CinemAperitivo: Padre Padrone Mein Vater, mein Herr [OmeU]

Italien 1977, R: Paolo Taviani, Vittorio Taviani mit Omero Antonutti, Saverio Marconi, Marcella Michelangeli, 113 Min, Im Anschluss Aperitivo und Gespräch

Er gehört zu den Schlüsselfilmen des italienischen Kinos und des europäischen Kinos, er packte in den 1970er Jahren, in denen er in Cannes die Goldene Palme gewonnen hat, das Publikum und regte zu Diskussionen an: Padre padrone, jener Film, der den Gebrüdern Paolo und Vittorio Taviani zum internationalen Durchbruch verhalf und sie zum Vorzeigepaar Italiens machte.

Ein Bildungsstück im engsten Sinn des Wortes, ansetzend in der Schule eines sardischen Dorfes, aus der ein Bauer und Vater (Omero Antonutti) auftritt und von der real existierenden Figur des früheren Hirtenjungen Gavino Ledda mit einem Stecken ausgestattet wird, bevor seine Geschichte erzählt wird.

Der Hirtenjunge Gavino wächst in einer archiaschen, von jahrhunderte alt wirkender Unterdrückung und Demütigung geprägten Welt auf. Mit sechs Jahren wird er von seinem Vater aus der Schule geholt, um die Schafe zu hüten und zum Lebensunterhalt der Familie beizutragen. Schliesslich hat man ihn auf die Welt gestellt, damit er arbeiten kann und nicht zum Lernen. Gavino lernt vom Vater die Natur kennen, lernt Sehen und Lauschen, aber was ihm vorenthalten wird ist die Kultur, ist das Wissen. Auf dieses stösst er erst im Alter von 18 Jahren in der Armee, wo er endlich lesen und schreiben lernt und seine Freude am Wissen entwickelt.

Freundschaftlich zur Seite steht ihm dabei ein junger Mann, mit dem er im Panzer Vokabeln durchgeht und Vergil rezitiert: Nanni Moretti, der eben erst seinen Film Io sono un autarchico gedreht hat und hier noch als Schauspieler wirkt.

In Padre padrone beschreiben Paolo und Vittorio Taviani, frei der Biografie des realen Gavino Ledda folgend, einen Emanzipationsprozess, die Geschichte einer exemplarischen Möglichkeit, gegen alle Chancen zu gewinnen. Gleichzeitig ist er ein Dokument des Elends und der Hoffnungslosigkeit in den sardischen Bergen, aus dem der gebildete Hirtensohn ausbricht, um rückkehrend an der Verbesserung der Situation zu arbeiten.

Festivals & Auszeichnungen

Palme d'Or Cannes 1977; Special David 1978; FIPRESCI Prize 1977; Interfilm Grand Prix Berlinale 1977

ENGL.

One of the key films of Italian and European cinema, it gripped audiences in the 1970s, when it won the Palme d'Or at Cannes, and stimulated debate: Padre padrone, the film that helped the brothers Paolo and Vittorio Taviani achieve their international breakthrough and made them Italy's model couple.

An educational play in the strictest sense of the word, set in the school of a Sardinian village, from which a farmer and father (Omero Antonutti) appears and is equipped with a stick by the real-life figure of the former shepherd boy Gavino Ledda before his story is told.

The shepherd boy Gavino grows up in an archaic world characterized by centuries of oppression and humiliation. At the age of six, he is taken from school by his father to herd the sheep and contribute to the family's livelihood. After all, he was brought into the world to work and not to learn. Gavino learns about nature from his father, learns to see and listen, but what he is deprived of is culture, is knowledge. He only comes across this at the age of 18 in the army, where he finally learns to read and write and develops his love of knowledge.

He is befriended by a young man with whom he travels in a tank.

He is befriended by a young man with whom he goes through vocabulary in the tank and recites Virgil: Nanni Moretti, who has just shot his film Io sono un autarchico and is still working as an actor here.

In Padre padrone, Paolo and Vittorio Taviani, freely following the biography of the real-life Gavino Ledda, describe a process of emancipation, the story of an exemplary opportunity to win against all odds. At the same time, it is a document of the misery and hopelessness in the Sardinian mountains, from which the educated shepherd's son escapes in order to return and work on improving the situation.

Despite the tyranny of his father (who would die in 2007, at age 99), the writer spoke in conciliatory terms about his figure, denying the existence of disagreements:

"My father and I get along well, the incompatibility between us was a caricature in the newspapers. I am like him, our relationship with pastoralism has remained the same. He has a strong character dad--he started working when he was six years old, he learned not to ask anyone for anything.... Some shepherds are princes, kings ... they are absolute masters of their space and their life" Gavino Ledda

Curiousity from the GUARDIAN:
The Tavianis had decided against Moretti being their assistant on Padre Padrone. “I didn’t want an assistant who was already a director in his own right,” said Vittorio. “We were in a pizzeria when I told Nanni this and he cried. I said, ‘Don’t cry. Come and do a cameo role.’ When he arrived on set in Sardinia with a suitcase, he looked like a poor immigrant.”

Giving the Palme d’Or to Padre Padrone was controversial. Most of the jury apparently wanted Ettore Scola’s A Special Day to win (though one jury member, Pauline Kael, disputes this). “The pressures on Rossellini to reconsider the decision were enormous,” wrote Mira Liehm in her book Passion and Defiance. The director stood firm. It has been suggested that behind-the-scenes arguments contributed to his death from a heart attack five days after returning to Rome from Cannes.

“I was keeping my father company in Cannes,” recalled his daughter, the actor Isabella Rossellini. “He loved Padre Padrone and was very proud that a film made in 16mm for television had won at such an important festival. It was a victory for my father’s ideas about what film should be. He was very involved with social problems and very much for low-budget cinema and reaching the largest number of people through television.” THE GUARDIAN

ITA

Nonostante la tirannia del padre (che sarebbe morto nel 2007, a 99 anni), lo scrittore si è espresso in termini concilianti sulla sua figura, negando l'esistenza di disaccordi:

«Mio padre ed io andiamo d’accordo, l’incompatibilità fra noi è stata una caricatura dei giornali. Io sono come lui, il nostro rapporto con la pastorizia è rimasto lo stesso. Ha un carattere forte papà... ha cominciato a lavorare a sei anni, ha imparato a non chiedere niente a nessuno... Certi pastori sono principi, re... sono padroni assoluti del loro spazio e della loro vita» Gavino Ledda