Lina Wertmuller (1928-2021) Italian film director

Lina Wertmuller (1928-2021) Italian film director dies at 9 December 2021

Lina Wertmuller Italian film director (1928-2021)

Considered by many to be one of the greatest Italian directors in history. Born Arcangela Felice Assunta Wertmüller von Elgg Spanol von Braueich, daughter of Federico Wertmüller, a lawyer originally from Palazzo San Gervasio (in the province of Potenza) and coming from an aristocratic family of remote Swiss origins, and Maria Santamaria-Maurizio, from Rome. She is the aunt of the actor Massimo Wertmüller.

At school she was the companion of Flora Carabella, who would later be the wife of Marcello Mastroianni, with whom she will establish a very long friendship which will then prove to be fundamental in bringing the young Lina closer to the world of entertainment. At the age of seventeen she enrolled in the theatrical academy directed by Pietro Sharoff, later, for a few years, she was the animator and director of the shows of the puppet theater of Maria Signorelli. Subsequently she collaborates with famous theater directors, including Guido Salvini, Giorgio De Lullo and Garinei and Giovannini.

Her debut as a director took place in 1963 with ‘I basilischi, amara e grottesca narrazione della vita di alcuni poveri amici del sud Italia’ (the film was shot mostly between Basilicata, at Palazzo San Gervasio, and Puglia, in Minervino Murge) , which earned her the ‘Vela d’Argento’ at the Locarno Festival. In 1968, hidden under the pseudonym of Nathan Witch, directed an Italian western, ‘Il mio corpo per un poker’ starring Elsa Martinelli.

In the second half of the sixties her collaboration with the actor Giancarlo Giannini was born, who is present in her great hits ‘Mimì metallurgico ferito nell’onore’ (1972), ‘Film d’amore e d’anarchia – Ovvero “Stamattina alle 10 in via dei Fiori nella nota casa di tolleranza…’ (1973), ‘Travolti da un insolito destino nell’azzurro mare d’agosto’ (1974), ‘Pasqualino Settebellezze’ (1976),’La fine del mondo nel nostro solito letto in una notte piena di pioggia’ (1978) and ‘Fatto di sangue fra due uomini per causa di una vedova.

Si sospettano moventi politici’ (1978). For ‘Pasqualino Settebellezze’, who was also successful in the United States, Wertmüller is nominated for three Oscars in the 1977 ceremony (best director, best foreign film, best screenplay), while a fourth nomination goes to Giancarlo Giannini for his interpretation of the protagonist . Lina Wertmüller is the first woman in history to be nominated for an Oscar. On 28 October 2019 Hollywood Chamber of Commerce Honors she with Star on the Hollywood Walk Of Fame. In 2020 she was awarded the Academy Award for Lifetime Achievement.

Full Bio

Early life

Wertmüller was born Arcangela Felice Assunta Wertmüller von Elgg Spanol von Braueich in Rome in 1928 to Federico, a lawyer from Palazzo San Gervasio, Basilicata, belonging to a devoutly Catholic family of distant Swiss German noble descent, and wife Maria Santamaria-Maurizio, born in Rome. Wertmüller depicted her childhood as a period of adventure, during which she was expelled from 15 different Catholic high schools. During this time she was infatuated with comic books and described them as especially influential on her in her youth, particularly Alex Raymond’s Flash Gordon. Wertmüller characterized the framing of Raymond’s comics as “rather cinematic, more cinematic than most films”, an early indication of her inclination towards film. Wertmüller’s desire to work in the film and theater industries took hold at a young age, as early on in life she developed an appreciation for the works of the Russian playwrights Pietro Sharoff, Vladimir Nemirovich-Danchenko, and Konstantin Stanislavsky, drawing her into the world of performing arts.

After graduating from Accademia Nazionale di Arte Drammatica Silvio D’Amico in 1951, Wertmüller produced a number of avant-garde plays, traveling throughout Europe and working as a puppeteer, stage manager, set designer, publicist, and radio/TV scriptwriter. She joined Maria Signorelli’s troupe in 1951.

These interests developed towards two generic avenues; one being the musical comedy and the other being grave, contemporary Italian dramas like the works of Italian playwright and director Giorgio De Lullo, whose work she described as “serious” and “politically conscious”.^{[citation needed] Lina Wertmuller (1928-2021) Italian film director} It is these two approaches that Wertmüller stated were at the core of her creative self, and always would be.

Film career

1960s

After her years spent touring with an avant-garde puppet group, Wertmüller set her sights on film. In the early 1960s, Flora Carabella, a school friend, introduced Wertmüller to her husband, the famous Italian actor Marcello Mastroianni, who in turn introduced to the auteur Federico Fellini who would become her mentor.

Although The Basilisks, which was scored by Ennio Morricone, was critically well received, it did not garner the sort of attention that her later works would.

Throughout the 1960s, Wertmüller produced a series of films that were well liked but that failed to garner international success. Of these films, her first collaboration with Giancarlo Giannini occurred in 1966’s musical comedy Rita the Mosquito. As Darragh O’Donoghue described in an issue of Cineaste, generally “her early films comprise a fairly straight pastiche of neorealism and early Fellini (The Lizards, 1963, available without English subtitles on YouTube), an episodic comedy, two musicals, and a lovely Spaghetti Western (The Belle Starr Story, 1968, directed under the pseudonym Nathan Wich, and available in a bleached English dub on YouTube)-works where knowledge of generic predecessors was essential”.

