All language subtitles for Locchio.Selvaggio.1967.1080p.BluRay.x264.AAC-[YTS.GG - YTS.BZ]

Its heart will burst at any moment.

Could you stop, please? I can't stand it
any longer.

Relax. Can't you see I'm working?

I can't stand to see that poor animal
die.

Then shut your eyes.

I told you we shouldn't have come.

I can't stand it!

Where are you going?

Keep shooting!

Keep shooting!

Where are you going?

Nowhere. I just wanted to stop you from
killing that poor gazelle.

Well, you've succeeded.

Now I have to film you instead of the
gazelle. I don't want to be in your

film. It's too late. It's already done.

Put in the spare can of petrol.

Here.

It's empty.

The cap was loose.

Is there anything wrong?

Well, it's obvious, Miss Davies. No more
petrol.

Well, that's all right. Now we're even
worse off than the gazelle, hmm? I

always did like the unexpected.

Did any of you bring some extra water?

But I thought you were supposed to do
that.

Miss Davis, let's make everything
straight once and for all. Did I invite

you to come along?

No, it was someone else in your group.

A certain Signor Rossi. Well, if you
have any complaints to make, make them

to Signor Rossi.

Signor Rossi's not with us. At the very
most, I'm responsible for this lady and

this gentleman that I invited on the
clear understanding we were going on a

gazelle hunt.

To me, Senor Rossi said a drive across
the desert. He didn't say you'd hunt

gazelles.

How

many

miles have we come into the desert?

Sixty miles.

The best thing to do is to walk back to
the trail.

Then hope and pray somebody comes along.

And what if nobody comes along?

One thing's certain. If we stay here,
nobody will come along.

Let's go.

Wait a minute. He has water.

He was drinking. I saw him.

Don't be hysterical, Miss Davis.

Nobody's drinking.

But I'm sure he was drinking. There is
water.

Look, this is empty.

If any of you in this extremely dramatic
moment, and you must realize the

predicament we're in,

would care to record a statement of any
sort, he can do it now.

You mean, are you suggesting we record
our last will and testament?

Well, if any of you feels it's
necessary, why not?

Why are you doing this?

Haven't we had enough bad luck as it is?

Yes, Mr. Klaus.

Mrs. Bates.

What would you give for a glass of
water?

A year of my life.

Or else?

Or else what?

How long have you been married?

I don't like the tone of your question.

All right.

Let's change the subject.

Mrs. Bates, would you be unfaithful to
your husband for a glass of water?

That's enough.

Listen.

You sure their ship docked at Aden?

Yes. But you'll have to change planes in
Cairo in order to get to Aden. And I'm

not sure you'll find a connection there.

Well, I can always rent one.

Well, you're at it. Why don't you buy
one, eh? Fine.

Why not?

How why not, like hell? I try to
organize things as best I can so you can

make your film. And you leave us all
high and dry so you can run after a

girl.

She's not any old woman.

She's useful. I can't do without her.

I'll catch up with her on the ship and
I'll bring her with us to Singapore.

All right.

You realize that I have to clear this
with Rome?

It's already done.

I had the producer on the phone. He said
the material was fantastic.

Cairo. All I need is a few days and I'll
be in Singapore with her.

All right.

Ciao. Thanks

a lot.

A bag.

I'm taking that book there.

All right. Thanks.

One thing I'm sure about is coming for
you.

What are you going to do about it?

What do you mean?

I mean that you know perfectly well
you're free to do what you want.

But if I were you, I wouldn't trust that
chap.

Why, you still think that that incident
in the desert was nothing but a trick to

get a lifelike scene for his
documentary?

Don't you?

No, I don't.

Will you please leave me alone?

You're wasting your time chasing after
me.

And besides, it's very embarrassing.

I could either say nothing, which as far
as I'm concerned is like saying yes, or

I could make a row, which I don't intend
to do.

Why don't you want to make a row?

Because my husband's here.

If I were alone, I would.

But with my husband.

It makes me look like an outraged little
wife, a part which I haven't the

slightest desire to play.

Now, listen, Barbara.

You're already part of my documentary,
and you should be in the rest of it.

You won't appear all the time, of
course.

You would play the part of a
straight-laced Anglo-Saxon woman who's

always being shocked.

