wall-breaking monologues, you might get an instant chill as you recognize her voice's deep masculine depths from so many Argento classics (it's the same laugh from Phenomena, when daring Jennifer Connelly to call her insects, or the mocking, snarling demoness at the Suspiria climax). Since Bucci looks more than a little like Dario Argento himself (with a Dog-eared dash of a young Pacino around the eyes) it would be easy to see Property as a kind of deranged reflection of the Argento-Nicolodi collaborative canon (1), with the Butcher representing typical 'red telephone' Italian filmmaking at the time, and Total the Argento who steers Daria free. But to what end? 

Keeping the giallo framework in mind might help today's 60s-70s-era Italian genre cinema fan keep its odd mix of police corruption and insurance scam satire (we follow the flow of $$ from robbery to insurance claim, to inventory-exaggerating, cop bribing, policy collecting, to thief selling stolen goods back to insurance company, like some giant financial food chain) from getting too mired in either didactic dissertation (In standard Brechtian practice, characters break the narrative flow perhaps too regularly) or Polanski-style young hungry male vs. olde rich male for sexually ravenous younger woman - power triangulating.

Meanwhile, weird characters pop up to keep you guessing: there's the droop-eyed chief of detective (Orazio Orlando) who seems like he's either fishing for a bribe or trying to trap the butcher into a confession with a sense of conspiratorial camaraderie ("If you're not afraid of having it stolen," he notes, during the insurance tally, "you can't enjoy your wealth"); a cross-dressing master thief named Albertone (Mario Scaccia) who teaches Total the trade (and Total in exchange, does nothing but taxes his mentor's weak, albeit big-as-all-outdoors queer heart with his irrational Ledger Joker-x-Harpo Marxist nonsense), and  Cecillia Pollizi as a dyke fence who evokes Lotte Lenya's madame in Roman Spring of Mrs. Stone albiet in a  resonant post-glam fashion. There's even Diabolik in a blink-and-miss cameo (below):

Diabolik dies in a posion gas-filled car at a security expo in Property is No Longer a Theft

It's not all surreal Brechtian digressions though. A real unhappy, even if trenchant, thread in the film is the Butcher's and Total's treatment of Anita, and her realization that neither being a sexual object or 'powerful' will generate even a flicker of human compassion from them. It's a rather sad in a reflection of the same objectifying dread animosity towards the opposite sex we see in a lot of neorealist and nouvelle vague works of the time wherein a dash of meta-awareness tries to offset the leering (i.e. make sure her legs are crossed and breasts are heaving while she tallies the day's profits in the window a butcher shop display, sigh. The Symbolism!! Is it not deep?). Naming her various succulent sweet meat body parts while addressing the camera, Petri might be referencing the first part of Godard's Contempt (the part Joe Levine wanted added to include some seat-filling Bardot nudity), or --the theme that clouded the mind of Franco Nero's artist in Petri's A Quiet Place in the Country --one of the classic devil's bargains of European film in the 50s-70s-- the relationship of the sex-hungry producer to the idealistic auteur.

By 1973, though, this was all just a bit didactic. On the the other hand, it's nice she can enjoy sex enough to get her rocks off without losing face in her struggle for gender equality. Petri does leave space for Nicolodi to--as he did for Redgrave did for Quiet Place in the Country--to quietly fill up her character's margins with traits that divulge themselves--Farber termite-style--subtly, on repeat viewing. Watching her face, for example, after the butcher instructs her to cry over the 'stolen' items from Total's first robbery. (claiming h stole way more than he really did, hiding non-stolen jewels in a suitcase in the basement to get more insurance $$). Facing close to the camera in close-up we see her crying increase and decrease based on Pirelli's proximity. When it starts to grate on the butcher's nerves, she stops abruptly and cuts into a vague smile, barely able to reign in her delight at the thought of 'earning' more expensive and useless stuff.

Neither happy nor totally miserable in the life of basically a contracted--albeit relatively well-treated--sex-worker, at least Nicolodi doesn't have to play second fiddle to some harridan wife. She and the butcher live together without any tinge of Catholic guilt. She has a nice job as the cashier at the butcher shop; he trusts her, and he buys her expensive things like nice, presumably real, pearls. She can put up with his macho abuse, aware that--in her own words to the audience--if she wasn't here, she'd still be somewhere else. She doesn't consider any of us--there in some imagined air-conditioned little Italian cinema of her mind--to be any less trapped. At least she's free to enjoy her cage as best she can, rather than just banging her head against the bars in an inevitably-doomed attempt to impress some far-away future feminist studies professor.

