• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 
• 

VENDUTO

Réf : 61805

Registrare una notifica automatica

Una domanda su questo libro?

Aggiungere alla mia collezione virtuale

Luis BUNUEL

Nazarin - Tapuscrit original personnel de Luis Buñuel accompagné du programme, signé par le même, distribué lors de la première américaine du film le 18 mai 1960

1958, 21x32cm, 104 ff., relié.

Nazarìn. Luis Buñuel's personal original typescript, with the program distributed at the American premiere of the film on May 18, 1960 signed by Buñuel
1958, 21 x 32 cm, red paper boards
Original Buñuel's typescript, comprising 104 leaves. Personal copy of the author with his signature, written with ballpen, bottom right of the cover. Manuscript annotations (calculations) by Buñuel to verso of final leaf.
Bound at Buñuel's request in red paper boards, spine with silver fillet and title.
A little very slight rubbing to binding. A small angular lack to upper cover, which has a little marginal fading.
Adapted from the novel of Spaniard Benito Pérez Galdós (1843-1920), Nazarìn takes place in Mexico in 1900, during the reign of dictator Porfirio Diaz. Don Nazario, a humble priest of the village, follows the precepts of Jesus Christ and sacrifices himself for the indigents and outlaws. Misunderstood, despised and abused, he absconds with two women, the criminal Beatriz and the prostitute Andara.
Walking through the Mexican countryside the humble pilgrim faces the harsh reality of the people who pervert his Christ message. Thus being hired on a building site and only asking for little food, he infuriates the other workers. Later on, he will be credited for having miraculously healed a child and rejecting a plague-stricken woman nearing death, still preferring the memory of carnal love to the promises of divine sacraments.
Don Nazario end up lonely, as the women he attempted to protect return to their vice and suffering.
The film ends up with a scene showing the haggard pilgrim walking under police escort, surprised that a fruit and vegetable seller is giving him alms, somewhat muffled by the drum rolls of the soundtrack.
As he was shooting the life of this unlikely Christ, inconsistent with the atrocious reality of our world, Buñuel signs here one of his most naturalist and ruthless movies, winning an award in 1959 from the Grand prix du jury du Festival de Cannes.
Luis Buñuel, an admirer of the work of Benito Pérez Galdós, chose, like with Tristana (1963), also adapted from a work by the author, to change the location of the action, this time from Spain to Mexico. Freddy Buache, Buñuel's biographer, notes: "It might seem that he had simply adapted Galdós' text and yet, with a few twists or the addition of some scenes of his own personal devising, he completely changed the general meaning of the piece, which he inserted, as always, into his own system of thinking." (Freddy Buache, Buñuel, Lyon, 1964).
The screenplay offered for sale is an early version that differs in several places, notably with a scene cut in the editing room, which enlarges on the process of the sanctification of the character, re-baptized Nazarìn in a Christ-like scene with indigenous people. This scene, scene 88, is key for understanding the script, deliberately cut by Buñuel from the final version, in which he chose instead the name "Don Nazario" for his character, dropping the name he nonetheless kept for the title.
Likewise, the script concludes a little earlier than the film, with the long march of Don Nazario and his jailer. The final scene showing the fruit and vegetable lady offering a pineapple to the thirsty pilgrim was added only at the time of film-making. As yet this mysterious scene is a symbolic rewriting of Don Nazario's life.
Ending with the sight of degradation and the main character walking blindly, Buñuel's scenario offers the audience a pathetic conclusion of the life if this Quichotte-inspired Christ, whose only miracle was perhaps merely a coincidence.
Abandoned by all, he proceeds alone, only coming across Beatriz walking by him with "closed eyes," holding closely her former violent lover.
This scene completes the original script. Nihilist conclusion in which Nazarìn's attempts are doomed. The solitary march, Beatriz's closed eyes and even the distracted guard underline in the script the inability of the character to grasp reality, totally escaping from him.
"On his face there is much pain quietly dominating him, the man he is walking with does not even notice, he is starting to cry, eventually defeated by an infinite anxiety." ("En su rostro se nota el grand dolor que lo domina. Muy quedo sin que el hombre que va con èl se dé cuenta, comienza a sollozar, vencido al fin, por una ansiedad infinita")
This fundamental anguish of Man facing the absence of God, is surrealist Luis Buñuel's who thus from the beginning, like Cervantès, depicted the large defeat of the dreamer in front of the atrocious reality.
Offering a pathetic final to his hero he concluded the script with this absurd and desperate march: "Don Nazario is sobbing as he is walking" ("Don Nazario sollozando mientras camina")
When he added the seller's scene, Buñuel radically transforms the symbolism of the character who shows his misunderstanding to this unexpected offering. Because accepting the offering of the acid fruit, at the same time a crown of thorns and the passion venom, Nazarìn regains his Christ aura. From then on, his march becomes a way of the cross that Buñuel symbolically signs in his soundtrack with thunderous drumbeats, inspired by the memory of Christian processions in Calanda which marked the childhood of the film-maker. He recalls them in Mon dernier soupir: "I used the profound and unforgettable beats in several films, particularly L'Âge d'Or and Nazarìn."
Buñuel has thus come from a primitive deeply pessimistic writing to an ambivalent film-making, ending with a perhaps insane Don Nazarìn but escaping from dominating reality, "no longer defeated by an infinite anxiety."
Also included is the program for the film's American premiere on 18 May 1960, signed by Luis Buñuel on the bottom of the verso of the second page.

• 
• 
• 
• 
•