|
Il Postino Il Postino The Postman
|
| 00:02:48 |
No, there's no water, Dad. |
| 00:02:51 |
It's all gone, |
| 00:02:55 |
I wanted to rinse |
| 00:02:58 |
All gone. |
| 00:03:04 |
Is it still warm? |
| 00:03:11 |
I've got the sniffles |
| 00:03:15 |
It must have been the dampness |
| 00:03:20 |
I only have to set foot |
| 00:03:25 |
Perhaps I'm allergic. |
| 00:03:29 |
Even if the boat's not moving, |
| 00:03:33 |
I don't know how you can |
| 00:03:37 |
and not catch a thing. |
| 00:03:43 |
The minute I get on-- |
| 00:03:48 |
I've received a postcard |
| 00:03:51 |
from Gaetano and Alfredo. |
| 00:03:56 |
This is America |
| 00:03:59 |
and this is an American car. |
| 00:04:02 |
They say they're |
| 00:04:04 |
It's written here: |
| 00:04:07 |
But I think they're joking... |
| 00:04:11 |
because they cost |
| 00:04:13 |
But they say |
| 00:04:18 |
where there's work, a country-- |
| 00:04:20 |
And we're still here... |
| 00:04:22 |
without water... |
| 00:04:25 |
while they're-- |
| 00:04:29 |
Forget it, never mind. |
| 00:04:32 |
Listen, Mario, |
| 00:04:36 |
I've caught a chill. |
| 00:04:38 |
Go to America or Japan |
| 00:04:41 |
but get yourself a job. |
| 00:04:44 |
You're not a kid anymore. |
| 00:05:19 |
''The poet, Pablo Neruda, in Rome.'' |
| 00:05:22 |
Central Station. |
| 00:05:24 |
A group of rowdy people |
| 00:05:29 |
who crowd the station platforms |
| 00:05:33 |
These protesters... |
| 00:05:35 |
are not drunkards... |
| 00:05:37 |
nor the usual hotheads |
| 00:05:42 |
They are a group of intellectuals, |
| 00:05:45 |
Why have they joined |
| 00:05:48 |
disturbing the police |
| 00:05:50 |
The mystery is revealed |
| 00:05:53 |
Pablo Neruda gets out |
| 00:05:56 |
the Chilean poet known throughout |
| 00:06:00 |
and his communist ideas which |
| 00:06:04 |
and for which |
| 00:06:06 |
The poet appears to be |
| 00:06:09 |
and, judging by the enthusiastic |
| 00:06:13 |
not only for his moral gifts. |
| 00:06:16 |
Women go crazy for his poetry... |
| 00:06:19 |
maybe because Neruda |
| 00:06:23 |
a topic which appeals |
| 00:06:28 |
But let's go back |
| 00:06:31 |
The Home Office |
| 00:06:34 |
by suspending the measures |
| 00:06:37 |
requested by |
| 00:06:39 |
The poet will remain |
| 00:06:42 |
on a wonderful island. |
| 00:06:45 |
He will not be able to leave |
| 00:06:49 |
but the island's beauty |
| 00:06:52 |
That's me! |
| 00:06:56 |
The poet will have happy memories |
| 00:07:00 |
which is hosting him in a place |
| 00:07:05 |
This cozy house |
| 00:07:08 |
will certainly make him |
| 00:07:32 |
''Wanted: Temporary Postman |
| 00:07:59 |
You, Anita Scotto, |
| 00:08:01 |
This is your son's name, right? |
| 00:08:06 |
I've come about the job. |
| 00:08:09 |
Right, wait. |
| 00:08:13 |
Are you sending him capers? |
| 00:08:15 |
He'll be pleased. |
| 00:08:23 |
Are you illiterate? |
| 00:08:25 |
No, I can read and write. |
| 00:08:29 |
Not very fast, but-- |
| 00:08:34 |
Sit down. |
| 00:08:42 |
I need someone to deliver mail |
| 00:08:46 |
That's great. |
| 00:08:49 |
There's only one addressee. |
| 00:08:51 |
Only one? |
| 00:08:54 |
Everyone else there is illiterate. |
| 00:08:58 |
I'm not illiterate, but still-- |
| 00:09:02 |
Well, then. |
| 00:09:04 |
It's all mail |
| 00:09:10 |
The poet loved by women? |
| 00:09:12 |
The poet loved by the people! |
| 00:09:16 |
By the people, but also by women. |
| 00:09:18 |
I heard it on the newsreel. |
| 00:09:21 |
All right, but most of all |
| 00:09:24 |
Right? |
| 00:09:29 |
The poet has received a mountain |
| 00:09:33 |
Pedalling with the bag is like |
| 00:09:38 |
I'll wait here. |
| 00:09:40 |
I'll be right with you. |
| 00:09:43 |
The wage is a pittance, you know. |
| 00:09:46 |
Postmen make do with their tips. |
| 00:09:48 |
But with only one house... |
| 00:09:50 |
at most it'll pay for |
| 00:09:54 |
- That's fine. |
| 00:09:58 |
My name's Giorgio. |
| 00:10:01 |
I'm your superior, |
| 00:10:04 |
But I won't hold you to it, |
| 00:10:09 |
And remember... |
| 00:10:11 |
the poet... |
| 00:10:13 |
is a great and kind person. |
| 00:10:17 |
He deserves respect. |
| 00:10:19 |
You say hello, you thank him. |
| 00:10:22 |
If he tips you, |
| 00:10:25 |
- Right? |
| 00:10:27 |
This is your hat. |
| 00:10:30 |
This is your bag. |
| 00:10:32 |
Today's the 15th. |
| 00:10:38 |
When do you start? |
| 00:10:41 |
Monday morning. |
| 00:10:47 |
Then the public comes later. |
| 00:10:53 |
Are you in uniform already? |
| 00:10:57 |
No, I'm just wearing the hat. |
| 00:11:00 |
That way it'll |
| 00:11:04 |
or I'll get a headache |
| 00:11:07 |
The boss told me |
| 00:11:11 |
A little trick of ours. |
| 00:12:04 |
Good morning. |
| 00:12:08 |
Your mail. |
| 00:13:07 |
Thank you. |
| 00:13:19 |
Another one from a female. |
| 00:13:22 |
Female. |
| 00:13:25 |
Maria Conchita, female. |
| 00:13:29 |
Angela, female. |
| 00:13:36 |
Jean Marie, is that |
| 00:13:40 |
- Female! |
