IN COMPAGNIA DEI LUPI
THE COMPANY OF WOLVES
teca rammemorante
teca rammemorante
( English below)
Nel 1984, in inverno, andai una sera in un cinema del centro cittadino al secondo spettacolo: le luci della sala si spensero. E il mio inconscio iniziò a dialogare, abolendo il tempo soggettivo ed il tempo storico. Ammetto che la donna che corre coi lupi mi commuove tuttora fino alle lacrime.
La bambola rotta rappresenta il nostro distacco dall'infanzia, un distacco traumatico: poggiata su un piedistallo da cui non può muoversi, anche perchè priva di gambe, indica che anche solo una parte di quella spontaneità non è stato possible portarla con noi crescendo. Una creatura totemica si avvicina a quello che eravamo, il lupo cerca delicatamente col suo muso di scouterci, ci lecca la mano per farci tornare a ciò a cui eravamo legati, al nostro intimo legame con la Natura, per farci ritrovare la bellezza di una vita selvaggia.
1984, wintertime. One evening I went to a cinema downtown for the late show: the movie theater lights turned off. My unconscious began to have a dialogue with itself, cutting out subjective time and historical time. I do ammit that the woman who runs with the wolves still moves me to tears.
The broken doll depicts our distance from childhood, a traumatic detachment: resting on a solid pedestal from whom it cannot be taken away ( because the doll has no more legs ), it indicates that not even a little part of a child's naturalness has been taken with us while we were growing and become adults. A totemic creature comes near, comes to what we used to be. The wolf gently tries with his muzzle to rouse us, lapping our hand to get in touch with what we were, to what we were deeply linked, our inner bond with Nature, with the purpose to recover our wild life.
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Cappuccetto Rosso e il lupo.
Little Red Riding Hood and the wolf. |
E' facile entrare in questa teca se: si ha ascoltato da piccoli la fiaba di Perrault intitolata "Cappuccetto Rosso", si è letto il libro "La camera di sangue" di Angela Carter, 1979, si è visto il film "In compagnia dei lupi" di Neil Jordan, 1984, si è letto il saggio "Donne che corrono coi lupi" di Clarissa Pinkola Estés, 1992. Questa teca è una poesia dedicata a tutte le donne che continuano sole a correre coi lupi.
It's easy to get into this display case if: you've listened to the Perrault's tale "Little red riding hood" in chilhood, you've read Angela Carter's book "The bloody chambers and other stories" (1979), you've seen Neil Jordan's movie "The company of wolves" (1984), you've read Clarissa Pinkola Estés' essay "Women that run with wolves" (1992).
This display case is a poem dedicated to all women that continue in loneliness to run with wolves.
"Oggi
B-cult d’annata con la fiaba dark datata 1984
In compagnia dei lupi del regista inglese Neil Jordan, viaggio onirico attraverso la sessualità adolescenziale virata al femminile e filtrata attraverso gli stilemi del racconto gotico e il mito della
licantropia con l’aggiunta di suggestioni in chiave horror dalla fiaba di Perrault
Cappuccetto Rosso.
Il racconto esordisce con una ragazza intenta ad ascoltare i racconti/ammonimenti di sua nonna che attraverso alcune storie cerca di trasmettere alla nipote, reduce dalla tragica e violenta perdita della sorella sbranata da un branco di lupi, lezioni di vita per sopravvivere al lupo celato in diverse e insospettabili vesti, tutte egualmente insidiose.
Il film di Jordan è tratto da un racconto della scrittrice britannica Angela Carter e miscela elementi dal libro La camera di sangue e dal suo successivo adattamento radiofonico La compagnia dei lupi. La Carter collaborò con Jordan alla stesura della sceneggiatura, questo è il secondo film del regista inglese che aveva esordito due anni prima con il dramma Angel.
Nel cast del film compare nel ruolo della nonna l’attrice Angela Lansbury nota al grande pubblico per la serie televisiva La signora in giallo e Stephen Rea che nel 1993 sarà protagonista de La moglie del soldato sempre diretto da Jordan, ruolo che gli varrà una nomination agli Oscar comer miglior attore protagonista."
Carter's first draft of the screenplay, which contains some differences from the finished film, has been published in her anthology
The Curious Room (1996).
The Company of Wolves was filmed in
Shepperton Studios in
England. The film's cast was primarily made up of British actors. Sarah Patterson made her screen debut, despite being much younger than the kind of actress the casting director had been looking for, and likely too young to understand some of the film's more adult concepts. Her youth also meant having to make special arrangements with her school in order for her to be away for nine weeks while shooting took place.
Northern Irish actor Stephen Rea had already worked with director Neil Jordan in
Angel and would later work with him again in
The Crying Game, Interview with the Vampire: The Vampire Chronicles, and
Breakfast on Pluto, amongst others.
Jordan worked for several weeks in pre-production with artist filmmakers Nichola Bruce and
Michael Coulson to create hundreds of detailed storyboard drawings. Also involved with production was art director/production designer
Anton Furst who would later go on to work on
Tim Burton's Batman. The film's visuals were of particular importance, as Jordan explains:
The visual design was an integral part of the script. It was written and imagined with a heightened sense of reality in mind.
In the DVD commentary, Jordan notes the difficulty of having to create the look of the film on a limited budget, having to create a fairytale forest out of essentially "twelve trees." He nevertheless succeeded in creating a sunless, mystical, wondrous and claustrophobic setting saturated with fantastic elements and symbols.
The script calls for a great number of wolves to appear. Due to budgetary constraints and other factors such as cast safety, most of the 'wolves' shown in the film are in fact evidently
Belgian Shepherd Dogs, mainly Terveurens and Groenendals, whose fur was specially dyed. In the DVD commentary for the film, Jordan notes the bravery of young star Sarah Patterson when acting amongst the genuine wolves. Using particular light angles, the eyes of both real and "shepherd" wolves are made to glow dramatically in the film.
Jordan notes how Carter was "thrilled with the process" of making a film, as she "had never really been involved with one." After the film, Jordan and Carter looked for other projects which they could work on together. However, no others came to fruition, partly because of Carter's later illness. According to Jordan, he and Carter discussed a possible adaptation of Vampirella, Carter's radio play which served as the original version of her short story "The Lady of the House of Love" from The Bloody Chamber. "
Grazie a las lobas♥: Roberta, con cui vidi il film,e Fernanda, che mi regalò il libro di Angela Carter, affinchè continuino a correre coi lupi!
Thanks to las lobas♥: Roberta, with whom I saw the movie, and Fernanda, that gave my Angela Carter's book, so that they keep on running with the wolves!
Courtesy of: zia Irma ( aunt Irma), Angela Carter, Neil Jordan, Clarissa Pinkola Estés.
Assemblage, lupo in miniatura Schleich® D-73508, in cornice di legno cm.21x29x6,5, 2011
Assemblage, miniature wolf Scleich® D- 73508, in wooden frame cm.21x29x6,5, 2011
