Looking for Richard

Como enquadrar este objecto num género fílmico? Eis algumas sugestões possíveis: Documentary, Mockumentary, Docufiction ou Docudrama. Tomo um exemplo apenas para sabotar a primeira possibilidade, o da presença de um actor simulando Shakespeare no início e no final do filme. O facto de o filme não ser ancorado numa estratégia de simulacro, inviabiliza a segunda. O facto de não criar uma ficção paralela ou mesmo uma meta-ficção, inviabiliza a terceira. Ficamos, por isso, pela quarta hipótese, docudrama, enunciada, aliás, pelo próprio Al Pacino. Subscrevo esta porque, na minha opinião, ela implica um registo autobiográfico, justificado pela obsessão (no bom sentido) do actor - representar Shakespeare para uma audiência americana - e pelas citações visuais e textuais de O Padrinho. Recomendo vivamente que vejam ou revejam este filme. No caso de serem professores, então devereis dá-lo a conhecer aos vossos alunos. Até breve!

Para quem possa interessar.

A propósito do soneto de Rossetti

sobre "Our Lady of the Rocks", de Leonardo. Estas notas esclarecem alguns aspectos relevantes, nomeadamente o facto de Rossetti ter escrito este poema a propósito do quadro da National Gallery e não do do Louvre. Aqui ficam as notas: "Behind this sonnet stands the famous Pauline text ( 1 Corinthians 13:12): “For now we see through a glass, darkly, but then face to face”. DGR uses this text to construct a statement about art as a “glass” through which one may attempt to represent, and view, the “occult” order of things that are the ground of a religious experience. In DGR's reading, the picture is an occult construction, all of its representational forms “dark” and “difficult”. It is important to see how obliquely DGR represents the Virgin's face, which focuses the energies of Leonardo's painting. Not that she is scanted by DGR, but his poem concentrates its attention on the other elements. The paradoxical result is to heighten our sense of the Virgin's importance, as if to draw out our imaginations to an effort to understand her place in this ominous scene. ... Textual History: Composition In 1869 DGR said that he wrote the sonnet “in front of the picture in Brit: Inst: many years ago” (Fredeman, Correspondence 69.139 ); WMR dates the work 1848 (1911). Pictorial The picture is not the one in the Louvre, but in the National Gallery in London, as DGR's reference to “that outer sea” makes clear (in the Louvre version that compelling moment in the London painting is hardly discernible). Needless to say, DGR's interpretation of the work is highly idiosyncratic, but quite in line with his general inclination, especially in the years 1848-1850, to give a programmatic turn to much of what he wrote and painted. Subjective as is DGR's response, however, it follows Vasari more closely than one might expect: in the Lives of the Painters Vasari comments that Leonardo's genius culminated in paintings “so dark, that [...] his pictures had rather the character of things made to represent an effect of night, than the clear quality of daylight” (Vasari, Lives [1996], vol. I, p. 630 ). That Leonardesque gloom is recaptured as DGR's “darkness of the end” and given an explicit symbolic resonance. DGR's reading of Leonardo also has much in common with Pater's famous essay in The Renaissance. This connection underscores the importance of Pater's seminal essay on DGR's work (Pater, "DGR," Appreciations )."

Podiam ser sobre estes tempos,

estes versos de Leonard Cohen: "I'm sentimental, if you know what I mean / I love the country but I can't stand the scene./ And I'm neither left or right/ I'm just staying home tonight,/ getting lost in that hopeless little screen./ But I'm stubborn as those garbage bags/ that Time cannot decay,/ I'm junk but I'm still holding up/ this little wild bouquet..." Boa semana!