| 00:13:43 |
This one, too. |
| 00:13:46 |
Even the women are interested |
| 00:13:50 |
I know, but all females-- |
| 00:13:54 |
How come? |
| 00:13:58 |
Listen... |
| 00:14:00 |
but what's Don Pablo... |
| 00:14:03 |
like? |
| 00:14:04 |
- Is he normal? |
| 00:14:09 |
Normal. Of course, |
| 00:14:15 |
You can tell immediately from-- |
| 00:14:19 |
Know what he calls his wife? |
| 00:14:22 |
Even if he's standing far away... |
| 00:14:25 |
they call each other ''amor.'' |
| 00:14:27 |
- Really? |
| 00:14:29 |
That's how you can tell. |
| 00:14:33 |
Female. |
| 00:15:12 |
Excuse me... |
| 00:15:13 |
if you happen to need anything... |
| 00:15:16 |
milk, bread, I can-- |
| 00:15:20 |
No, thank you. |
| 00:15:21 |
Matilde goes shopping every day. |
| 00:15:26 |
If ever she doesn't want to go out, |
| 00:15:30 |
We don't need anything. |
| 00:15:33 |
I mean, if by any chance-- |
| 00:15:45 |
And remember, Mario... |
| 00:15:47 |
you mustn't bother him |
| 00:15:50 |
It's forbidden to annoy customers |
| 00:15:55 |
I know, I won't annoy him. |
| 00:15:59 |
I'll only ask him |
| 00:16:03 |
So when I get paid, |
| 00:16:07 |
and show all the girls... |
| 00:16:09 |
that I'm a friend of Neruda, |
| 00:16:14 |
The poet of the people! |
| 00:16:26 |
Excuse me, couId you sign it? |
| 00:16:35 |
PIease, couId you sign it? |
| 00:16:47 |
Would you make |
| 00:16:52 |
Would you make |
| 00:17:09 |
My name's Mario Ruoppolo. |
| 00:17:16 |
- And my mail? |
| 00:17:31 |
Come on, Mario, you should be happy. |
| 00:17:34 |
Happy? |
| 00:17:37 |
I told him quite cIearly, |
| 00:17:43 |
''Regards, Pablo Neruda.'' |
| 00:17:46 |
It means nothing. |
| 00:17:51 |
You don't think he can cross |
| 00:17:55 |
so you can see it's for me, |
| 00:18:00 |
Do you think he'd cross it out |
| 00:18:04 |
and write you another? |
| 00:18:08 |
Perhaps he did it on purpose |
| 00:18:14 |
No, I asked him. |
| 00:18:18 |
- Exactly, you see? |
| 00:18:21 |
but he was holding an onion. |
| 00:18:24 |
So you think a poet can't think |
| 00:18:29 |
When am I supposed |
| 00:18:32 |
if I can't ask him |
| 00:18:37 |
He's a busy man. |
| 00:18:39 |
He can't be running after people |
| 00:18:44 |
Yes, but he's a communist. |
| 00:18:46 |
So what? |
| 00:18:48 |
Didn't you say that |
| 00:18:54 |
Mario, don't make me annoyed! |
| 00:19:00 |
I bought a copy of the book. |
| 00:19:04 |
When you have the chance... |
| 00:19:06 |
with extreme tact... |
| 00:19:09 |
ask him if he would sign it for me. |
| 00:19:13 |
Sign it? |
| 00:19:14 |
Take this one then. |
| 00:19:18 |
No, this is yours. |
| 00:19:21 |
- I'm happy to let you have it. |
| 00:20:01 |
Mr. Di Cosimo, shall |
| 00:20:04 |
All of it, all of it. |
| 00:20:13 |
'Morning. |
| 00:20:16 |
Mr. Di Cosimo... |
| 00:20:18 |
what can I do to thank you? |
| 00:20:22 |
Nothing, Donna Rosa. |
| 00:20:26 |
Remember to use |
| 00:20:29 |
And hopefully some |
| 00:20:41 |
''...happens that I go into the |
| 00:20:45 |
all shriveled up... |
| 00:20:47 |
impenetrable, llke a felt swan... |
| 00:20:50 |
navigating on a water |
| 00:20:55 |
The smell of barber shops |
| 00:21:01 |
I am tired of being a man...'' |
| 00:21:24 |
Mail. |
| 00:21:49 |
What's the matter? |
| 00:21:53 |
Don Pablo? |
| 00:21:55 |
You're standing |
| 00:21:59 |
Nailed like a spear? |
| 00:22:02 |
No, immobile like the castle |
| 00:22:06 |
Stiller than a porcelain cat. |
| 00:22:10 |
Elementary Odes isn't |
| 00:22:13 |
I've written much better. |
| 00:22:15 |
It's unfair of you to shower me |
| 00:22:20 |
Don Pablo? |
| 00:22:22 |
Metaphors. |
| 00:22:25 |
What are those? |
| 00:22:29 |
Metaphors? |
| 00:22:33 |
Metaphors are-- |
| 00:22:36 |
When you talk of something, |
| 00:22:40 |
Is it something... |
| 00:22:42 |
you use in poetry? |
| 00:22:45 |
Yes, that too. |
| 00:22:49 |
For example? |
| 00:22:51 |
For exampIe... |
| 00:22:53 |
when you say, ''the sky weeps,'' |
| 00:22:58 |
That it's raining. |
| 00:23:01 |
Yes, very good. |
| 00:23:03 |
- That's a metaphor. |
| 00:23:07 |
Why has it got such |
| 00:23:11 |
Man has no business with... |
| 00:23:13 |
the simplicity |
| 00:23:22 |
Excuse me, Don Pablo, |
| 00:23:25 |
I was reading something |
| 00:23:29 |
''The smell of barber shops |
| 00:23:35 |
Is that a metaphor, too? |
| 00:23:38 |
No... |
| 00:23:40 |
not exactly. |
| 00:23:43 |
I llked it, too, when... |
| 00:23:46 |
when you wrote: |
| 00:23:49 |
''I am tired of being a man.'' |
| 00:23:51 |
That's happened to me, too... |
| 00:23:54 |
but I never knew how to say it. |
| 00:23:57 |
I really liked it when I read it. |
| 00:24:01 |
Why ''the smell of |
| 00:24:09 |
You see, Mario... |
| 00:24:11 |
I can't tell you... |
| 00:24:13 |
in words different |
| 00:24:17 |
When you explain it, |
| 00:24:21 |
Better than any explanation... |
| 00:24:23 |
is the experience of feelings |
| 00:24:27 |
to a nature open enough |
| 00:25:23 |
Will you open this, please? |
