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Synopsis
Straub-Huillet’s first color film, adapts a lesser-known Corneille tragedy from 1664, which in turn was based on an episode of imperial court intrigue chronicled in Tacitus’s Histories. The costuming is classical, and the toga-clad, nonprofessional cast performs the drama’s original French text amid the ruins of Rome’s Palatine Hill while the noise of contemporary urban life hums in the background. Their lines are executed with a terrific flatness and frequently through heavy accents; the language in Othon becomes not merely an expression but a thing itself, an element whose plainness here alerts us to qualities of the work that might otherwise be subordinated.
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Directors
Directors
Producer
Producer
Writers
Writers
Original Writer
Original Writer
Editors
Editors
Cinematography
Cinematography
Sound
Sound
Studio
Country
Language
Alternative Titles
Ottone o gli occhi non vogliono in ogni tempo chiudersi, Die Augen wollen sich nicht zu jeder Zeit schließen oder Vielleicht eines Tages wird Rom sich erlauben seinerseits zu wählen, Eyes Do Not Want to Close at All Times, or, Perhaps One Day Rome Will Allow Herself to Choose in Her Turn, Les yeux ne veulent pas en tout temps se fermer, ou Peut-être qu'un jour Rome se permettra de choisir à son tour, 眼睛不想一直闭着或者也许有一天轮到罗马自己选择, 아이즈 두 낫 원트 투 클로즈 앳 올 타임스, 오어, 퍼햅스 원 데이 롬 윌 얼라우 허셀프 투 추즈 인 허 턴
Premiere
04 Jan 1970
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Italy
Rapallo Film Festival
12 Sep 1970
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USA
New York Film Festival
08 Oct 1970
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Germany
Mannheim Film Festival
Theatrical limited
18 Nov 1971
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USA
Theatrical
13 Jan 1971
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France
TV
26 Jan 1971
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Germany
France
Germany
08 Oct 1970
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Premiere
Mannheim Film Festival
Italy
04 Jan 1970
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Premiere
Rapallo Film Festival
USA
12 Sep 1970
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Premiere
New York Film Festival
18 Nov 1971
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Theatrical limited
St. Marks Cinema, New York
More
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A movie that should be watched before any election, before any movement into a position of political power, before we see cycles repeat themselves over and over, from Ancient Rome to today. An explosive illustration of the plots and intrigues of those with political power and their attempts to retain and consolidate it. Virtually every character is a manipulator: Lacus (played by Straub himself) in his undisguised intention to retain his position by keeping Othon from power, Plautine inadvertently as she lies to Camille regarding her love for Othon (and he for her) so that Othon will acquire power, Othon, lying to Camille so he can attain power (and eventually replace Camille with Plautine once he does attain this status)…
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One of the greatest film musicals.
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Yoshikata Yoda, Kinuyo Tanaka e Kenji Mizoguchi no monte Palatino, Roma, 1953.
FOCO: OTHON, de Jean-Marie Straub & Danièle Huillet, 1969-1970
03/10/2019 Estado da Arte
por Jean-Louis Comolli
uma parceria com a Foco – Revista de Cinema
No turbilhão acelerado das imagens e dos sons, nós nos vemos uns aos outros? Ver a quem, a quem ouvir? Não deveríamos enxergar, todos, nada além de uma única mesma coisa? Esse mundo tomado de convulsões que salta de tela em tela? Reconduzido ao visível, o outro é observado, enjaulado nessas telas, observado, temido como um inimigo.
O cinematógrafo de Danièle Huillet e Jean-Marie Straub se propõe a construir um espectador que não seja nem um voyeur nem um vigia. Paradoxo. Tanto em uma…
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If the Iliad is a poem of force, then Othon is likewise a film of force. Force of giving and receiving in relation with the audience, and force of the political maneuvers in Corneille's play.
In Maurice Pialat's L'amour existe (1960), it is said that "lessons from the shadows are never inscribed on monuments" and that "the hand of glory that commands and orders can also beg. A simple change of angle is all it takes."
Othon inscribes lessons of autocracy on its site-specific setting, where the knowing ruins are brought into modernity. Othon is also the hand that commands and begs, according to your perspective. It does not reject its hand to you. You can reject yours.
