Without knowing anything about hera beautiful little-known film by Luigi Comencini
Five years later The girl (1964), Luigi Comencini proposed with Without knowing anything about her (1969), titled Without knowing anything about her in the original version, another superb portrait of a woman. On the first site, Claudia Cardinale was amazing. Here it is Paola Pitagora that fascinates. The same one that a few years earlier had revealed itself in Marco Bellocchio’s first feature film, Fists in the pocket (1965). In Without knowing anything about her, the actress plays Cinzia, wanted by an investigator. Since her mother died shortly before her life insurance expired, doubts persist about the conditions of the elderly lady’s death. And while the rest of the family pushes to collect the inheritance, Cinzia remains nowhere to be found. Nanni, the investigator, will still manage to follow a lead and discover a nice, fragile and unstable woman.
An impossible love story carried forward by Paola Pitagora
Throughout his career, Luigi Comencini has worked in different genres, and we find in Without knowing anything about her this ability to move from investigative film to a love story, apparently light and almost eroticwhich can only turn into drama – Nanni commits professional misconduct by becoming an actor in Cinzia’s romantic life, like James Stewart’s character in Vertigo (1958). From Cinzia’s spinning you can feel the quality of Comencini’s direction. The filmmaker captures in particular the face of Paola Pitagora in the midst of a crowd of men, and makes her an isolated creature in the midst of a visual tumult, just as in the Italian streets, so wide thanks to using Cinemascope.
We finally find Cinzia’s isolation during the first meeting between the two characters. In Nanni’s car, Cinzia’s face remains partly out of Luigi Comencini’s frame to maintain the mystery around her. Thus, while Nanni’s investigation fades into the background, Cinzia’s complex character is revealed, and she ends up in mourning during a shocking suicide attempt. After highlighting the beauty of Paola Pitagora, whose gaze strikes the viewer, Comencini catches romanticism on the wrong foot by making bathe your film in blood. A symbolic scene of the passion that animates Cinzia and Nanni, despite their differences, and undermined by the external universe: Cinzia’s family and questions of inheritance.
Remained unpublished until now in France, Without knowing anything about her finally released in theaters. Not to be missed, from December 4th
Source: Cine Serie
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