The chameleonic sexual personae of Daria: with long black hair as armed mistress (PROPERTY 1973); as can-do, sexually assertive reporter (DEEP RED 1975)

Bearing the meta-textuality still further, we find the butcher and Anita going to the adult movie show where he threatens to "send her back to work at the bar" if she doesn't obediently go down on him. He also hits her when frustrated, which doesn't seem to foster any resentment on her part, beyond a fleeting feeling of shock. On the other hand, he also goes down on her --which we know from pop culture is a sad rarity with Italian men, who consider it demeaning to them. In a way, his slapping her around, and her whining to the camera almost seem like they were thrown in last minute efforts to taint what is essentially the film's only full-formed human relationship. Everyone else treats each other the way they might treat vending machines or food products, Total--for all his commie bellyaching--is the worst of all. In the world of backwards men like Total, his rationalizing father (who enjoys the fruits of his son's thievery but doesn't want to hear where it came from), the crazy cop, the drag queen gang of fur thieves, etc., the butcher is, at the very least, reliable and loyal (he doesn't have a wandering eye). Together he and Anita work to keep a legit business in the black, and after hours they share a certain post-coital simpatico that captures the benefits of long-term casual sexual relationships that are very rarely shown in movies which usually deal only in extremes of rapture or loathing. I love the scene when she abruptly stops him from going down on her in the office while she's counting the days tallies,  by announcing she's hungry and wants a steak. He agrees and gets up and there's a moment they share of simpatico alignment, a relationship without the need for little bambinos and sacred mother-in-law's nagging everyone to go to mass. We can, if we care to, admire the way the trappings of love and family are avoided in favor of a long term simpatico entrainment, the languid way two lovers disengage and prepare to go get something to eat, not really looking at each other but totally aligned; since pleasure, wealth and convenience are the focus, and not God or family or some other phony idolatry, they are fulfilled.

When you see these names in the credits, pounce! 

That may not add up to much in the end, but what really puts it all over into classic status, is the presence of an Ennio Morricone score. Why more composers don't endeavor to follow his lead--the use of antithetical counterpoint and surreal minimalism--is one of cinema's great tragic mysteries. Most composers try to show off all the stuff they learned in music school with a lot of mickey mousing orchestral pomp, dictating our every emotion. Ennio shows how the twang of a jaw harp and a lady whispering urgently but incoherently over discordant guitar stings would work so much better than a 100 piece orchestra. Has Ennio ever done a bad score? (and in the 60s-70s he did like ten or more a year). Certainly this is one of his weirdest and most memorable (and it's on Spotify!) especially during the strange opening credits, which play over overlapped densely colored pencils sketches of all the principle players on paper that resembles marble (but with lire notes for veins) while heavy breathing repetitions of "I.... have" ("avere! av-ere!") pulse over whooshing timpani undercurrents.  Elsewhere little ominous electric bass lines, stabby little mountain king strings, and little cycling piano riffs foreshadow similar pulsing passages in his recent Oscar-winning Hateful Eight score (Hey, we all steal from ourselves - and it suits the subject matter)

Ultimately, the main problem with Theft is a not uncommon one for anti-establishment movies of the period: it gest so busy critiquing the current system, and rebelling against it, it runs out of room to find an alternative. Do communist intellectuals seriously think they'll ever weed the Stalin reality out of their Trotskyist idealism by attacking capitalism's status quo? NEVER!

Sellers takes aim at bourgeois values - The Magic Christian (1969)

MONEY IS THE ROOT OF ALL PRINTED-GREEN PAPER

An example of this same problem can be found in 1969's The Magic Christian (above)--a satire of consumer culture not unlike Property-- which finds bored millionaire Peter Sellers and his nephew Ringo learning about the world through staging of some very elaborate (and presumably overpriced) 'freak outs' to blow the minds of standard bowler-and-brolly London-suburb train commuters. You can all but trace the thought lines of these little gags back to a time when access to a flood of freely available, semi-legal high-quality LSD woke artists up to the handrails and structure of modern society. The sudden awareness of the absurdity of money and other social mores --as aesthetic things in and of themselves--are made--while tripping--instantly absurd. The cash in hand is no longer 'invisible' as a symbol for goods and services but a pocketful of green portraits of old men in weird wigs; their strange knotty faces seem to be smiling and winking to your dilating pupils. They seem to be struggling to move; en verso, the eye in the pyramid follows you around the room, blinks, and blazes light, pulling you in towards it like a tractor beam. The fact that 'normal' people don't notice these things is even funnier. "Living is easy with eyes closed." With newly opened eyes, one naturally wants to open the eyes of the sleeping straights around him, even if only for a few flash moments, like one of Jerry Garcia's onstage backflips tripping deadheads often see in concert. Pranksters like Ken Kesey and his magic bus pull over on some random small town main street to run amok for five minutes, then disappear - leaving the sleepy town to wonder if it was all just something they ate. This is art. Important. Maybe pointless. And can get you jailed.