1970s

The 1970s for the socialist auteur saw the release of virtually all of her most influential and highly regarded films, many of which featured a collaboration with Giancarlo Giannini. According to Geoffrey Nowell-Smith’s Companion to Italian Cinema, 1972 “marked the beginning of Wertmüller’s golden age”. Beginning in 1972 with The Seduction of Mimi, and continuing until 1978 with Blood Feud, Wertmüller released seven films many of which are considered masterpieces of Commedia all’italiana. It was during this time she saw critical and international success, gaining traction as a filmmaker outside of Italy and in the United States on a scale that many of her contemporaries were baffled by and unable to attain themselves. In 1975, Swept Away won Top Foreign Film awarded by the National Board of Review in the United States and the following year, this period of highly celebrated creative output culminated in the 1976 film, Seven Beauties, for which she became the first female director to be nominated for an Oscar. This film, which again features Giannini in the lead role, pushes Wertmüller’s specific brand of tragic comedy to its limits, following a self-obsessed Casanova from a small Italian town who is sent to a German concentration camp. The film was initially met with controversy due to Wertmüller’s frankness in her rendering of the apparatuses of genocide as well as her perceived macabre insensitivity towards its survivors,^{[citation needed] Lina Wertmuller (1928-2021) Italian film director} but since has been accepted as her masterwork.

She signed a contract with Warner Bros. to make four films and her first for them was her first English language film, titled A Night Full of Rain, which was entered into the 28th Berlin International Film Festival in 1978.^{[citation needed]} The film was not a success and Warner cancelled the contract.

1980s

Her 1983 film A Joke of Destiny was entered into the 14th Moscow International Film Festival in 1985 and Camorra (A Story of Streets, Women and Crime) was entered into the 36th Berlin International Film Festival in 1986.

In 1985, she received the Women in Film Crystal Award for outstanding women who, through endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry.

After this period of acclaim, Wertmüller began to fade out of international prominence, although she continued to expediently release films well into the 1980s and 90s. Some of these films were sponsored by American financiers and studios, yet they failed to have the breadth of reach that her 1970s output achieved. While these films are less widely seen and were neglected or disparaged by most, films like Summer Night (1986), Ferdinando & Carolina (1999), and Ciao, Professore are retroactively thought of as worthwhile.

She is known for her whimsically prolix movie titles. For instance, the full title of Swept Away is Swept away by an unusual destiny in the blue sea of August. These titles were invariably shortened for international release. She is entered in the Guinness Book of Records for the longest film title, Un fatto di sangue nel comune di Siculiana fra due uomini per causa di una vedova. Si sospettano moventi politici. Amore-Morte-Shimmy. Lugano belle. Tarantelle. Tarallucci e vino, which totals 179 characters. The film is better known under the international titles Blood Feud or Revenge.

Lina Wertmuller Later life and death

Wertmüller was married to Enrico Job (died 4 March 2008), an art designer who worked on several of her pictures.^{[citation needed]}

In 2015, Wertmüller was the subject of a biographical film directed by Valerio Ruiz titled Behind the White Glasses, in which she reflects on her life’s work.

Wertmüller continued to work as a director in the theater, until her death at her home on 9 December 2021, at the age of 93.

Style and themes

The influence of Fellini’s style is evident in much of Wertmüller’s work. The two share a common empathy with the way their films view of the Italian working class, showing the realities of life for the politically neglected and economically downtrodden with a tendency towards the preposterous. Wertmüller’s work also seems to exhibit a true adoration of Italy and its varied locales, beautifying elements of her film’s locations with cinematography that presents the camera’s subjects with a colorful extravagance that idealizes the distinctly Italian settings of her films. Her aesthetic is one that borrowed heavily from her background in theater, routinely using the camera in such a way that emphasizes performance and the grandiose comedy of her characters’ near constant state of emotional frenzy. Much of her work uses formal film tactics to dramatize the misapplication and destructive qualities that political ideology can have on individuals, satirizing common conceptions of revolution and the political status quo in the process.

Narrative and cinematic reflexivity are also commonplace in Wertmüller’s films, as she rehashed and refigured signs and recognizable modes of presentation in a way that references her inspirations and the films of her contemporaries. This is made clear through her disruption of traditional conceptions of virtually all political dogma and the irrationality of her masculine, and occasionally feminine, figures, taking recognizable elements of society and film and critiquing them through doing away with any sort of narrative and character plausibility.

This is particularly evident in a film like her 1972 The Seduction of Mimi. This positions Mimi (played by Giancarlo Giannini) as an impossibly inept and simple man who fully embodies the notion of Italian machismo, as he fumbles his way through a world that throws a variety of ideologies and economic positions at him, all of which he readily inhabits. Mimi is perpetually successful in his performance of these roles, despite the audience’s awareness of their inauthenticity that results from a diegetic (narrative) acknowledgement of Mimi’s hapless ignorance. This element of critique in the film functions as one example of many of most prevalent themes in Wertmüller’s work, as the underlying meaning for much of her work is a desire to deconstruct and subvert the institutions and social ideologies of a capitalist modernity. This socialist-inflected politicization of ideas of class and the institution are extended to sexuality and gender as well. Most of her films deploy these elements in conjunction with her affection for the theatrical in such a way that creates a unique concoction that is undeniably within the generic confines of Commedia all’italiana.

According to Peter Bondanella, “Wertmüller’s work combined a concern with topical political issues and the conventions of traditional Italian grotesque comedy”.

Lina Wertmuller (1928-2021) Italian film director