O somma l`+u+ce

　　转,自：http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub　　“The end ,of paradise on earth.”;—Jean-Marie Stra-: u+#b　　T!
he 33r(d verse and last ch. ant; of “paradise” in. Dante?’s Divine Comedy. )The film starts# with verse 67, “O s]_`omma luce…!” and_!.- \
#con@_?t\inues to the end. “O. Somma luc e”\: re[ ]:c;#alls the first ?, words
 uttered b,]]!y E$! mpedocles in Da::-niè!le
?-_ Huillet and Jea)n-Mari?`-e St_(-raub’s 1987 -The Death of Empedocles—“[,#O hi#.mmlisch Licht!…” (/$O!: hea`,venly light!). This e;xtract fro%m Hölde(rlin’s text is also inserted into t,]=heir 1989\ -film Cézanne.　　“O +,somm%*
a l)!u?ce” invokes *u)`#topi -=a,?$
or b [etter sti]#ll =*)+“u-t%opos,” Da:.nte, Holde
rli\n, Cézanne… th\=e camera. m]$/ovement, recalling Sisyphus, in the f.:i [lm’s long s ;hots, suggests its d..\ifficulty.　　In O somma[$ luce, with Giorg#
/=io Passerone’s D@an. ([t)e and %/ #`the verse that `,concluded  %:$the Divine` C;omedy, we f)ind # a _t the ext remit
# :y of +its possibilities, \##the almo
@st happy s$peech of a man who h+#as ^j _.ust left earthl _ y paradise,$\ who tries t=o ful\+ly realize the potential o
(f+ ] his nature. Betw+
e #en the t^]wo we(@ fi;]nd the sto)`^r/ (y of the world;. The fir`@^,(st Jean-Marie Str. !aub __\ !film shot in HD.　　So singular are the t,*ext*ual work(.ing method,s \\+
$of S)_)]traub_=-Hui*_ll$^et[=), and *;no:(,w Stra*ub on-\`] h.) is own,+,() !#that it is ha;@rd;[ @_[?to* !grasp h\ow far r?e
aching they are(. Direction is a matter of wo+rds and sp*+eech, not emo tions and ac![$tion. Nothing happens ` .at t%-he edges,.? every*
thing,+, is at the core- and shin=es fr+=om );there? alone.　　$;
Durin(!g the rehea@rsals we sense a s!lo_*w#
#@ p$roce?ss by wh?\#ic$=h @)ing(\red#ient: )s (a t?_^ext, acto+ rs, a=`n in/tuit\,ion) progress towards cohesiven-+!e]@#ss. It, is, forgive the *
compar-iso
n, like the 
]knead^ing#
 of doug(?h. I#t is the )assembli;[ng and working of some-,#thin:g until -it bec%omes \[s(\?om$ethi .ng else… and,/ i+n this case, starts;=$ to shine. Actually it’]s very si

- mple, it’s just a ques/tion) of opening up t`*_o the lig)
ht$% ma_-terial /t=\(hat $?ha !)s been sealed up;? . Here, t_h$e proces].s o
(f k neading is to br@in#/ g to^ life and then rev. ea
l%,].\\ T#he mat :@e#rial(` that[? *is worked on

 is speech. So i-!t ` is speech th@$at becomes visible—nothing else. “Logo[-s” comes to the cinema.　-/,　The +@ m(\ise e]/ n.;. s(+#cène of what *words (.exactly?　　The p _+rocess

of reveal !-i!;n)g, “p
$hai`ne*st @ai;*?”  “phain /omenon,#” the\ :/ phenomeno
=n, is what take s#.place, wh+at be,?comes v/isible to the `eye.　　Is .+“St@raub+,ie” Greece?;=`_　　Thi.,s mi + se en(@ scène of speech, which g=oes beyon ;.d a close rea?
*d@/#i_?ng of the  chose)n],, text, i_*,s tru^-ly [`?c$(omes from a dist,:= an@ #t source.—B,]+a[)[$r]bara^ ( , Ul[@[r!ich