Noble in original intent, it spun out of control too fast - too many idiots taking too much of stuff that was too strong, too often, then clogging up the ER en masse the minute they think they're dying (i.e. the 'only fools rush in' preliminary bad trip bardos); the logistics of the endless stream of runaway kids turning Golden Gate Park into a giant toilet. It was a revolution with nowhere to go.

Take that!

But in Europe, there was a movement of intellectuals ready to absorb the psychedelic culture shocks with deadpan bemusement: Antonioni, whose earlier work like Red Desert explored, in a much more abstract, intellectual way, the collapse of structuralism (even sober, he and Monica were hip to the aesthetic absurdity of bank notes) connected with the turned-on generation in such a way as to help form it (via Blow-up), leading to the idea that by keeping your behavior totally random, and embracing a kind of abstract chaos magic approach to life, you can shimmy down from the symbolic ledge and run 'free' without having to run naked, screaming, down 5th Ave with question marks written all over your body in Day-Glo paint.

Even so, some symbols - like 'Stop' signs are better left heeded for their symbolic message rather than regarded purely as red octagons. Failure to comply could lead to your death by car. Similarly, give your money away like it's a disease and you can drift so far off the grid you can't get back on, which might be important if you want to eat regularly. Screw with your own life at your own risk, and you better take that risk seriously. Vanessa Redgrave isn't playing around.

(see also: Through a Dark Symbol).

Pull the string!

That's the core of what's missing in Petri's Theft - which shows the all-importance of having a good star at the center of a work like this: the closest thing we have to a person to root for is Albertone, the beloved cross-dressing leader of a queer gang of jewel robbers who-- their identity as maligned subculture perhaps leading them towards a group loyalty--are truly grieved by his passing. (though he only shows up in the last third). This being a time when queerness was portrayed in giallos as one more signifier of freaky transgression, drag was a common enough drag sight, a symbol of the split self (and Norman Bates), in Petri's reserving of the bulk of our sympathy for Albertone show that beneath its cynical Brechtian satire, Petri's film has a genuine heart and respect for humanity and artistic perception.

If you can admit your confusion, you earn a pass.

But the price of true post-structuralist realization--of stepping free of the bullshit-- is complete paralysis. Hemmings with the ghost tennis ball in his hand, frozen in contemplation. Without real money, and real balls, the void stretches past even new life and new civilizations - it boldly goes where no man has gone before... but leaves you standing there, just a focal point for the endless nada.

One happy little family, pre-Total

You know where I'm going with this: America got around this anti-money issue with a show called Star Trek where private property no longer existed. Maybe one day we'd grow into it, but only if we didn't rush things. America couldn't afford to be nihilistic about money, not at right then, having used up all our nihilism cards on our all-consuming hobby, Vietnam. But, at least the Cold War helped externalize the Red Menace well enough that we didn't have to fight it in the mirror, unlike some people - ahemItalycoguh. 

But hey - in 1973, crime in New York City was as bad as it was Rome, albeit with less motor-scooter purse snatching (ciao, Scippatori!) and more subway knife-point mugging.

Funny, but hardly surprising, that we took the opposite approach of Italy, whose pop culture tended to idolize the crooks, encouraging readers to fantasize they were like Diabolik, robbing the country blind while bemoaning its collective impoverishment, never getting how the two were linked. Here in the USA it was the reverse, we decided to invoke our second amendment rights and make a stand. Here, we wouldn't cheer these masked crooks at all... we'd... well...let's just say, we gotta guy comin' in, and he knows just how to deal with punks like you. See you soon, pally!

(Charles Bronson Death Wish - 1974)

FURTHER READING:

1. See 'Woman is the Father of Horror' - which I argue that a lot of the success of the great horror auteurs comes from their female writing/producing partners - i.e. Debra Hill, Daria Nicolodi, Gale Ann Hurd.

The whores in hors d'oeuvres: A QUIET PLACE IN THE COUNTRY

Bring on the multitudes with a multitude of fishes:
feed them with the fishes for liver oil to nourish the Artist!
Stretch their skin upon an easel to give him canvas.
Crush their bones into a paste that he might mold them.
Let them die, and by
their miserable deaths become the clay within his hands,
that he might form an ashtray...
or an ark.

