All language subtitles for Behind.The.White.Glasses.2015.1080p.WEBRip.x264.AAC-[YTS.MX].eng

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In the whole history
of the world,

I think there have only been two
great women directors --

Leni Riefenstahl
and Lina Wertmueller.

Nobody else registers
as high as those two.

They may have their weaknesses,

but they certainly have
their strengths.

But in the context
of Italian cinema,

what made her unique was --

really, I think what made her
unique was her particular,

special angle on the
commedia dell'arte tradition.

Her pictures were funny and
frighteningly harrowing

and big and emotional,
over-the-top, and popular.

And within that register,

she was able to do things
that nobody else was doing.

Always a carnival,
always entertaining,

always in constant motion,
lot of energy.

And there wasn't anybody else
working that way at that time.

On the yacht, she is in --

she is on top
and he is a mere servant.

On the island, he becomes the
boss and she becomes the slave,

and not only the slave,

but the slave who
has to love her master.

"Swept Away" -- popular
for many reasons.

First and foremost, of course,
it's sexy. It's very sexy.

I mean, it was Giannini
and Melato. They're --

Either they're naked or almost
naked most of the picture.

They're having sex all the time,
fighting, making up.

All on a deserted island.
I mean...

Lina was very much interested in
what one would call gender --

gender politics --

the politics of
man-woman relationships.

And that, she took,
perhaps, as a symbol for

a larger political situation

between the upper classes
and the lower classes.

Battle-of-the-sexes movie
where, you know,

the personal and the political
are all tied in together,

so it became one of
those really --

It was one of those pictures
you had to see

because it was
a provocative, cultural

conversation piece
everywhere you went.

Because Lina is who she is,

it is never cold or schematic
or -- or theoretical.

It's always alive.

It's always practice
rather than theory.

It's always humanity
rather than mere philosophy.

This was the period, also,
of "Last Tango in Paris,"

"A Clockwork Orange,"
"Straw Dogs."

These are movies you had to see

because they were
constantly being discussed.

And it's also very, very funny.
That's another big factor.

And it has a great romantic
surge at the end, of course.

I saw "Settebellezze."

And I was blown away by it.

And I told my editors at
"New York Magazine"

how wonderful it was,

which they almost
couldn't believe,

but then they went to see it,

and they said,
"Yes, you were right."

And I wrote an article,
which was published

in "New York Magazine" --
a big article with pictures.

And then the Italian press
started making fun

of Lina and me.

"Santa Lina," they were saying
with irony, "di New York.

Santa Lina di New York."

She always said she wanted
man in disorder.

But disorder to her was
the opposite of

the Nazis, for example,
or Mussolini.

It was man allowed
to make mistakes

and making them but also
learning from them.

And that was the notion
of anarchy she had,

which wasn't going around
and killing people, necessarily.

It was allowing people to be
their disorderly selves

and somehow fighting their way
to some kind of --

some kind of order that really
wasn't sort of fascist

or totalitarian or communist.

She knew how to make a monologue
as exciting as dialogue

by "A" -- having good lighting,

two -- having good
camera placement and movement,

and somehow, the enthusiasm
she had for making films

that she generated and
could pass on to an actor.

I was thrown off by the pictures
because of the style of

composition and editing --
for me, was very --

at first, it was kind of disturbing,

at first --
first couple of years --

first couple of years or so
of these films.

It took me a little while to
settle into it and to understand

the visual language
that she was creating.

Nobody else was doing that
at that time.

It was very different from
Fellini or from Antonioni

or from Leone, you know, so --
or Bertolucci -- any of this.

So this was a very special
artistic vision.

She knew exactly how
the camera should move

and, when it didn't move,
how it should stand

or where it should stand.

And that's something
that you can't learn.

You have to have that in your
instincts, in your feelings.

In "The Lizards,"
her first film,

it was not nearly so good
as it became later.

But the great thing is
that the true artists learn.

Well, the films are
very beautiful --

the lighting, framing.

