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Undersea Fantasy (1940)

Fantasia sottomarina

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Roberto Rossellini's first film is a work of deceptive transparency. In its initial moments the film appears to be a documentary about underwater, even deep-sea, species. But soon after, the

narration, in the manner of Cocteau, unleashes a powerful "dual reality" onto the images, imbuing them not only with a narrative logic, but a kind of magic. (Let's be clear, for Rossellini there are basically

no precedents; or about those that can at least "be said to" exist this filmmaker would always be willing in turn to rejoinder, and pointedly, that the material influences for any film of merit hail from life

itself and the powers of the observer; correspondences between films might exist — but why shouldn't they, since audiences and filmmakers are all, ostensibly, alive.) Magic always resides within reality; maybe

it's better to say Rossellini "imbues" less than he unlocks. So I ask, at no-one in particular: Is the difference in method (imbue vs. unlock) why Rossellini (or Vigo, or Renoir) have, insanely, been

perpetually categorized as (excruciatingly loaded, extraordinarily wish-fulfilling and villainous phrase) "master realists," as though they were closer in form and temperament to the aggressions of a

Chernyshevsky than to the "specific details" of a Nabokov? As though Picasso's famous assertion — "I do not seek — I find" — were, after all, too "oracular" (read as: foolish, mad, cavalier, unsuitable for We

2.0) and, therefore, too domineering in service of the cause of the Individual (too self-involved!), rather than that of the marxist-christianic Social Fabric (just commu…

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