  -- Maxwell J. Brock (A Bucket of Blood)

INTRO:
Italian art house cinema of the late 60s, she could be-a both dangerous and-a dull. European critics and American intellectual art critics alone could--their Herculean pens dripping with post-structuralist antivenin--confront its many hydra heads without passing out from the wounds of monotonous languor. Mainstream American audiences scattered to the four winds like frightened goatherds at the first sign of subtitles... unless they heard there was nudity. Just as Ingmar Bergman broke into America on the body of of Harriet Andersson in SUMMER WITH MONIKA; Italian neorealist sentimentalism of the late 50s/early-60s needed Sophia Loren; The French New Wave was launched on the backside of Brigitte Bardot and needed the loveliness of Jeanne Moreau keep it afloat towards American screens. But it worked! 'Subtitles' became a kind of in-the-know shorthand connotative code, like French postcards. And slowly, bathing scene by bathing scene, American 'adult' cinemas--those rundown houses in the disreputable parts of town in showing nudie cuties (under the arbiter of 'documentary importance') while self-appointed champions of morality snarled from the overgrowth--became art houses, birthed into co-ed respectability in the fertile wombs of Ekberg, Persson, Loren, Andersson, and Bardot.

But then--in 1966--came Antonioni's BLOW-UP. There was no putting European cinema back together again after that. As EASY RIDER would soon do to Hollywood, BLOW-UP handed European cinema's head to it on a Matisse bowler-bedecked Salome special platter. All the dime store Marxists now masqueraded as disaffected wunderkind beats to win the tourist distributor's fickle coin. All the best corpses, models, and stoop-shouldered socialist toothed birds a casting call could couch were then shipped wholesale to Rome and thrown into all sorts of art gallery-set situations. Producers started grinding up their red telephones into pigment to redden the canvas of the artist. Warhol, Lichtenstein, LSD, Vietnam, radicalism, labor strikes, women's lib --all were hanging around and kicking the bomb-blasted corpses of neorealist prostitute madonnas and pinball-and-cigarette pimps to capture the pen of the now fully-awakened critics.

But... paralyzed with the realization any step taken outside BLOW-UP's immediate blast radius would harden them into mock-ups of their plastic avenue parents--the dilated Now generation and the lecherous old Commie intellectuals in disguise (or, for the first time, out of one), now hired by bonanza-minded distributors to make wild art films that reached the signifier-trashing post-modern epiphanies of Antonioni (with a little sex in it)-- stood frozen on the spot, paralyzed through fear of paralysis. Trapped inside the mess of neorealism-splattered tiles and smoldering post-war blackened labor pamphlets, they waited, wondering, trying to decide how they were going to rewrite the history they'd just collectively admitted had been erased.

Finally, they began to rummage through the blast-darkened detritus, for old world survivors, images from the Weimar era, from gay 20s jazz Paris, and ancient, ancient Rome. What they found was a wounded Fellini, hiding under the ruins of a mawkish life-is-a-carnival-metaphor merry-go-round. They strung him up by his heels to finish the job, But when it came to slitting his throat, they were suddenly afraid of committing too far in that dark direction, of stumbling on their dad's mothballed attic-stashed Fascist Party parade sash in search of a sacrificial dagger. Finally, Dario Argento grabbed s jagged piece of glass and made the cut, for real, right across the screen. And from that gaudy rococo throat gushed a dishwasher ocean of red, followed by the rush of razor wire phoenix feathers. BIRD WITH THE CRYSTAL PLUMAGE (1968) soared aloft, like an own from the forehead of Athena.. and immediately everyone who had been so reticent to do more than pretend to strangle their mistress or their husbands for a party game fake-out (ala Death Laid an Egg) changed their minds and went scrambling through the ruins for their own giallo shard.

Suddenly breasts and fab clothes and kinky psycho art shows weren't enough. While Ennio mocked you from the playground with deft slide whistle and tra-la-las, you had to kill 'em, fabulously, ironically, brutally--but not tastelessly. The Money urged you on and you had to be an idiot if you let your feeling of virginal castration angst hang you up instead of the other way around. The Money commands a sacrifice, and then another, as thirsty as an Aztec god on a hot summer day.

Anyway it wasn't blood that flowed so free, but red -- pigment for the artist. BIRD was a horror film the way 1966's BLOW-UP was a conspiracy thriller, or PERFORMANCE a British mobster film, or PSYCHO film noir. The father along the imitations trail, the less the post-modern art meta/artist trimmings framed the violence. That was the compromise: the finger points to the moon; Argento cuts off the finger as a tribute to Dali and Bunuel's LA CHIEN ANDALOU; the next generation just film bloody stumps pulsing red; the moon long forgotten. Have you forgotten Balzac too?

When you film a girl in her underwear looking at tawdry X-rated photo books, thou has committed post-modernism AND made the distributor happy,

And that's where 
A QUIET PLACE IN THE COUNTRY (1968) comes in, for it is one of the weirder, more vaguely satirical contemporaries of Argento's definitive Italian post-BLOW-UP giallo; it's the brother, not the son, the cool uncle the Argento generation never sees anymore except on rare holidays when they can get away to visit him at the 'funny' farm. The kids would never know from his address how cool he is, I mean what is up with that title? A QUIET PLACE IN THE COUNTRY sounds like a Squaresville Merchant Ivory bucolic reverie about "love, laughter, and a little bit of heart," the kind of film only a half-asleep grandmother with her old lady book club would love. It doesn't even have a poster, for gods' sake (PS - this has been solved, and now there's a nice Blu-ray - 5/18). Is it deliberately trying to be lost to time?  That's why I made one (above) poster, changing the name to u3prufj]gi]42go[ggr=gr.