You remember, primarily,
the beauty of the people,

even the grotesque beauty --

the way the people move,
the gesture, the smiles, crying.

I remember "Seven Beauties" and
"Love and Anarchy" having a

particularly strong
visual beauty.

Of course, she was working with
great directors of photography

on those pictures --
Giuseppe Rotunno

and Tonino Delli Colli.

And she had her husband,
Enrico Job,

doing the production design
on "Seven Beauties."

But for me, it's the beauty
of the faces and the people.

You watch him debase himself,

just sink to, like,
the lowest order --

the lowest level
in order to save himself.

All about saving yourself in
a German concentration camp,

and it's funny
and you're laughing.

This was during a time when
everyone was trying to depict

Nazism and fascism in films, but
she went at it through humor.

I mean, those pictures,

especially coming out
at that time all together --

they certainly had a great
effect in America

and are very popular.

One of them, in fact --
"The Seduction of Mimi" --

was actually remade as

a Richard Pryor comedy
called "Which Way Is Up?"

But I'm not sure if they had
the same kind of effect,

for instance,
as "81⁄2" or "Blow-Up"

or certain Bergman pictures.

I mean, I think that ultimately,
the effect was more subtle.

It was more subconscious.

There was an undercurrent
in American cinema

that she had created, I think.

Giannini in particular was,

like, an instant movie star
in her pictures.

And Lina Wertmueller herself
was, like, an instant --

like, an instant sensation.

I mean, she just...

appeared or erupted
over here in American.

They showed the film to us --

to me and to
several other people --

her producer,
who was a nice man.

And I tried very politely
to suggest some problems

I had with the film.

And so Lina said,
"Well, what are you saying?"

And Giancarlo Giannini,
who was also there, said,

"He is saying that the film
is full of shit."

The wonderful thing is that
Lina was up early next morning

and re-editing the film.

But I also feel that

the possibility of re-editing
is greatly exaggerated.

And I felt that
she saw things in me

that other people maybe not --

did not see.

No.

Keitel: In Naples,
we had such a good time.

She took me around to people's
houses and we ate there,

and there was always music and
people singing, playing, and...

So we were in
the culture itself.

We were living right there
in its culture --

the culture we were
making the film in.

To watch Lina at work,

not only with the movie
but with the culture itself,

is a treat and was very helpful

in creating the right
environment for the movie.

She knew everything about Naples
and the goings-on in Naples,

how to deal with people
in Naples.

You know, when they
tried to make noise

to interfere with
the sound of the movie

when we were shooting on
the street somewhere,

she knew how to deal with
the situation.

Oh!

I've been very lucky
to work with

the people I've
worked with, and...

and there's a common denominator

amongst these
wonderful directors.

There's a common humanity
that they share.

Their styles might be different.

Their experiences
certainly are different.

But on another level, it was a
commonality amongst them all.

So Lina was one of those
special --

very special directors I had
the privilege to work with.

Aah!
Oh!

Hauer: When Lina came
with the script,

it was basically --
it was sort of a di--

it was a discussion
about AIDS, you know.

It wasn't really a film.

Basically,
because it was in English

and Lina is a poet,
first of all -- she's --

and she's Italian

and Italians tend to use
more words than needed,

I think, you know,
my biggest battle was with

the massive, massive dialogue
that was just too much,

you know, so I helped her,
you know, make it --

trim it and then hoped
that we had, you know,

a film that -- that was watchable.

Keitel: The tragedy were
the numerous films

that people did not
give her to make.

And others like her, by the way.
There are others like her.

I think of Nick Roeg, as well,
and talents like that who --

whom the financiers seem to lose
confidence in and lose faith in,

and they go on to
younger people, if you will.

And they forget about
the wisdom that these people

have brought to us
in the cinema.

Simon: I must say, I'm not
familiar with her late films,

which were never shown
in this country,

and maybe one or two of them
I did see on -- on DVD

and which frankly did not
interest me very much.

But look, if you have made
four masterpieces,

which she certainly has,
you're allowed to retire

in comfort and glory
and not add further triumphs.