| 00:25:26 |
- Who, me? |
| 00:25:31 |
- Shall I open it? |
| 00:25:33 |
My hands are dirty. |
| 00:25:45 |
It's written in-- |
| 00:25:48 |
It's foreign. |
| 00:25:51 |
Is it more important |
| 00:25:54 |
Yes, it's from Sweden. |
| 00:25:57 |
What's so special about Sweden? |
| 00:25:59 |
The Nobel Prize for Literature. |
| 00:26:03 |
A prize then? |
| 00:26:05 |
If they give it to me, |
| 00:26:09 |
Why? |
| 00:26:11 |
How much money is it? |
| 00:26:14 |
171,135 Swedish krona. |
| 00:26:19 |
I've no idea, is that a lot? |
| 00:26:24 |
Lots and lots! |
| 00:26:26 |
Then you'll get it. |
| 00:26:28 |
There are candidates with |
| 00:26:33 |
Why? |
| 00:26:35 |
Because they've |
| 00:26:40 |
No... |
| 00:26:41 |
you'll get it, I'm sure. |
| 00:26:43 |
Thank you. |
| 00:26:45 |
Shall I open the other letters? |
| 00:26:47 |
No, I'll read them later. |
| 00:26:51 |
Are they Iove letters? |
| 00:26:53 |
What a question! |
| 00:26:57 |
I'm sorry, Don Pablo. |
| 00:27:05 |
I'd like to be a poet, too. |
| 00:27:12 |
No, it's more originaI |
| 00:27:15 |
You get to walk a lot |
| 00:27:18 |
We poets are all fat. |
| 00:27:22 |
Yes, but... |
| 00:27:23 |
with poetry... |
| 00:27:25 |
I could make women fall for me. |
| 00:27:29 |
How-- |
| 00:27:32 |
How do you become a poet? |
| 00:27:39 |
Try and walk sIowly along |
| 00:27:44 |
and look around you. |
| 00:27:47 |
And will they come to me, |
| 00:27:51 |
Certainly. |
| 00:29:12 |
Mario, can you send someone to see |
| 00:29:17 |
Have you got water? |
| 00:29:20 |
No, that's exactly the problem. |
| 00:29:24 |
That's no problem at all! |
| 00:29:27 |
Why? Is it normal? |
| 00:29:29 |
It's normaI. |
| 00:29:30 |
You've run out of water... |
| 00:29:33 |
up at the cistern. |
| 00:29:35 |
Do you use a lot of water? |
| 00:29:38 |
No, just what I need. |
| 00:29:42 |
Then that's too much. |
| 00:29:47 |
Because... |
| 00:29:48 |
it runs out all of a sudden |
| 00:29:52 |
comes only once a month, |
| 00:29:58 |
We've got-- They've been saying |
| 00:30:02 |
for ages. |
| 00:30:04 |
''You'll have running water.'' But-- |
| 00:30:07 |
And you don't protest? |
| 00:30:09 |
What do we say? |
| 00:30:13 |
My father swears every so often... |
| 00:30:16 |
but... only to himself. |
| 00:30:19 |
There are people who, with a strong |
| 00:30:23 |
It's a pity. |
| 00:30:25 |
This place is so beautiful! |
| 00:30:30 |
Think so? |
| 00:30:34 |
Yes. Sit down. |
| 00:30:41 |
Here on the island, the sea... |
| 00:30:44 |
so much sea. |
| 00:30:46 |
It spills over from time to time. |
| 00:30:48 |
It says yes, then no... |
| 00:30:51 |
then no. |
| 00:30:52 |
In blue, in foam, in a gallop... |
| 00:30:55 |
it says no, then no. |
| 00:30:57 |
It cannot be still. |
| 00:31:01 |
striking a stone |
| 00:31:04 |
Then with the seven green tongues |
| 00:31:08 |
of seven green seas... |
| 00:31:11 |
it caresses it, kisses it, wets it... |
| 00:31:14 |
and pounds on its chest, |
| 00:31:20 |
Well? |
| 00:31:21 |
What do you think? |
| 00:31:24 |
It's weird. |
| 00:31:27 |
What do you mean, weird? |
| 00:31:28 |
- You're a severe critic. |
| 00:31:33 |
Weird... |
| 00:31:36 |
Weird... |
| 00:31:38 |
how I felt while |
| 00:31:41 |
How was that? |
| 00:31:44 |
I don't know. |
| 00:31:47 |
The words went back and forth. |
| 00:31:50 |
- Like the sea then? |
| 00:31:54 |
- Like the sea. |
| 00:31:57 |
I felt seasick, in fact. |
| 00:32:02 |
Because... |
| 00:32:04 |
I can't explain it. I felt like... |
| 00:32:07 |
like a boat tossing |
| 00:32:13 |
Like a boat tossing |
| 00:32:19 |
Do you know what you've done, Mario? |
| 00:32:22 |
- No, what? |
| 00:32:29 |
- Yes, you have! |
| 00:32:37 |
But it doesn't count |
| 00:32:41 |
Meaning to is not important. |
| 00:32:43 |
Images arise spontaneously. |
| 00:32:49 |
You mean then that... |
| 00:32:52 |
for example, |
| 00:32:55 |
that the whole world... |
| 00:32:57 |
the whole world, |
| 00:33:02 |
with the rain, the clouds-- |
| 00:33:04 |
Now you can say etc., etc. |
| 00:33:06 |
Etc., etc. |
| 00:33:09 |
The whole world is |
| 00:33:14 |
- I'm talking crap. |
| 00:33:17 |
Not at all. |
| 00:33:19 |
You pulled a strange face. |
| 00:33:22 |
Mario, let's make a pact. |
| 00:33:25 |
I'll have a nice swim... |
| 00:33:27 |
and ponder your question. |
| 00:33:30 |
Then I'll give you |
| 00:33:33 |
- Really? |
| 00:35:59 |
Don Pablo, good morning. |
| 00:36:01 |
I've got to talk to you. |
| 00:36:03 |
It must be very important. |
| 00:36:07 |
It's very important. |
| 00:36:10 |
- I've fallen in love. |
| 00:36:14 |
No, no remedy! |
| 00:36:18 |
I don't want a remedy. |
| 00:36:20 |
I'm in love, |
| 00:36:24 |
Who are you in Iove with? |
| 00:36:27 |
Her name's Beatrice. |
| 00:36:32 |
Dante. |
| 00:36:36 |
Dante Alighieri. |
| 00:36:38 |
He fell for a certain Beatrice. |
| 00:36:42 |
Beatrices have |
| 00:36:51 |
What are you doing? |
| 00:36:52 |
Writing down the name Dante. |