Whatever it's called, the line between artistic genius and psychotic mania has seldom before been so succinctly erased, and that deserves at the very least a more evocative title!

Not only is psychotic mania succinctly erased but there's also the by-far best performance of a young Franco Nero (dubbing his own voice in the English track), as an unhinged modern art painter named Leonardo. The way he tears around the crumbling estate, happy as a lark, reminds me of that old children's song by Napoleon XIV they used to play us in elementary school. Apparently he was shacking up with Vanessa Redgrave at the time, and they both really loved making this movie together, and it really shows, especially with him; he's alight with joy. If you're used to his terse inexpressive deadpan cool from DJANGO or THE FIFTH CORD, it might be a pleasant shock to see how opened and giddy and light on his feet he is. Whether he's chasing the ghost of a nymphomaniac countess, skipping barefoot around his crumbling country mansion, or being chased by his needy art gallery owner girlfriend (Redgrave), he's gorgeous, magnetic, manic, and free.

Redgrave, on the other hand, is his agent / gallery owner girlfriend, whose visits to the mansion often expose her to brutal pranks perpetrated by the previous inhabitant's maybe-ghost.  Redgrave is painfully convincing as the bewildered needy clueless type, familiar to any 'experienced' traveler, the one you kind of leave in the dust after your first big acid or shroom trip opens you all the way up, the one who won't or can't follow you over the edge, so hangs on the void's lip looking down, trying to lure you up by babbling about vacations and other prizes that until a few moments or hours ago you would have salivated over but now seem inane. When that doesn't work, she tries sex, then crying and stamping her foot but that suddenly seems so childish and manipulative to your open senses that you sneer instead of getting all paternal and supportive like you used to. 'Awake' to the world of the villa, like his own private wonderland, he has no time for such triviality. Consider the episode where he takes flowers from the place where Wanda was killed and then throws them to Vanessa but she's too busy moving 'civilized' stuff in for him, like a dishwasher, to care. With his unkempt haircut and  "alive to the wildflowers that the plastic fantastic types cannot see" vibe, he resembles Assisi's "Brother Sun", leaving comfortable bourgeois textiles family to go chant and dally in a half-restored stone church in the middle of nowhere, if his mom showed up after a week to move in a washer and dryer to keep his burlap rags clean. Francis of Assisi's legacy might not even exist if he hadn't picked a church way far away from his mom's apron tentacles, and kept the surrounding fields kee-deep in mud and offal so no cart carrying a major appliances might e'er trespass. (Consider too Violet Venable following Sebastian to the Buddhist monastery in Suddenly Last Summer).

For a male artist struggling with the usual individuation issues, the worst thing a woman can do is try curtail or control his madness. The second worst is to try and cajole their way into being part of it unless it's a totally natural fit, in which you're able to represent the the anima (the way say Pallenberg and Faithfull were animas for Richards and Jagger) rather than the devouring mother (like Redgrave here). It's the difference between a parent actually able to enter their kids' imagined world, seeing things through their eyes (very rare and precious), the parent who just shrugs and says "oh you kids" and goes back to reading the paper, but with one eye on them to keep their madness from spinning out of orbit (the average 'good' parent response) and the worst option: the parent who tries to enter the imaginary world but ruins the mood (the average 'anal' parent response), and the one who makes the kid stop imagining things altogether out of a kind of buzzkill jealousy or misplaced piousness (the worst response).

What's interesting is that in art the genders are often reversed, with the father able to enter the imaginary world easier than the woman who gets roped into playing authority figure the way the father is outside of the imaginary realm. Even the photographer Vanessa's PR agent brings on a studio visit to the crumbling mansion has more of a grasp of the method to Leonardo's madness than Vanessa. He alone notices the flowers, Nero has thrown on the ground for Vanessa to notice, or at least snaps a photo of them - recognizing that a photo of this tossed-off natural bouquet might constitute his own art--in a future photography exhibition (outside his PR job).

This photographer's snapping the flowers enrages Franco, as if the photographer is stealing his wildflowers' soul! This young turk, setting himself up like an Eve Kendall, building his own art off the madness of Leonardo, who-- rather than lighting a cigarette and talking about Marxist aesthetics through opaque Armani shades during this PR visit--reaches out to grab the photographer from inside his canvas hideout like an old dark house gorilla reaching through a secret panel in the wall above Paulette Goddard.