At the same time, she's falling for the
so-called lure of the Orient.

You've got it all worked out, haven't
you?

You're chasing after me?

Just to make use of me.

Why, yes, I intend to make use of you.

Do you always make use of the persons
you love?

In a certain way, yes.

You, for example, are a kind of object
that can be made use of in a number of

ways.

Making love, companionship, perhaps.

That's a character in my film.

And later on, no doubt, I'll discover...
Other uses for you.

Of course, you'll have to leave your
husband.

I shall do nothing of the sort.

My husband, at least, treats me like a
human being.

I can think of nothing more degrading
than becoming an object, as you say.

Stop kidding yourself.

But listen to me.

There's nothing you want more than to be
degraded.

Why didn't you go to his table?

It would be much less embarrassing,
especially for you.

It's sad.

Even in Japan, everything's changing.

What, for example?

Women. Even there they want to be
emancipated.

They don't look up to men anymore like
the one over there.

Do you want women to be objects?

Barbara, it's not a question of
preference.

They are objects as far as sex is
concerned, and that's what counts.

You know, if I were the sort of woman
you seem to prefer, I wouldn't be here

talking to you now.

What's there to stop you from being here
with me?

My husband.

Why doesn't he?

Don't you understand?

We have a civilized relationship based
on friendship and understanding.

You think so?

Well, I at least keep the objects that
belong to me near at hand.

If you really want to know, I told him
you kissed me.

When did you tell him?

Last night. I couldn't sleep because of
the heat.

And what did he say?

He said I wasn't to trust you.

Is that all?

No.

He smoked a cigarette.

And afterwards, I suppose you made love.

If you tell him what you do with me,
you'll have to tell me what you do with

him. Well, it's not the same thing Did
you make love or didn't

you Yes

Yeah!

If I hadn't come, you would have left
the ship at Singapore without even

saying goodbye.

You're leaving the boat with me.

I've already booked a room for you at
the Cathay Hotel.

Do you really care about me?

I may well need you.

What for?

Why, for the film.

Do you really care about me?

Get undressed.

Thank you.

All right, that's enough. We've shot too
much of this.

It's a kind of scene nobody would
believe is true.

Do you think so?

It's quite obvious they're deaf and
dumb.

Come on.

Tell Rossi to wait at the jeep. All
right.

Why don't you go with one of them?

Me?

What are you doing?

I want to see how the deaf and dumb make
love.

Do you beat them with it?

Yes, whenever they ask for it.

What do you mean exactly?

More so than with the whip.

We kill them with faith.

Come.

These people come here with the will to
be healed.

And if they are not strong enough to
overcome the desire for opium, they can

ask to be whipped.

But do you believe they would ask to be
whipped?

Of course, physical pain makes one
forget most desires.

But why do they sleep in the open?

to stay in close contact with nature,
which is the highest manifestation of

purity.

Man's destruction begins when he leaves
nature.

Ah, here is where to sleep if it rains
at night.

Well, Doctor, it's all magnificent, but
it's not very much movie-wise.

Do you understand?

What means have you to help these opium
addicts?

With whatever little charity we receive.

Look, I'm ready to make charity enough
to get these gentlemen fat as Buddhas.

Of course, I'll have to make some
changes when I shoot, if you agree.

But you'll be satisfied.

Huh? Yes.

I would never have believed such a
thing.

What a way to cure the sick.

You fell for it?

What do you mean?

Didn't you realize that almost the whole
scene was faked?

Faked? And what about all those people
being beaten?

Weren't they drug addicts?

Barbara, come on, don't be naive.

The only real thing about this scene was
you.

And even that was too much.

Barbara, reality...

It's boring.

Lies are entertaining.

Rossi, what about those men in a trance?
Is it true or just a figment of your

imagination? I'm told we can find them
in Siam.

All right, I'll go anywhere you suggest.

But next time, don't take me on one of
your wild goose chases.

Thanks. Now, if you don't mind, I'm
going to get some sleep.

Barbara, you can't leave.

Let go.

I'm going.

My husband was right.

When and where?

Even in the desert, everything was
planned.

First the water which wasn't there, and
then the rescue.

Correct.

Don't be an idiot.

Come here.

You bastard! Stop it!

