...where you got it, the white tablecloth,
as soon as dinner is finished!
Look out, the dead are coming!
The sad, pale dead!
Later on in the same poem, TheTablecloth,
a little later the poem continues:
The little girl's already grown up:
She looks after the house, and works...
she does the washing and cooking,
does everything as it was done then.
She thinks of everything, but not of clearing the table.
She lets the dead, the good, poor dead come.
This means that the dead in Pascoli's poem
are never frightening, persecuting presences,
indeed they're the only presences with whom
the poet can have a relationship, cry and be consoled.
They're his own family: His dad, his mum...
childhood happiness.
All of this is highly idealised.
The dead talk to him:
There's a voice in my life...
Precisely due to the goodness of these emotions
and the cult of and attachment to the family,
the unavoidable sense of duty...
Pascoli became the poet par excellence in school books.
Which, however, are never concerned enough
Fuck off!
With emphasising the extreme...
Miss! Miss, look at me!
What's happening?
Don't move. What's happening?
I told you not to move!
Don't lean out, don't lean out!
Leave me alone!
Miss? Miss, look at me!
Look at me!
Look at me.
You'll feel completely different in an hour.
Calm down!
Please, miss, calm down.
Look, I'm a Catholic priest. Please look at me!
Look at me, miss!
Miss, Christ said our life isn't our own, it's God's.
You can't cut it short.
Please miss, look at me.
Our life isn't ours, it's God's, it's he who decides.
Think of other people!
Think of people suffering more than you,
the dying, the sick!
Please look at me!
Please look at me, miss.
Think of...
Look at me miss, I'm a Catholic priest.
Alright maybe you're not a Catholic,
but you'd definitely be a Christian,
you'd believe in something.
Think, think about your brother, your father and mother.
Miss, I know that this is a sad time for you,
a difficult moment.
Maybe you'll think completel differently in an hour.
Anita I beg you, don't do it.
What have we done to you?
Stop, she's going to jump.
Don't lean out, for god's sake.
Help me!
Let me through, let me through.
- Over here. - Take her.
Careful.
Take her to the principal's office.
- No! - To the principal's office!
Let her be for a moment, she feels bad.
Lets go, come on!
Come on, move.
Father, be careful not to let water
fall into the courtyard.
Oh, I didn't realise.
- Shall we go? - Lets go.
Giulia, don't forget the flowers.
Yes, mum.
May I?
COLONEL MARIO DOZZA VICTIM OFTERRORISM
A document?
Any metal objects?
- Thank you. - No problem.
We are approaching the decision of the competent judges.
They base their guilty verdicts
exclusively on the declarations of the repentants,
the so-called super-grasses!
They have great interest in making
the most serious accusations
given the enormous rewards,
meaning the huge reductions in sentence given to them
under the laws of 1979 and L.304 of 1982.
Mr President, Honourable Judges,
among the important criteria included in many sentences
is so-called 'moral complicity',
for which the member of an armed subversive organisation
must answer for the sole reason of
having participated in that organisation... - Can I help you?
Would you mind taking this to Pulcini?
Well, it's not permitted.
Oh, please.
Alright, I'll ask the Captain.
- Thank you. - Give it to me.
The accused, Ennio Giorgetti,
has to answer to 2 murders,
- Hi, Giulia. - Good morning, madam.
Even though he has not committed any of those crimes,
and even though there's no proof that
he participated in the carrying out of those crimes,
meaning in their preparation, creation or conclusion.
In this case there's no proof
of the participation of the accused
in the previously-mentioned events,
and hence there's no proof of his conscious voluntary
contribution to the criminal events
A contribution which - in any case- should have
a direct motive linked with the criminal events.
Now to sum up, Mr President and Honourable Judges...
the 'disassociateds' contribution to the
reconstruction of that unknown world,
the subversive world.
The so-called 'compartmentalisation' of the
various clandestine structures constitutes a curtain,
an inviolable wall preventing knowledge
of the most terrible secrets of the organisation.
But following Tartaglia and Gatti,
others have collaborated
in the dismantling of this apparatus
and the annihilation of that 'geometrical force',
as Piantanida loves to call it.
Those who have bloodied our city's streets
and left indelible signs in all of us.
Mr President,
gentlemen of the Court,
there are men who hide their own guilt,
others who make amends.
