By Enzo Biagi
"Ci sono dei geometri che hanno avuto più storie di me": un’affermazione che non ci si aspetterebbe da Marcello Mastroianni, una carriera fatta di più di a hundred and sixty movie e una reputazione da latin lover. Eppure si apre così questo libro che Enzo Biagi dedica a uno dei più grandi attori italiani, tanto in line with chiarire fin dall’inizio che in queste pagine non si troveranno facili luoghi comuni, ma le parole di due amici che rievocano con serenità persone e tempi lontani; los angeles "bella vita" di un uomo fatta di passioni e di tristi addii, piena di incontri e di solitudini. Vedremo un ragazzino di nome Marcello che versa, in keeping with renderla più fragrante, alcune gocce di profumo su una rosa prima di regalarla a una fidanzatina e lo ritroveremo attore famoso, protagonista di capolavori come l. a. dolce vita, circondato da donne indimenticabili come Silvana Mangano, Anita Ekberg, Sophia Loren, Faye Dunaway e Catherine Deneuve. Enzo Biagi è regista di un grande movie da leggere nelle pagine di un libro.
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Extra resources for La bella vita: Marcello Mastroianni racconta (BUR Saggi)
Example text
It inspired serious scientific debate even before Freud published an important paper about using hypnosis as a cure for hysteria. WHO WAS FREUD? Now that we know chronological correlations between Freud’s invention of psychoanalysis and the invention of modern cinema, we can take a closer look at Freud the person, Freud the scientist, Freud the psychoanalyst, and even Freud the Jew. We know that other important events (filmic and otherwise) occurred during the course of Freud’s long life. In fact, films produced in Freud’s final years of life were critical to transmitting his message after his death in 1939.
Cinema is the ultimate confirmation of these principles from perceptual psychology, for cinema makes us believe (temporarily) that events taking place on screen are real. As for our topic of movies and the modern psyche, we can see how these two twentieth-century innovations—psychoanalysis and perceptual psychology—both called attention to the fact that the mind (psyche) processes information and reinterprets information, in spite of our intent. The mind, or psyche, overrides our will, which was once thought to be inviolable.
Then, in 1896, Freud claimed that he could cure hysteria through a neverbefore-discovered technique: psychoanalysis. Freud’s experimental psychoanalytic 18 MOVIES AND THE MODERN PSYCHE treatment technique would become known as the talking cure. Colloquially, it was called the couch cure because it took place on a couch, which was common in Victorian-era parlors. The important point is that both psychoanalysis and cinema came into being nearly simultaneously, in the short span of two years. In 1898, two years after he coined the concept of psychoanalysis, and recanted earlier ideas about using hypnosis to cure hysteria, Freud published a groundbreaking paper called Sexuality in the Aetiology of Neuroses.