You're just a coward. What you're trying
to do...

is something low, filthy and horrible.

Treating people just like... Like what
they are, objects.

But we are all like that, Barbara.

I am and you are.

Kiss me.

Kiss me.

Thank you.

What would you say to a trip to Rome?

To Rome?

Why not?

We could fly there.

We'd be back in two days.

You mean it?

Were you talking seriously about that
trip to Rome?

No.

I was joking.

With all the important things we have to
do, our plans for Vietnam, and I'm still

awaiting an answer from the Chinese
consulate. It's very important for me.

Are we going to China as well?

Yes.

Provided we get our visas.

I've got some fabulous ideas for the
film.

Life in the communes, for example, you
know.

The men live in one part, the women in
another.

So making love is a sort of military
exercise, by numbers, you know.

Then a big sequence on the...

School children being brainwashed with
the thoughts of Chairman Mao.

But my film will finish in the States.

Yes, in the world of astronauts, plastic
flowers.

Transistors.

Sounds fabulous.

Just a minute.

I know very well it's not Saigon here,
but if I were you, I would think about

my offer.

It would be a great act of faith.

What a magnificent opportunity of
spreading your creed at a moment when

mankind has lost all its faith in itself
and in God.

Your proposal seems to me quite absurd,
here at any rate.

But perhaps it is only a question of
latitude.

I suggest you go to Saigon.

Excuse me.

What were you talking about?

I was trying to make a deal with him.

What kind of a deal?

In front of the temple.

Just think what a horrifying, terrible
spectacle it would be if he set himself

on fire.

If who set himself on fire?

That Buddhist priest.

That's what I was asking him to do.

And while he burnt himself in protest
against the war in Vietnam, you and I

would be making love.

But that's monstrous.

Why?

People are dying all over the world and
just think how many others are kissing

and making love.

What difference is there if we make love
a thousand miles away or under the nose

of a burning priest?

Come on.

I want to make love the real thing, not
for the film.

I think we're in luck. What do you mean?

I fixed us an appointment with that
English hunter I was telling you about.

Why? Does he know something?

It looks like he does.

Glad to meet you.

So you know

exactly what we're looking for.

My friend must have told you about the
information we've been given.

Yes, he mentioned it to me. But look,
I've lived here for many years. I know

the way things work here.

Everyone is ready to give you
information, but most of the time it's

false. Pretty,

isn't she?

But it's no use. She's in love with me.

You still haven't told us if you know
where we can find these men who go into

a trance.

Well, I know they exist.

And I know more or less you can find
them along the border between Malaya and

Siam where there's famine.

But there is one area where I'm sure it
takes place.

And the Sultan there happens to be a
good friend of mine. We're like

brothers. Let's get going then.

Just a moment.

It's not as easy as all that.

We'll have to organize a properly
equipped expedition, if we're going to

get there in one piece.

It's the only way. The place is infested
with dangerous animals.

All right, but we are not easily
frightened.

Don't worry. Where do we leave?

You won't run any risks as long as I'm
with you.

We can leave tomorrow if I can get
everything ready.

We should get an early start.

All right, then it's agreed.

You'll take care of everything.

Yes, I will.

All right Well, shall we go you go
ahead?

I'll see you back at the hotel.

I'll probably stay here.

What about Barbara?

Don't worry about that.

What are you waiting for? Go on I feel
like sleeping alone Okay

Tell me something.

Does he send you to bed with all his
clients?

Don't worry about the buffalo.

I know how to make them miss if they
charge us. That's good. You mean a twist

of the hips, like the matadors do.

Olé!

Imagine what a marvelous scene it could
be.

Wild buffalo charging and Barbara on her
knees pointing her rifle.

Why are you with me?

Because of the public.

Audiences are masochistic and sadistic.

A pretty girl with a rifle arouses their
masochism.

The same girl, helpless and unarmed,
their sadism.

There are no good or bad films.

They're just those with or without the
occasional stimulation it makes. The

public digests the rest of the film.

This way.

Follow me.

Sayid! Sayid!

That's one of his dogs. He has a lot of
them. That one's a bit mangy.

Hey, there's somebody there.

That's Zahi.

That's him.

Zahi.

Zahi.

The Sultan says that his palace is at
your disposal.

