Sardinian landscapes in the movies
Curated and produced by the Department of Architecture, Design and City Planning
The video develops a double idea: to study the role of the city and territory in cinematographic representation and to promote a view of this function on the movies set in Sardinia. The montage collects several excerpts taken from some important movies, filmed in Sardinia by directors from different places (Sardinia, Italy, Europe). The images themselves show the different roles of the Sardinian city or territory ("the natural set") in the movies.
In the movie La leggenda di Kaspar Hauser by Davide Mamuli, sardinian landscapes - solitary beaches, big cliffs, sea (as far as the eye can see) - are metaphorical places: Sardinia is the symbol of an universal island, a utopic place in the middle of nowhere, perfect for an adaptation of the european mith of Kaspar, the feral child arrived amoung men to receive education.
Same landscapes and same function in Boom, a movie by the great director Joseph Losey, who recreated a symbolic island in the striking scenery of Capo Caccia (Alghero) and Tavolara (Olbia). Furthermore for the masterpiece Deserto rosso by Michelangelo Antonioni, particularly for the onereic scene filmed in the Maddalena Archipelago.
Fiorenzo Serra was a great sardinian documentarist from the 50s and 60s. Here are some excerpts from a film on Alghero: a statement of the town - and its economy - history, about fifty years old.
Alghero, and La Maddalena, were also filmed, in a totally spectacular way, in the famous James Bond's movie The Spy who Loved Me.
Bellas mariposas by Salvatore Mereu is maybe the movie that better reveal the "city-function": as well as Paris in Francois Truffaut's movies, Cagliari - the old town centre, its beaches, its slums - became one of movie's protagonists just as the other characters.
All the second part of Chiedo asilo, by Marco Ferreri, with Roberto Benigni, was filmed in the mining village of Argentiera (Sassari). The village is almost desolate because the mine was abandoned in the 60s. The rocks rising steeply from the sea and the desolation of the place were functional to the movie, a poetic tale on the regression from adult to child.
Banditi a Orgosolo is probably (and rightly) the most celebrated movie filmed in Sardinia and, also, the last statement of Neorealism. The highlands of Corrasi are an inevitabile point of view on the two protagonist's solitude.