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Love and politics as diametric opposites, with marriage as the cynical fulcrum on which they balance. As the cars and modern bustle of contemporary Rome filter past the recreation of those in togas, a vision of continuous political history is evoked, one that suggests a living past as much as a dead present in the weight of machinations and plots, to say nothing of its core irreconcilability of power and emotion. The dialogue moves at such an outrageously fast clip that there's no way I caught even half of it, but as ever S-H say so much in their subtle blocking and direction. A shrewd NYT review from the original US festival release notes that the older, more connected characters…
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90 seconds in: "Eyes don't want to stay shut all the time..."
Me: "Mine do. I'm gonna take a nap. Goodnight."
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Não há nada mais Internacional que um bando de cafetões”
[Conversa entre Glauber Rocha, Miklos Jancso, Jean-Marie Straub e Pierre Clementi, realizada em Roma em reunião promovida por Simon Hartog]
Simon Hartog: Bem, como forma de começar, Rossellini disse uma vez que o cinema está morto. O que acha, Glauber Rocha? (risos)
Glauber Rocha: Discordo. Para mim ... Não sei o que Straub pensa. (risos)
Miklos Jancsó: Tem razão, é uma questão pessoal. Talvez o cinema esteja morto para Rossellini ... infelizmente. Porque ele fez algumas coisas maravilhosas.
Rocha: Realmente, há muita discussão sobre este problema. No que diz respeito ao cinema, e ao teatro também. Pierre Clémenti falou-me na semana passada da sua ideia de largar o cinema por…
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Ooh, this was a toughie. Every once and awhile someone asks me what film might be a good place to start exploring the work of Straub/Huillet, and I usually tell them Chronicle of Anna Magdalena Bach, Not Reconciled, or Moses and Aaron. I had never seen this one, and I can tell you, by no means should anyone ever start the journey here. It's brutal.
But I came away with a respect for it that I wouldn't even qualify as "grudging." In certain respects, this film with the long-ass title (which has previously been known in English simply as Othon, after the play by Corneille that serves as its basis) is a crystallization of the most basic elements of Straub-Huillet's…
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OTHON, Jean-Marie Straub e Danièle Huillet, 1969-1970, por Marguerite Duras.
Corramos o risco de nos lançarmos no cinema sem esperar permissão: inventemos os nossos próprios critérios, fiemo-nos apenas na crítica selvagem, cuja existência é uma realidade. E somos já muitos a acreditar apenas nela. A ler nos cartazes, nos programas, os nomes de Dreyer ou de Straub e a ir vê-los. São exatamente esses que a crítica nos proíbe de ver. Uma razão a mais para vê-lo.
Em 1964 uma das obras-primas do cinema, Gertrud (Carl Theodor Dreyer, 1964), foi morta e enterrada (oito dias de exibição em Paris) pela crítica. De quem é a responsabilidade? É vossa, que acreditou no que dizia a crítica. Agora é tarde demais.
Atenção!…
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"You loved only the empire, I loved only you."
The tragedy of Othon really came to me on this viewing. Politic and love cannot coexist. Love is manipulated for and by all parties involved to reach their political goals. Compassion is non-existent.
An important key to the film which we must acknowledge is the full english title, Eyes don’t want to stay shut all the time, or Perhaps one day Rome will let herself choose at her turn, which is lifted from dialogue between Othon and Camille. The entire line is "Eyes don't want to stay shut all the time; but empire has charms for them all the time." This line is said in the context of Othon telling Camille…
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All the world’s power is but a pittance when thine soul’s enslaved to the pussy.
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A hipótese dos Straub é simples: ir ao cinema é antes de tudo se dar a chance de ver de forma verdadeira, e os espectadores são deveras aqueles cujos “olhos não querem se fechar o tempo todo” [Les yeux ne veulent pas en tout temps se fermer] (título do filme tirado do Othon de Pierre Corneille). Trata-se, portanto, de aprender a ver. Cada filme é uma oficina onde se formam o olhar e a escuta do espectador. A utopia é das mais loucas: transformar o voyeur em espectador, transformar o espectador tornando-o verdadeiramente observador, transformar o mundo tornando-o verdadeiramente visível. Programa político. É a maneira de filmar que é política, não somente os “temas”.
Jean-Louis Comolli
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STRAUB: And I…