Ask him where we can find the men in a
trance.

We'll get around to that later.

Oh, wait a minute.

He wants to know if we can give him some
of our European food.

This man is starving.

No wonder he's so thin.

Roger, go and get him a tin of beef.
Right.

I'm sorry, but the Sultan was telling me
that there are no more men in trances.

There was an epidemic and they all died.

I'm sorry.

We couldn't stand the stench in there.

I shall need a lot of butterflies.

There are lots of them around here.

Well, I'll need a thousand, maybe more.

I'll see what I can do.

If the others will give me a hand.

Well, I can help too.

The lighter.

What are you going to do with so many
butterflies?

I'll explain to you later. There's
plenty of time.

We start shooting tomorrow morning at
dawn.

Try to catch one. Try to catch one.

Look how beautiful they are.

Now look at me. Look at me. Look at me.

Look now.

Slowly. Try to catch one. Try to catch
one.

Look at me.

Turn around like this.

Look at me now. Look at me. Look at me.
Turn around.

Turn around.

That's right.

Good.

Try to catch one now. Try to catch one.

Come on.

Go get a butterfly.

That's right.

Good.

Try harder.

Try to catch one. Try to catch one.

Take it and give it to the Sultan to
eat.

Eat? Go and give it to him.

Eat.

You have to eat it.

Eat, yes.

Good, good.

Poetic, isn't it? The old Sultan reduced
to eating butterflies.

Come this way now.

Slowly.

Onto the carpet.

That's right.

Look at the sky now.

You can hear the tinkling of the temple
bells.

You ate very well, so you want to sleep
now.

You are very happy.

Lie down very slowly.

Slowly.

It's no good like this. Look at me. Just
look at me.

Look, I'm arriving here, and first of
all, never look at the camera. Never.

Now, don't look at the camera.

You arrive here, you're very happy. You
see a marvelous pool there which

reflects the sky, and you ate very well.
You feel well.

All right?

Yes,

and then you lie down very slowly, very
slowly, content with a smile. Smile.

Then you just lie back.

And then, very happy, you go to sleep.

You must look very peaceful.

All right. Now ready.

Again.

Go.

Rolling.

Action. Come on now.

Very slowly.

You're happy. Look happy.

Very slowly.

Yes, like this. And look at the sky.

You smile. Smile.

Come on.

That's right.

Like that.

You just sit down now. Sit down very
slowly.

Very slowly.

Slowly.

Very happy.

Yes.

Now put your two hands under your head
and slowly go to sleep.

Very slowly.

And then you hear the music of the
tinkling of the temple bells.

So close your eyes very slowly and you
sleep.

Sleep.

Sleep.

Close your eyes. Sleep.

That's a good boy.

Stop.

Give him a... a tin of beef because it's
been good.

But I would like to buy one of his
wives.

No.

Oh, I'm sure he's going to accept.

Come on.

Ready.

Look.

Tell him that I would like to buy one of
his wives.

Sayid.

And you're going to have a lot more.

He does.

He says no.

It's very touching.

Well, that's about it for now.

You know, I felt so sorry for the Sultan
today.

I don't think I ever felt so sorry for
anyone.

That's a good sign.

What do you mean?

If you felt sorry for him, it means that
the public probably will too.

Oh, but I feel sorry for the real
Salton, not for the one who will appear

on the screen.

You are much too attached to reality.

You see a degraded, humiliated man, and
you don't realize that through him I'm

representing the decline of the Orient.

The decline we'll see in this film is
the decline of the West, which reduces

everything to merchandise, to products
for mass consumption.

Even the suicide of a Buddhist priest.

What are you getting so excited about?

You think you're very clever, very
cynical, very self-confident.

But the truth is, you're nothing but an
instrument.

The really guilty person is somewhere
else, waiting for you to make a film

full of lies and scandals, waiting for
you to make money.

I don't know who this person is.

But I feel he's present among us.

Have you finished?

That's enough for now.

Do you think you've told me something
new?

Do you think you've broken through some
barrier of human understanding?

Now listen to me.

I have decided once and for all where my
place in life is.

With the bosses.

Yes, with the bosses.

And I'm not ashamed of it like many
others.

What's going on? Just a minute.