| 00:36:56 |
Dante I know, but Alighieri-- |
| 00:36:58 |
- Has it got an ''h'' in it? |
| 00:37:02 |
Thank you. |
| 00:37:14 |
I'm madly in love. |
| 00:37:17 |
You've already told me that, |
| 00:37:21 |
I don't know, if you can help-- |
| 00:37:24 |
But I'm an old man. |
| 00:37:27 |
I don't know, because... |
| 00:37:29 |
I suddenly saw her in front of me. |
| 00:37:34 |
I stared at her, |
| 00:37:37 |
What, you didn't |
| 00:37:40 |
Not much. |
| 00:37:44 |
- I watched her and fell in love. |
| 00:37:49 |
No, I stared at her |
| 00:37:53 |
And she? |
| 00:37:55 |
And she said... |
| 00:38:00 |
What's up, |
| 00:38:14 |
What's your name? |
| 00:38:20 |
Beatrice Russo. |
| 00:38:29 |
And you? |
| 00:38:31 |
I couldn't think of anything to say. |
| 00:38:35 |
Nothing at all? |
| 00:38:37 |
- You didn't say a word? |
| 00:38:42 |
I said five words to her. |
| 00:38:44 |
Which were? |
| 00:38:45 |
I said, ''What's your name?'' |
| 00:38:50 |
- And she? |
| 00:38:55 |
''What's your name?'' are three words. |
| 00:38:59 |
Then I repeated Beatrice Russo. |
| 00:39:04 |
Don Pablo, if-- |
| 00:39:08 |
I don't want to bother you, but... |
| 00:39:11 |
can you write me |
| 00:39:35 |
I don't even know her! |
| 00:39:39 |
A poet needs to know |
| 00:39:45 |
I can't invent something |
| 00:39:48 |
I've got this little ball... |
| 00:39:51 |
which Beatrice put in her mouth. |
| 00:39:54 |
So what? |
| 00:39:56 |
It might help you. |
| 00:40:02 |
Look, Poet... |
| 00:40:03 |
if you make all this fuss |
| 00:40:07 |
you're never going |
| 00:40:11 |
Mario, pinch me and wake me |
| 00:40:17 |
What am I supposed to do? |
| 00:40:20 |
No one else can help me. |
| 00:40:23 |
What am I supposed to do? |
| 00:40:25 |
Fishermen fall in love, too! |
| 00:40:29 |
They are able to talk |
| 00:40:33 |
to make them fall in love, too, |
| 00:40:37 |
- What does your father do? |
| 00:40:40 |
Naturally! |
| 00:40:42 |
He must have spoken to your mother |
| 00:40:47 |
I don't think so. |
| 00:40:56 |
Come on, give me my mail. |
| 00:41:07 |
Thank you, but I don't want it. |
| 00:42:11 |
- Do you want something eIse? |
| 00:42:19 |
Beatrice, your smile |
| 00:42:26 |
Fallen out of bed this morning? |
| 00:42:31 |
I came earlier because... |
| 00:42:34 |
I saw this. |
| 00:42:38 |
You're right, it is important. |
| 00:42:43 |
And then... |
| 00:42:45 |
there's something else... |
| 00:42:48 |
I've been meaning to give you |
| 00:42:55 |
- I'll put it here. Good-bye. |
| 00:43:00 |
I've got something for you, too. |
| 00:43:06 |
Here. |
| 00:43:15 |
It might be useful |
| 00:43:33 |
Is it a radio? |
| 00:43:36 |
No, but it's a kind of radio. |
| 00:43:41 |
You speak into here... |
| 00:43:43 |
and this repeats what you say. |
| 00:43:47 |
You speak into it |
| 00:43:51 |
Yes. |
| 00:43:53 |
- How many times? |
| 00:43:55 |
But you mustn't exaggerate. |
| 00:43:58 |
Even the most sublime idea |
| 00:44:07 |
Listen. |
| 00:45:13 |
Good news? |
| 00:45:21 |
When I was Senator |
| 00:45:25 |
I went to visit Pampa... |
| 00:45:27 |
a region where it only rains |
| 00:45:31 |
where life |
| 00:45:37 |
I wanted to meet the peopIe |
| 00:45:41 |
One day... |
| 00:45:44 |
at Lota, there was a man |
| 00:45:49 |
He was a mask |
| 00:45:54 |
his face... |
| 00:45:57 |
contorted by terrible hardship... |
| 00:46:01 |
his eyes red from the dust. |
| 00:46:06 |
He stretched out |
| 00:46:10 |
''Wherever you go... |
| 00:46:12 |
speak of this torment. |
| 00:46:17 |
Speak of your brother |
| 00:46:22 |
in hell.'' |
| 00:46:26 |
I feIt I had to write something |
| 00:46:33 |
to write the poetry |
| 00:46:38 |
That's how ''Canto General'' |
| 00:46:42 |
Now my comrades... |
| 00:46:44 |
tell me they have managed to |
| 00:46:49 |
and it's selling like hot cakes. |
| 00:46:51 |
That makes me very happy. |
| 00:47:24 |
I told them I'm here with |
| 00:47:27 |
And tell them something nice |
| 00:47:32 |
Yes. |
| 00:47:35 |
- Good morning. |
| 00:47:43 |
Something nice about the isIand? |
| 00:47:45 |
Yes, one of the wonders |
| 00:47:59 |
Now Iet's go to the inn... |
| 00:48:02 |
and meet this famous |
| 00:48:06 |
Are you joking? |
| 00:48:08 |
No, I'm serious. |
| 00:48:11 |
Let's have a look at this girlfriend. |
| 00:48:14 |
Mamma mia! |
| 00:48:15 |
Pablo Neruda and Mario Ruoppolo |
| 00:48:18 |
She'll faint! |
| 00:48:24 |
Well? What is it now? |
| 00:48:29 |
Don Pablo, when I get married |
| 00:48:33 |
will you be my best man? |
| 00:48:38 |
Listen... |
| 00:48:39 |
first Iet's have a drink, |
| 00:48:57 |
Gennarino, wait! I'm coming, too! |
| 00:49:07 |
Domenico, come here |
| 00:49:14 |
Look who's here. Neruda! |
| 00:49:19 |
Good morning. |
| 00:49:34 |
What will it be? |
| 00:49:38 |
A glass of red wine, please. |
| 00:49:40 |
And the pinball king? |
| 00:49:44 |
- Do you want red wine, too? |
| 00:49:47 |
Two glasses of red wine |
| 00:49:53 |
He's here for your niece. |
