Martin Scorsese e i capolavori del cinema polacco

Destino Cieco

Dopo aver ricevuto una laurea ad honorem dalla scuola di cinema di Łódź, Martin Scorsese ha cominciato a lavorare con la sua Film Foundation per il restauro di una serie di film polacchi compresi tra gli anni ’50 ed i primi anni ’80.

Anche se non ci sono legami evidenti tra Scorsese e la Polonia, il cinefilo e conservatore ha lavorato con le autorità locali, scegliendo di recuperare a nuovo splendore alcuni dei loro film più significativi.

Il Lincoln Center di New York si appresta così ad ospitare questa rassegna sul cinema polacco, che comincia proprio con il primo film visto da Scorsese, Cenere e diamanti di Andrzej Wajda e si conclude con i primi film di Kristof Kieslowski, Destino Cieco e Breve film sull’uccidere.

Sono lungometraggi che testimoniano il talento visionario dei loro autori: Masterpieces of Polish Cinema presenta 21 opere di Kieslowski, Wajda, Kawalerowicz, Munk, Zanussi, Has.

Ma ci sono anche molte gemme da riscoprire, come spiega Scorsese in un’intervista a Salon: “Anyone who hasn’t seen “The Saragossa Manuscript” by Wojciech Has should definitely check it out. It’s a wild, hallucinatory experience. It had a real cult following back in the ‘60s and ‘70s — Jerry Garcia was a huge fan. You should also see “Pharaoh” by Jerzy Kawalerowicz, a historical epic set in ancient Egypt — three years in the making and a truly mesmerizing picture.”

Scorsese non intende paragonare i cineasti polacchi costretti a lavorare sotto il regime con i registi americani ribelli degli anni ’70, di cui ha fatto parte: “There’s no way to compare our situation with Wajda’s or Zanussi’s or Andrzej Munk’s, trying to live and get their pictures made under totalitarian rule with the Soviet Union right on their doorstep. We were able to make our choices in a free society; they weren’t. We never faced the possibilities of arrest or going into exile; they did.”

Scorsese ritorna poi sulle polemiche che hanno accolto negli Stati Uniti soprattutto, il suo ultimo The Wolf of Wall Street: “In certain cases, the nature of the material will provoke controversy — it happened with “Taxi Driver,” with “The Last Temptation of Christ,” with “Goodfellas” and now with “The Wolf of Wall Street.” But in none of those cases was I making a movie just because I wanted to provoke a controversy — I was drawn to make the picture and then prepared myself for a possible controversy because of the subject matter. In this case, I was trying to deal as honestly as I could with people in the financial industry. We could have included a scene in which Jordan Belfort [DiCaprio’s character] suddenly realizes what he’s done and begs for forgiveness, but that would have been false: No one in the industry, from Jordan Belfort to anyone who was involved in the most recent financial meltdown, seems to be terribly sorry about what they did. On top of that, they all had a lot of fun along the way — in fact, you could say that having fun is the only thing they knew how to do. Does so much excess get exhausting? I guess so, but then there’s always more money to pay for more fun. So we made the picture as honestly as we could, and people are responding passionately. That’s always a good thing. You can’t make pictures in order to be liked by everybody — or rather, you can, but it doesn’t interest me. You make the ones you’re drawn to, the best way you know how. Once they’re released, they’re out of your hands.”

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