Hey, how's about a dance? Take your
hands off me, please. Just one little

dance. He's not even looking at you.

Paolo. Yes, what's the matter? Look.

Why don't you go to bed?

All right.

Hold this.

How's about that dance, huh?

Please go away.

Yes, understood.

Let's talk privately.

Look, we better talk somewhere else. All
right.

But Paolo, what about me?

Wait for me, or go back to the hotel.

He ditched you, eh? Let's go in and see
our club. Go away.

Why not?

Please, sit down.

Mr. Rossi. No, thanks.

I'm sorry, sorry.

My friend here tells me that you know
everything going on in Saigon.

Do you know where and when the monks,
the Buddhist monks, set themselves on

fire?

We realize that.

All right, but I've got a film to make.
I can't hang around waiting forever.

Here is a list of everything Mr. Rossi
requested.

Bombings, executions, even the burning
of a monk.

These boys have promised to let me know
as soon as they hear something big is

going to happen.

All right, let's make a deal.

If you find me a monk willing to burn
himself alive, I'll pay you too.

Plus a generous donation to the Buddhist
community.

If you will excuse us, we will be in
touch with you if you have any further

information.

Didi. All right.

Well, what did you expect?

They must think you're out of your mind.

No, you don't know these people.

They would sell their mother for a
package of cigarettes.

Where'd you find those two?

Outside Saigon, about 20 miles.

In a village where the Viet Cong have
set up a command post.

All right, take me there.

Get Valentino out of bed and we'll be
off.

Come and dance with me. Come on, stupid.
We're going. Aren't you?

Oh, bless you, too. You're always so
serious. Come on, now. Oh, but why not?

Oh, Rusty, please.

I don't want to go.

Oh, please, Mr. Dick.

I don't want to go.

I can't.

The tripod!

Here, hold this a minute.

Listen, they're not playing around.

And I'm a much better target than you
are.

They're not shooting in our direction.
Don't lose time talking.

We are Italian journalists.

Journalists. Journalists. Italian
journalists.

I'm only here to... I'm a journalist.

It could have been worse.

The Viet Cong found a pistol on him.

Did you get any film of me while I was
being beaten?

No.

Well,

we'd better be going.

If you need us, just call.

I want to sleep.

It would be a relief for me to know that
you're happy.

But I doubt it, Barbara.

I leave for the States tomorrow.

You can join me there whenever you want
to.

I'll be waiting for you.

More bombs here than at the front.

Think they'll blow up the hotel?

We're wasting a hell of a lot of film.

Never mind. Keep shooting.

Okay.

What do you think they're doing?
Shooting a picture or something?

I don't know. Ask him.

What's going on?

I'm a reporter.

Same old crap, man.

That's one way of keeping the population
in a state of panic.

Yeah, but sometimes these bomb scares
are gonna get real, man, you know?

They're blasting everything they can lay
their hands on, the bastards.

We caught eight Viet Cong in a raid this
morning.

Did you shoot them?

No, they're being tried.

Probably some of them will be executed
tonight in a public square, as an

example.

Did you torture them Stop shooting

there's nothing happening.

Let's go They

could easily plant a bomb in our hotel
too

and this time it might go off Who the
hell cares when your number comes up?

That's it. You can slip on a banana
skin, too

The Pope's getting involved.

The war will finish. That's bad for us.

Yes, you can play the big hero.

But if the film goes well, you will make
all the money.

But for me, it doesn't change a thing.

Just do your job well, and I promise
there'll be a lot for everyone.

But what more do you want me to do?

Just being here with you is dangerous
enough.

You know, one of these days, Ruggiero is
just going to pack up and leave.

He can do as he likes as far as I'm
concerned.

I've no need for yellow bellies.

Well, I happen to need him.

All right, all right. Don't worry about
it. I'll talk to him.

I thought you had ideas like mine, that
you liked this way of life.

You always dreamt of going to China.
Well, we are nearly there.

It's not the same anymore.

Something has changed.

What?

I'm still the same, and you are too.

Maybe you still are the same, but the
war was not on the program.

What war? Look around.

We always love to risk.

We.

We.

You always speak in the plural.

I followed you and I'm still following
you for God knows what reason.

Come on, you're tired.

You know who's been a surprise?