| 00:50:02 |
Give me the notebook. |
| 00:50:03 |
Notebook? Why? |
| 00:50:21 |
Just a moment. |
| 00:50:40 |
''To Mario, my intimate friend |
| 00:50:49 |
There you are. |
| 00:50:53 |
You already have your poetry. |
| 00:50:56 |
If you want to write it down, |
| 00:51:02 |
Thank you. |
| 00:51:32 |
What is it? |
| 00:51:47 |
Go home. It's closing time! |
| 00:51:50 |
I won't make you pay for the bottle, |
| 00:51:59 |
- What are you doing? |
| 00:52:03 |
With the window open? |
| 00:52:05 |
Yes, with the window open. |
| 00:52:07 |
Be honest with me. |
| 00:52:13 |
Metaphors. |
| 00:52:15 |
Metaphors? |
| 00:52:16 |
Never heard such big words |
| 00:52:20 |
What metaphors did he do to you? |
| 00:52:23 |
Did? He said them! |
| 00:52:27 |
He said my smile spreads |
| 00:52:32 |
- And then? |
| 00:52:39 |
Your laugh is a rose... |
| 00:52:42 |
a spear unearthed, crashing water. |
| 00:52:46 |
Your laugh is |
| 00:52:50 |
Then what did you do? |
| 00:52:54 |
I kept quiet. |
| 00:52:57 |
And he? |
| 00:52:58 |
- What else did he say? |
| 00:53:03 |
Your postman, as well as a mouth, |
| 00:53:07 |
He never touched me. |
| 00:53:09 |
He said he was happy |
| 00:53:15 |
Like being on the shores |
| 00:53:18 |
I like it-- |
| 00:53:20 |
I like it when you're silent... |
| 00:53:23 |
because it's as though |
| 00:53:28 |
And you? |
| 00:53:30 |
And he? |
| 00:53:33 |
He looked at me, too, |
| 00:53:38 |
and began to look at my hair... |
| 00:53:40 |
without a word, |
| 00:53:44 |
Enough, my child! |
| 00:53:46 |
When a man starts |
| 00:53:49 |
he's not far off with his hands. |
| 00:53:53 |
There's nothing wrong with words. |
| 00:53:56 |
Words are the worst things ever. |
| 00:54:00 |
I'd prefer a drunkard |
| 00:54:05 |
to someone who says, |
| 00:54:10 |
It ''spreads'' like a butterfly! |
| 00:54:12 |
Flies, spreads, |
| 00:54:15 |
Just look at you! |
| 00:54:18 |
One stroke of his finger, |
| 00:54:22 |
You're wrong. |
| 00:54:25 |
When it comes to bed, |
| 00:54:28 |
between a poet, a priest |
| 00:54:35 |
''Naked... |
| 00:54:36 |
you are as simple |
| 00:54:40 |
smooth, terrestrial, tiny... |
| 00:54:42 |
round, transparent. |
| 00:54:45 |
You have moon-lines, apple paths. |
| 00:54:49 |
Naked, you are as thin |
| 00:54:53 |
Naked, you are blue |
| 00:54:56 |
There are vines and stars |
| 00:55:00 |
Naked, you are enormous |
| 00:55:02 |
like summer in a gilded church.'' |
| 00:55:20 |
Good morning, Father. |
| 00:55:23 |
I found this in her brassiere. |
| 00:55:26 |
I want you to read it to me. |
| 00:55:31 |
I'm not letting her |
| 00:55:38 |
Well? |
| 00:55:41 |
It's a poem. |
| 00:55:45 |
Read it to me! |
| 00:55:48 |
''Naked... |
| 00:55:51 |
Madonna! |
| 00:56:08 |
What are the nets like? |
| 00:56:14 |
Nets-- Which nets? |
| 00:56:17 |
Yes. |
| 00:56:19 |
Sad. |
| 00:56:22 |
Sad. |
| 00:56:31 |
All right? |
| 00:58:19 |
Good morning, signora. |
| 00:58:22 |
- WouId you like-- |
| 00:58:27 |
PIease, sit down. |
| 00:58:30 |
No. What I want to say is |
| 00:58:36 |
What is it about? |
| 00:58:38 |
For over a month... |
| 00:58:40 |
Mario Ruoppolo has been |
| 00:58:44 |
and he has seduced my niece. |
| 00:58:50 |
- What did he say? |
| 00:58:55 |
Well? |
| 00:58:58 |
He's heated her up |
| 00:59:03 |
A man whose only capital |
| 00:59:09 |
And if his feet are full of germs, |
| 00:59:16 |
It started off innocently enough: |
| 00:59:22 |
But now he's saying her breast |
| 00:59:30 |
But do you think... |
| 00:59:32 |
that these images are only |
| 00:59:37 |
Yes, I think he's had |
| 00:59:42 |
Read this. |
| 00:59:56 |
''Naked-- |
| 00:59:59 |
As beautifuI as-- |
| 01:00:01 |
Naked, you're as delicate |
| 01:00:08 |
and stars in your hair--'' |
| 01:00:13 |
It's beautiful! |
| 01:00:15 |
So he's seen my niece naked! |
| 01:00:18 |
No, signora Rosa! |
| 01:00:20 |
Nothing in this poem |
| 01:00:25 |
The poem's telling the truth. |
| 01:00:28 |
My niece naked is just |
| 01:00:32 |
So do me a favor |
| 01:00:36 |
who has learnt a lot from you... |
| 01:00:39 |
that he must never see my niece |
| 01:00:46 |
And tell him that if he does, |
| 01:00:52 |
- Is that clear? |
| 01:00:54 |
Good day. |
| 01:01:13 |
You're as white as a sack of flour. |
| 01:01:16 |
I might be white outside, |
| 01:01:25 |
You won't save yourself |
| 01:01:31 |
If she harms me, she'll go to jail. |
| 01:01:36 |
She'll be out in a couple of hours. |
| 01:01:39 |
She'll say she acted |
| 01:01:44 |
She'll say you threatened |
| 01:01:48 |
with a metaphor |
| 01:01:52 |
as sharp as a canine, |
| 01:01:55 |
The poetry will have left |
| 01:01:59 |
on the virgin's nipples. |
| 01:02:01 |
The poet Francois Villon |
| 01:02:05 |
and his blood gushed |
| 01:02:08 |
I don't care. She can do |
| 01:02:14 |
Good lad! It's a real shame |
| 01:02:18 |
a trio of guitarists to go... |
| 01:02:24 |
My dear poet and comrade... |
| 01:02:27 |
you got me into this mess, |