As for other, non-Vanessa girls, there is only one who understands him, who doesn't try to nail Leonardo down to sensible hours, clean dishes, and regular meals, and that's the ghost of the nymphomaniac countess, an obscene combination of obscene nymphette and ghost anima (ala Rebecca. In order to find a similar ghost we have to hop genders to examine the ever-corrupting Quint in The Innocents. In covering both roles, she both sucks the film deeper into Poe's mournful quagmire while simultaneously dragging to dangerously close to the purely obscene/pornographic (his obsession with dirty magazines is defiantly not MOMA-ready). As consumes the photographer in Blow-Up, Leonardo winds up on a kind of scavenger hunt/detective thriller hole climb, solving her possible murder (initially written off as WW2 collateral damage) as he collects old photos and memories of her - but he's not a cop, just an insane voyeur, thrilled to hear all the old men reminisce about losing their virginity to her during the war. Is this just his distraction from doing any work or is this somehow mirroring his work? Or leading his work astray? Is the genius of art hinged at the edge of smut? Is the madness caused by obsessive voyeurism really in the same league with conventional investigative journalism?

Antonioni's madmen tended to be women, driven insane through lack of an artistic outlet while men turn their bodies into temples to be worshipped or defiled; by contrast, Redgrave is a warm sane human who structures and profits by her male artist's madness. Her love is based on his resistance and absence (expressed even to the point of his anima/the nympho ghost attacking her at odd moments). He's the cracked one, and he's full of outlets but resists making any actual conventional art. When Redgrave shows up, the whole house conspires to kill her via roof cave-ins and falling shelves and exploding pipes while Nero stalks her like a combination Italian spy and house cat stalking a mouse-shaped felt toy - that becomes his art. Stifled by her suffocating sanity, her pedestrian conceptions of art, showing him her collection of electric knife sharpeners as if begging him to cut her apart  (it's never been this easy, especially with our patented three speed process!) pleading with him to touch her and make her relevant, to shave off her consumerist edges, Nero can only channel his misogynistic kinkiness through mock strangling or Poe-like fits of Morella-Ligeia possession. That's how the film gets to be both horror and not, because it fits both quite well without committing to one side or the other.

To avoid a feeling of being cheated or that the film is copping out on a satisfying ending, murders within a mise-en-scene can only turn out to be just dreams and hallucinations instead of 'reality' if it's unclear enough whether or not the 'all a dream' ending is itself the dream, that either way, reality is severely jarred (as in, say, De Palma or Bergman) and will never quite be distinguishable from fantasy ever again. It takes a true surrealist (like Lynch, Cocteau, Argento or Bunuel) to recognize there doesn't ever need to be an 'it was all a dream' denouement in movies-at all-no matter how illogical things get. We can tell when things get 'dream-like' that we're in a special in-between place.

The feeling of cheating and disappointment comes when there's a lack of trust in the audience, the producer or writer doesn't think we're mature enough to handle surrealism, that without a solid reality to go home with society itself may crumble. Even the most masterful of visionaries feel often feel obligated to bring things back to Squaresville at the end, remembering logic and linearity like the dutiful spouses waiting at home to chide them for not wanting to be patiently chided. But if they let go and trust in their audience, then the film can be all dream, all the time, and logic, truth, and reality can go to the devil. We'll be fine, mom!  You and your Fellini carnival megaphone can go end some other film. We already know life is a carnival, it's been drummed into us like a prenatal hearbeat. Now sashay... away.

So why is Quiet Place not more widely seen and praised? Critics pee their pants praising other surrealist portraits of Italian male artist egocentric sex addict dysfunction like 8 1/2, but Quiet Place makes Fellini look like that insecure childhood friend who tries to keep you reading comic books and playing D&D past the date it's 'normal'. Part of TCM's Creepy Art and Artists series, the film was preceded by Mystery at the Wax Museum (the original) and Corman's Bucket of Blood. They're two favorites of mine, so the TV was still on afterwards, me, folding laundry in the other room, half-listening, when I heard Ennio Morricone's unmistakable cacophonic counterpoint cut through my deep focus like a knife. I never in a million years would have found this film otherwise. What kind of giallo is called A Quiet Place in the Country!? I had already forwarded past it on the TV menu scroll a dozen times, kind of a priori dismissing it from my attention's channel surfing filter, where I note and dismiss things I deduce to be turgid British costume dramas or saccharine musicals.

TCM's entry on the film mentions it kind of disappeared off the radar and never came to the States at all, and the "only reason it probably received distribution in an English-dubbed version in the U.S. in 1970 was due to the tabloid notoriety of Redgrave and Nero, who were living together openly and had a child." Which is interesting since Performance was also filmed in 1968 and only released here in 1970. Were they both considered too dangerous for the time? Too likely to spark a revolution, a riot, or a surge in mental hospital self check-ins? Even for a town that saw the receipts for Easy Rider?