Barbara. And she's a woman. Oh, well,
she adapts to everything.

Did she have any choice?

You don't think that she's happy, do
you?

Cut it out. I have too much to think
about.

The light's going fast.

If they don't arrive soon...

There

they are. Come on.

A close up.

Closer.

We are journalists.

We want to film this.

Come

on,

Valentino. Here.

Take him from this angle.

Here, quick!

There's not enough light there.

Look, sir, we need a place with more
light. Shut up. Get out of the way.

Please, it's for the camera. We can't
shoot our film there. We need more

light. Get out of my way! Do us a favor,
please, won't you?

Against the white wall there.

It's only a few yards to the white wall.
What do you have to lose?

It's the only way we can shoot the
scene. Please!

Now take

the

soldiers, quick!

Get out of here!

Go away!

Close up against the wall.

Stop.

What did you have to pay them for the
information?

Five hundred dollars.

What information?

A terrorist bombing.

How can you be sure there'll be one? I'm
not.

It's a chance we'll have to take.

When will it take place?

At midnight tomorrow.

Where?

From there with a bazooka at midnight.

There are no windows here. They'll have
to fire at the door.

If you shot the scene from here, you'd
be perfectly safe.

Yes.

The shell will hit more or less where
Barbara is sitting, and you'll be

sheltered from the blast by this thick
wall.

You'll have plenty of time to get some
good shots of the customers before the

explosion.

But you're joking, aren't you?

No, I'm speaking perfectly seriously.

I wouldn't miss this if it cost me my
life.

You mean my life?

You can see for yourself that you'd be
perfectly safe here.

Forget it.

I'm not standing there or anywhere else.

Listen to me.

I'll tell you another thing, too.

I'm going back, straight back to Rome.

And I'm leaving right now.

While I'm still in one piece.

I'll shoot the scene by myself.

Is it all right now?

Is it all right or not?

All right.

Shall we go?

You can see how difficult it is to work
with these people.

I have to do it all by myself.

I don't intend to give you my opinion on
what you're about to do.

It wouldn't be much use anyway, would
it?

No, it wouldn't.

But just tell me one thing I've wanted
to know for a long time.

You're prepared to risk your life.

But what for?

Is it to make a great film?

Or is it because you just don't give a
damn about anything or anyone?

I've never thought about it.

But I don't have much choice now.

The others are scared.

And you are not.

A little.

I feel empty inside.

I really don't know why I go on staying
with you.

But with me, you've been living life to
the full, really living.

What would you do with a so-called
normal life?

You eat, you sleep, and then what?

Do you want to make love with me?

If you want.

What is it?

You're afraid somebody will see us?

No.

I've even got over that.

Good for you.

That's the way I like you to be.

that's enough here let's take the other
side he's over here

It's almost time.

I'm going to get ready outside

What are you doing here?

Why didn't you stay in the hotel?

I didn't want to be alone.

I'll keep out of your way.

Valentino, come here.

If you ask me, he's crazy all right. I
wish there was some way to stop him.

Everything ready?

Cameras, film loaded, lenses?

Of course.

Well done.

Now, listen.

Make a last sacrifice and I'll see you
get a huge bonus.

You know, I could have bet on it.

This happens every time.

But it's not because I'm afraid.

We're not running any risks in there.

Just that the scene would be much bigger
filmed by you.

Save your breath.

You said you were going in there.

Well, go ahead.

Get the camera and go inside. That's an
order now.

You're insane.

And we're even more insane to have come
with you.

All right.

I'll make sure you regret this. I'll
talk to you later.

and the battery.

Not this one.

The new one.

After the explosion, come in and film
the scene even if you find me dead. Is

that clear? Quite clear.

Don't be afraid.

Everyone here is exaggerating. I won't
get a scratch where I'll be standing.

Paolo.

turn off that light easy

Come on, drink up. Come on.

You little darlings, you.

Ruggero, how much film have I got left?

Almost finished. Get another reel,
quick.

What happened now?

Valentino, I got it.

I got the explosion.

I got it.

Keep shooting.

Take close-ups. Keep shooting.

I got the explosion. I filmed it. Keep
shooting, Valentino. I got it. I want

close-ups. All the close-ups you can
get.

Get me on film.