| 01:02:31 |
You gave me books to read... |
| 01:02:33 |
you taught me to use my tongue |
| 01:02:38 |
It's your fault if I'm in love. |
| 01:02:40 |
No, this has nothing to do with me. |
| 01:02:43 |
I gave you my books... |
| 01:02:45 |
but I didn't authorize you |
| 01:02:49 |
If you think you gave Beatrice |
| 01:02:54 |
Poetry doesn't belong to those |
| 01:03:01 |
I appreciate that highly |
| 01:03:10 |
Now go home and get some sleep. |
| 01:03:13 |
You've bags under your eyes |
| 01:03:26 |
This is for you. |
| 01:03:28 |
They promised us running water... |
| 01:03:31 |
on the island two years ago, too. |
| 01:03:34 |
Two years ago, it wasn't |
| 01:03:37 |
What's written on that paper |
| 01:03:41 |
An oath, and God is my witness. |
| 01:03:48 |
Hey, Mario! |
| 01:03:50 |
Aren't you interested |
| 01:03:55 |
I'm voting communist. |
| 01:03:57 |
What? |
| 01:04:00 |
I'm voting communist. |
| 01:04:04 |
I hear you've |
| 01:04:08 |
I hear you're competing |
| 01:04:12 |
But remember, poets can do |
| 01:04:20 |
- How much do these clams cost? |
| 01:04:24 |
For that price you'll have to |
| 01:04:28 |
- Give me a good price. |
| 01:04:34 |
Fishermen are exploited |
| 01:04:37 |
He said 300 lire. |
| 01:04:42 |
I don't mean to exploit anyone. |
| 01:04:45 |
Why don't you mind |
| 01:04:50 |
I was trying to help. |
| 01:04:57 |
Mario... |
| 01:04:58 |
as your superior I must order you |
| 01:05:02 |
Yes, yes, yes. |
| 01:05:06 |
But you're still |
| 01:05:10 |
Beatrice is pretty now... |
| 01:05:12 |
but in 50 years |
| 01:05:15 |
Beatrice will never be ugly. |
| 01:05:21 |
I held the splendor of your eyes... |
| 01:05:24 |
secretly within me, |
| 01:05:30 |
What's Beatrice got to do with it? |
| 01:05:33 |
It's a poem. |
| 01:05:34 |
Dante Alighieri-- |
| 01:05:36 |
No, Gabriele D'Annunzio, my poet. |
| 01:05:41 |
Your poet wrote something |
| 01:05:47 |
I don't llke it. |
| 01:05:50 |
Strange, I thought you'd |
| 01:05:56 |
Thank you. Good-bye. |
| 01:06:18 |
- Sleeping Beauty... |
| 01:06:21 |
Good evening. Give the Marshal |
| 01:06:33 |
Thank you. |
| 01:06:36 |
Your niece gets |
| 01:06:39 |
If you only knew how difficult |
| 01:06:44 |
Young people today |
| 01:06:47 |
They have everything |
| 01:06:50 |
I remember my poor departed mother. |
| 01:06:58 |
Good night, Aunt. |
| 01:08:20 |
Good night, Marshal. |
| 01:09:19 |
Find yourselves a decent person |
| 01:09:24 |
If Neruda doesn't believe in God, |
| 01:09:28 |
What sort of witness would he be? |
| 01:09:33 |
God never said a communist |
| 01:09:41 |
I'm not getting married then. |
| 01:09:44 |
You're more interested in Neruda |
| 01:09:48 |
My darling... |
| 01:09:50 |
Neruda's a Catholic. |
| 01:09:53 |
I know he's a Catholic. |
| 01:09:57 |
In Russia, communists eat babies. |
| 01:10:02 |
He doesn't look the type. |
| 01:10:05 |
Neruda has a pretty wife. |
| 01:10:08 |
He's getting on |
| 01:10:11 |
How do you explain that? |
| 01:10:16 |
So according to you, |
| 01:10:21 |
Who knows? |
| 01:10:23 |
Anyway, my answer's no, |
| 01:10:27 |
He inspired your bridegroom |
| 01:10:33 |
That was only a poem. |
| 01:10:36 |
Not to mention the rest. |
| 01:10:39 |
He's not worthy of being witness |
| 01:11:23 |
She'd say: |
| 01:11:25 |
''I ask Jesus to let me live |
| 01:11:31 |
a wife and children in his arms.'' |
| 01:11:34 |
UnfortunateIy, she didn't make it... |
| 01:11:36 |
because when the Lord |
| 01:11:39 |
he didn't even have a job. |
| 01:11:42 |
Today, from heaven my poor wife |
| 01:11:47 |
because at least he's got |
| 01:11:51 |
Even if it's not the job |
| 01:11:56 |
All the best! |
| 01:12:10 |
What are you doing, drinking wine? |
| 01:12:16 |
I'm sorry, Comrade, I forgot. |
| 01:12:22 |
Thank you. |
| 01:12:40 |
- Good news? |
| 01:12:56 |
With a chaste heart... |
| 01:12:58 |
with pure eyes... |
| 01:13:00 |
I celebrate your beauty... |
| 01:13:03 |
hoIding the leash of blood |
| 01:13:07 |
and trace your outllne... |
| 01:13:09 |
where you lie down in my ode |
| 01:13:15 |
in aromatic loam or in sea music. |
| 01:13:24 |
Now... |
| 01:13:26 |
I'd like to toast my friend... |
| 01:13:30 |
Mario... |
| 01:13:32 |
and say what a pleasure it was for me |
| 01:13:37 |
to his happiness. |
| 01:13:43 |
And lastly, I'd like to say |
| 01:13:49 |
I have received |
| 01:13:54 |
The warrant for our arrest... |
| 01:13:56 |
has been revoked... |
| 01:13:59 |
and therefore |
| 01:14:06 |
return to the country |
| 01:14:10 |
Chile. |
| 01:15:56 |
No, Don Pablo. |
| 01:16:00 |
But you'll be unemployed tomorrow. |
| 01:16:02 |
No, I don't want anything. |
| 01:16:12 |
I'll miss you. |
| 01:16:15 |
I'll miss you. |
| 01:16:19 |
But you will write to me? |
| 01:16:23 |
Of course. |
| 01:16:28 |
Things change |
| 01:16:34 |
Today they'll let me go back. |
| 01:16:37 |
Tomorrow something else will happen |
| 01:16:45 |
I'll leave some things |
| 01:16:49 |
if you couId keep |
