THE RED SHADOWS, THE GHOSTS OF COMMUNISM
published by Radicalweb
Citto Maselli is a singular figure of the intellectual and filmmaker, a man of outgoing personality and bright, split between art and politics. In fact, in addition to works created by the often highly political content (from The suspect in the Third Millennium Chronicles, but they did some), has traveled Maselli, parallel with the director, that relevant political career has led not only to play leading role in Italy and Europe in the organizations of the filmmakers, but also, if I think only one of the directors, to sit in the National Direction of a party, the Communist Refoundation.
The Stagecoach , out of competition at the Venice and just come out in the home video, it should be considered in the light of policy author, activist and leader of his being a Communist. The film, excellently played by a colorful cast that stand out and Ennio Fantastichini Luca Lionello, opens with a strong and beautiful, openly inspired by the works of one of the greatest Italian painters of the '900, Titina Maselli, sister of the author . Francis (City) Maselli is an intellectual who was born into a family of intellectuals, he is inspired, already in clothing, the figure of Professor Sergio Siniscalchi (played by an extraordinary Roberto Herlitzka), the protagonist of the film.
The story revolves around a community center. And 'Here we meet Siniscalchi preach the "recovery irrationality. " Maliciously, it makes me look that only an irrational recovery can be appreciated today, Marxist philosophy. Not surprisingly, today the largest communist intellectual, in all likelihood, the refined scholar Alberto Asor. The only possible common, today, communism is a "sentimental": there are now Marxist economists of any relevance, simply because decades, centuries of economic thought (and philosophical) have demolished the liberal anti-scientific Marxism and tragic.
Siniscalchi, the protagonist of the film is, as a city, an intellectual really free and out of the box: It is proposed to recover the idea Houses of Culture André Malraux. This second recovery is nothing short of amazing, if one recalls the amount of insults that Malraux, an intellectual and uncomfortable Gaullist, he received in his life from the Marxist left. Maselli knows perfectly well and proves an accomplice of his protagonist: the last half hour is in fact a real dismantling of the communist ruling class. Let's fashionable architect (Fantastichini) who did so angry Massimiliano Fuksas, the young party official from the center of society, from intellectuals isolated and uncommunicative, to the Parliamentary cialtroneria (a "cameo" by Ricky Tognazzi). The finish is
merciless and hopeful at the same time. The center was ultimately the real protagonist of the film, is now closed. Three young men are close to the old abandoned building, they begin to take measures and think of something new. The metaphor is clear, but I can agree only in part.
Surely the political, social, civic, cultural and formed the extreme left must aspire to a profound renewal. But I am convinced that it will be impossible if, as in the film, is expected to restructure the "old house": if you do not get rid of Marx and Engels, the Communist left today will remain marginal and sectarian, increasingly distant from the heart of society's problems .
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