Regardless even in 1970, nothing you could say on the poster could would lure anyone under 40 to a movie called A Quiet Place in the Country. Good god... I know, because I never in a million years would have seen it nor be writing this even at 50, if not for that Morricone muted trumpet recognition while in the other room. After all, what kind of film has that bland name and then this is the first image you see:

You might look at this kind of self-reflexive student film self-indulgence and groan, thinking about incoherent image stringers like Baba Yaga or even annoying 'visualization of mental states' one man show quirkiness like Caro Diario but hey, fellow, relax. Director Elio Petri is no whimsy-merchant, ego tripper,sooty  or softcore hack anymore than he is giallo / gangster journeyman, a white elephant 'alienation' technician, nor some Marxist snot filming pinball and polemics through cafe windows. He's a bonafide pop art post-Marxist artist whose Investigation of a Citizen Above Suspicion is on Criterion with all the hearty handclasps that implieth. So-- even if Quiet is such a down and dirty mindfuck it would make David Hemmings cry like little Chester in The Fatal Glass of Beer--and even if the fantasy visualization bits are done so that we can't tell which is which--well, it's still Art, baby, Capital A small R, small T.

In other words, we can wonder in this weird overly-symbolic opener if: Nero is tied up as part of some contemporary art gallery show she's curating; is himself a performance art installation; or if this is just an abstracted sex scene, and not worry anything so crass as clarification on this point will deign to be offered. We can wonder if Leonardo is being haunted by a real ghost at the villa; whether he is just a paranoid schizophrenic sex addict; whether he's genuinely dangerous or just 'playful;' whether this is little window of tied-up hairiness is meant to be: a dream or an art gallery show; a critique of modern living, the pair-bond social system, or a couple hanging out in their apartment, with him feeling trapped in a tied-up situationist strait-jacket and she faux-enthralled by all the wonders of the electric age (demonstrating them with pleading eyes as he stares emptily, she's the height of bourgeois neediness. He must go insane if only to escape her).

Again - we don't need to worry we got the wrong answer--the only answer is the only answer isn't.

To repay this favor of no wrong/right answer duality, let's talk about this film and why it's not getting more love from the fringe contingent. I think it's first the title then the way it is defiantly not any one genre. It defies expectations for a giallo while riffing on them in a deadpan absurdist abstraction that puts it more aligned with Spasmo and nothing else.

I've only read one review in English that gets it, on Electric Sheep (from the UK, naturally):

Petri’s foray into experimental horror. It’s a film that demands repeated viewing as it is all too easy to get engrossed in the intricacies of the delirious plot. Once you know how this flamboyantly elusive tale of a troubled abstract painter obsessed with the ghost of a nymphomaniac young countess pans out, you appreciate all the more how brilliantly it is all set up. Blending sex, love, madness, identity crisis, alienation, death, art, consumerism and social commentary in a hypnotic, dazzling visual swirl of bold colours, powerful emotions and artistic expression, it is a feast of experimental visual imagery, but not without Petri’s typically dry, caustic touch. - Pamela Jahn

One of the legendary Situationist ad campaigns hushed up by A.O Range

All the Candide clowns you crayon can't compete with a single electrically-sharpened switchblade slash from the sandman's blood-blackened brush!
In dreams I'll find
who's there?
'Ennio Morricone carving bologna from the fattened calves of the schmaltz-fattened phonies"
Ennio Morricone carving bologna from the fattened calves of the schmaltz-fattened phonies who?
One electric guitar sting instead of a whole tedious orchestra equals Da Vinci.

Insanity pays dividends (done ideally without real violence), regardless of the severity of the strait-jacket's initial application. Art thrives on censorship the way muscles thrive on free weights. The trick is to be successful enough in the market that they wheel you to the nicer home, the funnier of farms, the satin strait-jacket, with pretty views and indulgent staff, and access to paint and brush. An attendant who brings you whatever obscene magazines you want in exchange for obscene art works he can immediately sell. If Pollock had been medicated and under house arrest, with an alcohol-detecting bracelet, he might still be alive. If you care. Would his work even be so fawned over? I've looked at those drios of his on all sorts of different drugs, after reading all sorts of how-to theorists, and I still think it's shiite. I do love his pre-drip work though (below) where there are enough perceptible forms that my pareidolia is engaged, just barely, to allow the abstraction to have something to work with. Without the visible forms to start the eye rolling, his drips seem to me like a wood chipper without any wood, or even the chipper, it's just the roar of the engine and grinding of the blades, divorced of all else.