| 01:16:53 |
I'll let you know where to send them. |
| 01:16:56 |
Perhaps I'll bring them |
| 01:17:04 |
That'd be wonderful. |
| 01:17:10 |
Do you need this? |
| 01:17:13 |
Yes. |
| 01:17:16 |
Thank you. |
| 01:17:18 |
I've discovered another poet |
| 01:17:23 |
called D'Annunzio. |
| 01:17:25 |
I know. |
| 01:17:27 |
So you could have written one, too. |
| 01:17:40 |
Good-bye. |
| 01:19:21 |
- What is it? |
| 01:19:23 |
He's in Russia, giving an award. |
| 01:19:28 |
In Russia? If he's over here, |
| 01:19:32 |
He's a very busy man, Mario! |
| 01:19:36 |
He must meet the people |
| 01:19:40 |
And he's also well-loved in Chile. |
| 01:19:42 |
He won't have time to come here. |
| 01:19:45 |
It's a good picture. |
| 01:19:47 |
- The young poet, Mllovan-- |
| 01:19:52 |
Awarded a poetry prize |
| 01:19:55 |
- Can I keep it? |
| 01:19:58 |
I'll put it in here |
| 01:20:02 |
You can look at it |
| 01:20:05 |
Vote for Di Cosimo. |
| 01:20:06 |
The candidate promises |
| 01:20:12 |
Vote for Di Cosimo! |
| 01:20:14 |
For the sake of our island! |
| 01:20:23 |
Did that fellow come here? |
| 01:20:26 |
- Who? |
| 01:20:28 |
Yes. |
| 01:20:31 |
Why are you smiling? |
| 01:20:33 |
Di Cosimo has served us |
| 01:20:38 |
Really? |
| 01:20:40 |
20 families will be coming here |
| 01:20:45 |
Di Cosimo asked us if we can |
| 01:20:51 |
And we can't. |
| 01:20:53 |
We told them we could. |
| 01:20:58 |
- Without asking me? |
| 01:21:04 |
Money. |
| 01:21:05 |
All you can think about is money. |
| 01:21:08 |
Where will we put 20 families? |
| 01:21:10 |
We'll do two or three servings |
| 01:21:14 |
PIease yourselves. |
| 01:21:16 |
No, we'll do as we please. |
| 01:21:19 |
Would you be prepared to work |
| 01:21:25 |
In the kitchen? |
| 01:21:28 |
Yes. |
| 01:21:36 |
A toast to Beatrice, |
| 01:22:10 |
Look! |
| 01:22:14 |
- What does it say? |
| 01:22:20 |
''Whereas I really loved ItaIy... |
| 01:22:22 |
where I led a happy life |
| 01:22:29 |
and among the most simpIe |
| 01:22:35 |
''What things are you |
| 01:22:38 |
''Nostalgia is an emotion I can feeI |
| 01:22:43 |
but I will never forget... |
| 01:22:49 |
my strolls along the beach |
| 01:22:53 |
where tiny pIants and flowers grow... |
| 01:22:56 |
exactly the same way |
| 01:23:04 |
Go on. |
| 01:23:07 |
That's it. |
| 01:23:10 |
He doesn't mention us. |
| 01:23:13 |
Why should he mention us |
| 01:23:17 |
He's a poet. |
| 01:23:20 |
not about the people they meet. |
| 01:23:23 |
The bird that has eaten flies away! |
| 01:23:26 |
I bet he doesn't even remember |
| 01:23:36 |
The Christian Democrats have been |
| 01:23:41 |
The party chairman |
| 01:23:45 |
Satisfaction! |
| 01:23:47 |
They haven't managed it. |
| 01:23:50 |
What? They've taken |
| 01:23:53 |
They can't do anything |
| 01:23:59 |
They've won a battIe, |
| 01:24:01 |
So we'll win the war? |
| 01:24:04 |
Who else? |
| 01:24:06 |
But we have to fight, |
| 01:24:10 |
It's the only way to break |
| 01:24:16 |
Yes, but here... |
| 01:24:19 |
when we've broken our chains... |
| 01:24:22 |
what do we do then? |
| 01:24:26 |
If Don Pablo could hear you, |
| 01:24:28 |
Don Pablo. |
| 01:24:33 |
Who knows where he is, |
| 01:24:40 |
What's with these long faces? |
| 01:24:43 |
Mr. Di Cosimo, |
| 01:24:46 |
We were counting on |
| 01:24:50 |
We'd made plans, |
| 01:24:54 |
I know, it's a shame to leave |
| 01:25:00 |
but we hope to start again soon. |
| 01:25:02 |
Soon? When? |
| 01:25:05 |
I don't know. |
| 01:25:07 |
It depends. |
| 01:25:10 |
But I assure you it won't be long. |
| 01:25:13 |
Anyway, I can't wait |
| 01:25:19 |
What does it depend on? |
| 01:25:22 |
Company problems |
| 01:25:25 |
I don't know much |
| 01:25:29 |
but I'm not daft. |
| 01:25:34 |
We all knew that |
| 01:25:37 |
the work would come to a halt. |
| 01:25:40 |
That's true. |
| 01:25:45 |
The husband's hot-blooded. |
| 01:25:50 |
If Don Pablo had been here... |
| 01:25:53 |
maybe the elections |
| 01:25:59 |
Mario, I have something |
| 01:26:02 |
I'm pregnant. |
| 01:26:04 |
- Really? |
| 01:26:07 |
- You're really pregnant? |
| 01:26:12 |
We have to leave here. |
| 01:26:15 |
No one understands us here. |
| 01:26:18 |
They're all too ignorant. |
| 01:26:21 |
We'll go to Chile, so Pablito |
| 01:26:26 |
Pablito? |
| 01:26:28 |
Don't you like it? |
| 01:26:32 |
After Neruda. It'll be |
| 01:26:58 |
- Mario? |
| 01:27:05 |
Mario, is that you? |
| 01:27:08 |
Put it in my pocket, please. |
| 01:27:48 |
- Open it! |
| 01:27:51 |
Mario Ruoppolo. It's the first |
| 01:28:18 |
''Santiago, 15th October, 1953. |
| 01:28:24 |
Dear Sir... |
| 01:28:28 |
I ask you to send me... |
| 01:28:31 |
some objects belonging to... |
| 01:28:36 |
signor Pablo Neruda... |
| 01:28:39 |
which are to be found |
| 01:28:44 |
during his... |
| 01:28:46 |
stay in Italy. |
| 01:28:50 |
Address enclosed... |
| 01:28:53 |
and a list of... |
| 01:28:56 |
the above-mentioned objects. |
| 01:28:59 |
