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Allegiances, political and otherwise, alter arbitrarily, for story convenience. Some episodes are utility pieces, not germane; impure melodrama obtrudes. After a while, we find ourselves watching just for the sake of watching, to see these actors--Elio Germano and Riccardo Scamarcio, volatile and sensitive as Accio and Manrico; Diane Fleri reticently appealing as Francesca; Luca Zingaretti forceful as a fascist leader--and to respond to Luchetti's vitality. This director made me wish I had seen other of his films, though I hope they had better scripts.
Walter Murch, who is a splendid film editor, is also a splendid writer about film editing. (See his book In the Blink of an Eye.) He proves it again in a brief yet memorable article in the Spring 2008 issue of The Threepenny Review, an illumination derived from experience and talent.
Murch's subject has been treated by innumerable writers: the relation between film and dream. His insight is the most interesting that I know. In the early days, he says, the evolution of film grammar, the idea of editing, seemed impossible. "The instantaneous replacement of one moving visual field with another is not part of our daily experience. ... Nothing in four hundred million years of vertebrate evolution prepared us for the visual assault of cinema."