There are unwritten laws
where a conspiracy of silence isn't a crime.
But the rule for the survival of criminal organisations...
if someone tears the veil, they break the bonds
which connected them to the subversive organisation
and for this reason, gentlemen, they are called 'vile'.
Look.
- Where? - In the hard cases' cage.
How many times in this Courtroom...
...reports of suffering and damage...
Can't you see how they're moving?
Oh yes, now I see them.
- With the papers. - Yes.
Bloody hell, they really are hard cases!
Don't let them hear you.
Don't look.
- Why not? - Because...
I don't know. You look too openly,
they'll notice. What's your name?
Andrea.
My name's Giulia.
...concerning the collaboration.
They gave decisive evidence
for the reconstruction of historic events.
Go to the cage immediately.
Open the door, quickly!
Let them finish! Let them finish!
So, do you like it?
Yes, it's lovely,
it's enormous.
Is it yours?
Yes, after the wedding.
It's a wedding present, I'm engaged to Giacomo Pulcini.
Oh, right! GP
Want to row?
No, no.
What are you laughing about?
Stop it!
Row, row row!
Andrea didn't return for lunch.
I'm a bit worried, why didn't he call?
- They don't think, love. - What do they think about?
Goodbye, doctor.
Goodbye, thanks.
Answer.
Come on, it's completely normal.
Hello.
- Good afternoon, doctor. - Take a seat.
What have pushers got to do with it?
It's spring, Andrea's 18, there are girls...
I've got to go now.
I apologise, sir, we'll make it up at the end.
Doctor,
when I came in I inevitably overheard your call.
You see, I saw your son this morning in court,
and other times too.
I recognised him because of that photo there on the desk.
In court?
Yes, at the Pulcini trial.
What was he doing there?
Ah, that I don't know.
He was in the company of Giulia Dozza,
they left together.
Did I say something wrong?
No. No, no, feel free.
You see... I
I don't know,
when I start talking...
Put your clothes on right away!
Stop!
Come on, go on, give me a kiss.
Give me a kiss,
what'll it cost you?
Go away, go away!
Come here.
Come.
Wait.
Wait, Giulia.
- Hi, Pietro. - Hi.
I've got to look for... these.
Andrea, do you have a minute?
Andrea...
Andrea, madness is a terrible thing, it's no joke.
Giulia...
I don't know what your relationship is with her,
I'd rather not know, even though I hope...
Get to the point, dad.
I know Giulia well, she's completely mad.
Andrea, listen,
you don't spot truly mad people, they're really dangerous.
They stick to you.
I know what's necessary to stop them tearing you to pieces.
What? She's fine.
I know.
So why are you talking to me like this?
- Keep calm! - You keep calm!
You came home at 10 at night
without warning or phoning us.
It's the first time you did that.
It's also the first time I've fallen in love.
Alright.
Faced with love...
Do what you want, you'll pay the price.
But remember, when Giacomo Pulcini's out...
- When he's out? - Yes, that's what I said.
How will he get out? Isn't he a murderer?
But he's a repentant,
he comes under the law for repentants.
Andrea wait.
Take some money. Stop!
Stretch it well. Otherwise...
The cushions...
I'll go.
Yes?
I'm sorry, I got the wrong floor.
Giulia, I've already watered them.
So, shall we go?
I'll stay for a while...
because I want to start getting used to the apartment.
You'll have your whole life for that.
Right, but Giacomo strongly advised me
to pay attention to the noise
at all times so I could insulate
the bedroom if necessary.
He wants complete silence,
and if he comes out of prison soon...
Whatever you want.
You don't need to worry about me, I'll take a taxi.
Yes, alright.
- Goodbye. - Bye.
- Close it. - Yes.
What's up?
Giulia, we've got to talk, it's important.
Go on.
I'm in love.
With you! I'm in love with you!
Someone's there, listen!
I forgot to make a call. Will you make me a coffee?
Yes.
The phone's over there.
I'm going for...
Giulia, what happened?
There's not even one left.
Who gave them to you?
Do you still want the coffee?
No, no... let's go.
Andrea?
I'm here.
I was afraid you'd have left.
How could I? You locked me inside.
Oh yes, that's right.
That bitch managed to make me angry.
Did you see?
- What did you do? - She didn't want to go away.
How did you get rid of her?
I got her to leave me outside a church.