The secretary... the secretary... |
| 01:29:02 |
of Pablo Neruda.'' |
| 01:29:18 |
And for you? |
| 01:29:20 |
Not a word, not a greeting, |
| 01:29:25 |
I told you, the bird |
| 01:29:29 |
People are kind only |
| 01:29:34 |
Not again with that |
| 01:29:37 |
And useful for what? |
| 01:29:39 |
What did I do for this person? |
| 01:29:44 |
In fact, it was always me... |
| 01:29:46 |
who would ask, ''Don Pablo, |
| 01:29:50 |
''Don Pablo, |
| 01:29:53 |
I'm the one who bothered him. |
| 01:29:57 |
And you say I was useful. |
| 01:30:01 |
What did I do? |
| 01:30:04 |
And yet he knew |
| 01:30:09 |
He knew, you know? |
| 01:30:11 |
But instead he treated me |
| 01:30:15 |
Like a brother. |
| 01:30:19 |
It's not true that you're no good. |
| 01:30:23 |
And I'm not calling him Pablito. |
| 01:30:27 |
What has the baby |
| 01:30:31 |
Why, do you think I'm a poet? |
| 01:30:34 |
Am I a poet? Have I ever |
| 01:30:38 |
No, Mario, but-- |
| 01:30:40 |
Then ''No, Mario'' nothing. |
| 01:30:44 |
Admit it. |
| 01:30:49 |
Why should he remember me? |
| 01:30:53 |
As a poet, I'm not much good. |
| 01:30:58 |
As a postman-- |
| 01:31:01 |
a postman who took him |
| 01:31:06 |
As a communist? |
| 01:31:09 |
Not even that. I wasn't very-- |
| 01:31:15 |
I think it's... |
| 01:31:18 |
quite normal that he-- |
| 01:31:26 |
All right. |
| 01:31:28 |
Tomorrow, we'll go there |
| 01:34:36 |
I told them I'm here with |
| 01:34:40 |
and tell them something nice |
| 01:34:45 |
- No. |
| 01:34:48 |
Good morning. |
| 01:34:50 |
No, there. |
| 01:34:51 |
Good morning. |
| 01:34:55 |
Something nice about the island? |
| 01:34:58 |
Yes, one of the wonders |
| 01:35:34 |
Are you sure |
| 01:35:37 |
If it works inside, |
| 01:35:43 |
It works here. |
| 01:35:49 |
One, two, three. |
| 01:35:52 |
Yes, it's lit. |
| 01:36:12 |
One. |
| 01:36:15 |
Number one. |
| 01:36:17 |
Waves at the Cala di Sotto. |
| 01:36:21 |
Small ones. |
| 01:36:22 |
Go on! |
| 01:36:38 |
Number two. |
| 01:36:41 |
Waves. Big ones. |
| 01:36:45 |
Go on! |
| 01:36:52 |
Number three. |
| 01:36:56 |
Wind on the cliffs. |
| 01:37:02 |
Number four. |
| 01:37:05 |
Wind through the bushes. |
| 01:37:20 |
Number five. |
| 01:37:24 |
Sad nets belonging to my father. |
| 01:37:33 |
Number six. |
| 01:37:40 |
Church bell... |
| 01:37:42 |
of Our Lady of Sorrows... |
| 01:37:45 |
with priest. |
| 01:37:51 |
It's beautiful. |
| 01:37:53 |
I never realized |
| 01:37:57 |
Number seven. |
| 01:38:01 |
Starry sky over the island. |
| 01:38:07 |
Number eight. |
| 01:38:12 |
Pablito's heartbeat. |
| 01:38:20 |
You can hear everything! |
| 01:38:23 |
Really? |
| 01:38:29 |
You can hear it! |
| 01:38:31 |
You can hear Pablito's heart! |
| 01:38:40 |
I'm not calling him Pablito. |
| 01:39:45 |
Come here, Pablito! |
| 01:39:56 |
There was |
| 01:40:06 |
Pablito never saw him. |
| 01:40:09 |
He was born |
| 01:40:14 |
I didn't want him to go, |
| 01:40:18 |
''Don Pablo would be proud,'' |
| 01:40:22 |
A riot began, and the police |
| 01:40:25 |
He was trapped. |
| 01:40:28 |
This is something |
| 01:40:31 |
I should have sent it to you, |
| 01:40:43 |
Dearest Don Pablo... |
| 01:40:46 |
this is Mario. |
| 01:40:48 |
I hope you haven't forgotten me. |
| 01:40:53 |
Anyway... |
| 01:40:56 |
do you remember that |
| 01:41:01 |
to say something nice |
| 01:41:05 |
and I couldn't think of anything? |
| 01:41:08 |
Now... |
| 01:41:10 |
I know. |
| 01:41:13 |
So I want to send you this tape... |
| 01:41:16 |
which, if you want to, |
| 01:41:19 |
If not, you can listen to it. |
| 01:41:24 |
Then you'll remember me... |
| 01:41:28 |
and Italy. |
| 01:41:35 |
When you Ieft here... |
| 01:41:38 |
I thought you'd taken all |
| 01:41:43 |
But now... |
| 01:41:46 |
now I realize... |
| 01:41:50 |
that you left something |
| 01:42:03 |
I aIso want to tell you |
| 01:42:07 |
but you can't hear it |
| 01:42:10 |
It's called |
| 01:42:13 |
Even if it's about the sea... |
| 01:42:16 |
it's dedicated to you. |
| 01:42:19 |
If you hadn't come into my life... |
| 01:42:21 |
I never would have written it. |
| 01:42:25 |
I've been invited |
| 01:42:28 |
And even though I know my voice |
| 01:42:34 |
And you will hear the people |
| 01:42:57 |
Comrades! |
| 01:42:58 |
Comrades! |
| 01:43:00 |
We now invite onto the platform |
| 01:43:04 |
Luigi Tronco, Mario Ruoppolo |
| 01:43:09 |
They are here not to speak, |
| 01:43:14 |
We invite Mario Ruoppolo |
| 01:43:17 |
who has dedicated this poem... |
| 01:43:19 |
to the great poet |
| 01:43:22 |
Pablo Neruda. |
| 01:43:33 |
PIease clear a path |
| 01:43:36 |
Hear that? |
| 01:43:38 |
Hurrah! |
| 01:43:45 |
He's Mario Ruoppolo. |
| 01:43:49 |
Excuse me! |
| 01:43:51 |
We have to reach the platform. |
| 01:43:58 |
Comrades! |
| 01:44:00 |
Mario, where are you? |
| 01:44:03 |
Mario Ruoppolo! |
| 01:44:06 |
Comrades, keep calm! |
| 01:44:09 |
Keep back! |
| 01:44:11 |
Comrades! |
| 01:46:42 |
. |