I mention Pollock too because his Ed Harris biopic is a classic example of trying to white elephant a termite (see here), again and again, visionary (i.e. mentally ill), as excited corny orchestras pump artist's in-progress painting with pomp and import - only slightly less misguided as showing someone's fingers at a typewriter while they pound out a future classic. Minnelli got around it in Lust for Life by turning the whole film into a Van Gogh, with glowing light. And here, Petri gets around it by bouncing it all up against the tropes of a ghost story (just as Antonioni sprang off Hitchcock with Blow-Up).  The problem in this case is that his aesthetically rip-roaring child's eye view of the world, where size is a matter of dilating and contracting perspective, like Alice eating mushroom stems in order to match the height of each new character she encounters, he runs into people who stay the same dull size, always.

Maybe you've been there (brother, you know I have), the place where spittle-flecked speedy mania, spiritual enlightenment, and madness intersect and liberate consciousness from the old self's locked parameters. But your old lady, man, up for the weekend, a little concerned to find you in such a state, stays locked up in her old self's parameters. She wants to keep you the same size, like a dwarf star albatross anchor of bore-o-drome. She can't follow you into that zone of play, so she can only try to lure you back out of it by showing you products she's brought for the house, or her own personal adornment. You being a character written by a communist, her consumer mindset seems suddenly small, shallow, pathetic, and irritating--in ways impossible to alter via the aforementioned spatial perception flux.


It's like if Hemmings' photographer had his elderly accountant interrupting constantly his 'flow' of jazzy image-chasing in Blow-Up, nagging him why he won't sit down and do his taxes, trying to steer the whole movie out of this kinetic signifier-melting 'Now'-ness and into fiduciary logocentric absolutes. (A three can never be a four in accounting, but in Blow-Up the only difference between those two numbers is that four has no curves and three no lines, other than that they are identical). Flavia can understand this as his agent--she's been cultivating his mystique to make them both richer--but as his lover she hungers for some kind of traditional pair bond, and that demands valuation.

Never afraid to seem manly or ghoulish, like some monstrous lesbian from an Aldrich hag movie one minute and a sexy carefree bird the next, trying on thing after another to reach him, Redgrave is achingly sad, funny - almost painfully human yet still full of British fire -seemingly beyond the confines of Britain's class system but nonetheless hung up on Leonardo. We're invited to see her from his side, her crying in a deep manly choke, in ways only Fellini would probably be moved by.

Wanda, the ghost nymph, is not moved, and scalds Flavia in the bathroom. We would cheer...

if we were able to close our agape mouths.

EPILOGUE

If you're still lost in the Italian 60s art house morass after this movie, still need to understand the bizarro world Joycean dialectic at play here, hey, I relate. Watch the newsstand scene where he orders all these dry political news magazines, calling their names loudly while whispering the names of the dirty ones below, alternating back and forth like a kind of crazy counterpoint jazz, building and building in mania while Ennio Morricone's score chides him like a gang of rock-throwing Catholic school truants. Got it? Now watch Bird with Crystal Plumage (with its sing-song chiding chorus) and then you will maybe not even or finally never know that any confusion on your part is the correct modernist response. Even Antonioni wasn't able to handle that level of all-consuming cinematic signifier meltdown. He followed his own clown's candy-colored exhaust trail to the American Southwest for Zabriskie Point in 1970 but within that confining vastness even he, the titan of lostness, was lost. Here the threes meant threes and love meant love and red state bullets meant the same as they always did--freedom, man --and too late, it's gone. So written history was blown in slow motion to Pink Floyd but there was only so many angles you could film the explosion in, so many speeds, to hide that fact that without the old world's effigy to throw rocks at there was nothing in the air to knock one out.

"I can hear him saying it now," the writer says at the end of Crystal Plumage, "it's a peaceful country, nothing ever happens there." Argento knew that art was the time travel portal where the demented past comes slithering out across the galleria floor like the molasses lava flood tide of the living dead. No need for Dario to chase hippies around, he'd chase the artists themselves. He'd chase Antonioni as the effigy of the curious artist, fit to be gutted or at least scared; the photographer voyeur suddenly face-to-face with the killer he's been chasing; the painting reaching out from the frame to stab the artist in his disaffected eyeball, to-- at the very least-- affect its own final image. Blow up as many post-neorealism hacks and paint as many graveyard hussies as you can find, dear Petri, but Wanda will never be sated, not 'til it's your soul dripping from her sexy gorgon fangs, and every Redgrave is dug deep for her departure.

NOTES
1. You can argue Bava was the first to mix fashion and gory murder --in 1964's Blood and Black Lace, but that movie was a failure at the time, never released to the States, so Bava turned back to the traditional genre forms. Argento's '68 film was on the other hand an influential success and explores a far wider post-modern field than just fashion and soapy backstabbing.