sempre più si capisce che quei giorni sono stati uno snodo fondamentale della storia di quel continente, e non solo.
il confronto fra la ragione e la forza, come dice Salvador Allende, si è risolto come sappiamo.
intanto continuano a non esistere poeti fascisti, e però quella fu una carneficina, da ricordare per l'eternità.
il film finisce con il funerale di Pablo Neruda, morto anche lui in quei giorni.
per ovvi motivi il film fu girato in Bulgaria.
cercatelo, non ve ne pentirete - Ismaele
11 settembre
1973: mentre Santiago del Cile ancora è addormentata la flotta militare cilena
attacca Valparaiso. È l'inizio del colpo di Stato contro il governo del
presidente Salvador Allende.
Informato
dell'accaduto il presidente rimane con fiducia nel palazzo della
"Moneda" mentre il generale Pinochet, capo dei rivoltosi, si appresta
ad usare le armi.
Mentre
studenti e operai attendono nelle fabbriche e nelle scuole l'evolversi degli
eventi, i soldati fanno irruzione alla "Moneda" dove Allende trova la
morte. Dopo la fine del Presidente i carri armati presidiano le strade di
Santiago, e la mattanza inizia con sommari processi ed esecuzioni degli
oppositori.
A Franco-Bulgarian
coproduction with Bulgaria standing in for Chilean locations, It’s Raining in
Santiago seeks to reenact key events in the September 11,
1973, overthrow of the Allende regime, at the same time filling in crucial
background from the time of Allende’s election as president several years
before and, finally, taking a few glimpses at post-Allende Chile. Helvio Soto’s
primary model is conspicuously, and understandably, Costa-Gavras. Like
Costa-Gavras, Soto does not shrink from exploiting the turn-on value of
high-octane melodramatic narrative in the interest of leftwing point-making.
Like him, too, he keeps his camera, his cast, or both in motion as much as
possible, knowing that at some primal, Panofskyan level this is satisfying to
the moviewatcher who might otherwise be indisposed to sit still for either
detailed exposition or political editorializing. His correct-minded good
guys—notably Laurent Terzieff as a French correspondent, Ricardo Cucciolla (Vanzetti of Sacco and)
as a Chilean newscaster turned presidential adviser, Maurice Garrel (the gaunt
guerrilla veteran of Chabrol’s Nada) as a proletarian
Allende man, and Jean-Louis Trintignant as a socialist senator—are
uncomplicatedly swell, sensitive, family-, friend- and music-loving folks; the
leftist students have long hair but are clearly very well-washed; the militarist/bourgeois/corporate
bad guys display not a glimmer of wit, originality, or subtlety (let alone the
troublingly appealing ambiguity of Yves Montand’s pig-in-the-terrorist-poke
in State of Siege, or
even Marcel Bozzuffi’s dopey enthusiasm as the homosexual hitman in Z). Hence,
even as “a John Wayne entertainment for the Left” (Costa-Gavras’ phrase), It’s Raining in Santiagosoon
begins to pall.
Soto’s narration isn’t nearly
as surehanded as his master’s; it’s often hard to be sure when we have jumped into
or out of flashback, and some of the camera-twitching is just gratuitous. An
inadvertent byproduct of the recent Hanafi Muslim protest against the new
Mohammed movie is the viewer’s acute awareness that the camera avoids showing
Salvador Allende as much as possible (Bulgarian actor Matcho Petrov stands in
in a few back-of-the-head, hand-on-the-desk shots), so that he comes to seem
less a martyred political leader than a betrayed deity. The U.S. role in the
coup is not harped on, although this muting may be due in part to a general
garbling of specific factional motivations among those plotting the overthrow
(in a moment worthy of the lowliest Fu Manchu flick, ITT/CIA man John Abbey
positively leers into the telephone and assures his contact
“Oh, yeah, I know what the plan is if Allende wins!” on
election night). Aside from its laudable intentions to note that something
pretty awful happened down there in Chile in 1973, the film’s noblest claim on
our attention is a sporadically acute sense of the sort of shock one must
experience to come awake on a gorgeous-looking morning and find that the town,
the country, and the world around one is being changed utterly, and there’s
nothing one can do about it; indeed, there’s virtually nothing one can do at
all.
…Helvio Soto's screenplay passes nothing over
in silence: butchered democracy and so-called suicide of Allende , American
intervention,copper mines and economic interests , travesties of trial,tortures
and murders.He even shows some military men who refuse to obey and a deserter
is executed with the "Marxist"…
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