Take it.
You know that when I was in there...
she threw a shoe at me. She almost hit me.
I was hanging on to the frame.
Were you scared,
when I dropped the plates?
You saved me.
You know, I really enjoyed doing it.
DON'TCONTACTME. WE MUSTN'T SEE US ANYMORE. I CAN'TGETCRAZY.
I didn't know what kind of ring you'd like,
so I brought various models.
There are normal ones,
platinum ones...
and others,
these satin-finished ones, see?
What's on your mind?
The cat's got a cough.
Giulia, don't joke.
No, it's true.
Is there someone else?
Another cat? No! It's still the same one.
Right...
No, listen, nothing's changed.
There's no reason for you to worry.
Giulia, I want to have a normal life, really normal.
- I want nothing else, okay? - Normal.
Being in the majority.
Giulia, I've understood one thing,
an important thing:
I've realised I'm mediocre.
No.
I'm mediocre and I'm proud of it.
Pride in mediocrity, that's the discovery.
Being like all the rest.
Oh, yes...
I've written a poem.
Oh, will you read it to me?
A nursery rhyme...
Come on...
Sunday lunch on theTyrrhenian Sea.
Confirmations, communions,
everyone has their own opinions.
Everyone has their merits and defects.
Bedrooms sleeping four,
for all the reunited family.
There are no more plates.
Giulia's present,
neither Marxist nor decadent,
neither minimum nor maximum,
absolute normal.
Sleepless nights of love.
Children with grandparents names.
Bowing to the dead,
recognising blame,
my own personal blame.
I'll pay back every penny.
I want to arrive at the depths
of the beautiful and the ugly in the world.
Really lovely.
Lives, existences, hopes.
Enough culling,
embrace the passers-by, defend the pregnant.
Wheels with spokes, believe in the polls,
in what people say, in those who don't count.
Truly lovely, carry on.
The sea has no more tuna.
Blessed are the nephews,
uncles, daughter-in-laws and cousins,
the mother-in-laws and grandchildren.
Sleep in the afternoon...
Not so hard, you're hurting me.
Oh, I'm sorry.
...and with their particular experience,
for precisely this reason,
looking at the living concrete man
for Feuerbach can never signify...
Giulia!
...enclosing oneself in the isolation of individuality.
Because no single man has within
himself the essence of mankind.
Giulia!
Indeed the essence of man can be
found and realised only in the species.
It's realised in the whole of humankind,
meaning in the community of man with man.
In effect this was the mystery,
the main knot to be unravelled,
both in religion and in philos...
Raimondi, what are you doing?
I'm coming in.
Normally you enter by the door...
Usually.
The gate was closed,
I didn't want to be alone.
Do you feel alright?
Well...
Lets carry on, kids.
I want to emphasise at this point that this was,
in effect, the mystery, the main knot to unravel
both in religion and Hegelian philosophy.
That's a pretty useless cat!
You're crazy, why did you do it?
You could have killed yourself.
You're totally crazy.
Look, you're all wet.
Come in, undress.
Cover yourself, you'll get cold.
You're still soaked in sweat, cover yourself.
Excuse me, you're not translating?
What?
An hour's passed and your sheet's blank.
How much time is left?
What's up?
Raimondi, stop your '68 attitude.
Come on, this place is for work.
Giulia, you should get dressed, it's late.
Lets go, Giulia.
Ottavio, Ottavio put it on the terrace,
over there.
Ottavio, put it where there's no sun.
There's fine. It doesn't matter,
come with me, thanks.
Hello?
This is Olga Pulcini.
- Good day. - Is the doctor there?
- Yes. - Could you get him please? Thanks.
One moment please.
- Doctor? - Good afternoon, madam.
Good afternoon, doctor.
A minute ago I found your son
in my son Giacomo's double bed.
He's relaxed and carefree.
- Ah... - Eh!
So you knew?
I knew.
Doctor, are you happy about
your son's relationship with Giulia?
No, no, doctor.
At least admit it but, excuse me,
you didn't even think you should...
I'm really worried, terrified.
Because my son...
My son must get out, doctor.
My son...
My son must get out of prison, doctor.
How's Giulia?
Giulia's fine, she's in love.
Yes, she's in love and doesn't realise
she's got my son's destiny in her hands.
No, she's not nasty,
she's irresponsible.
It's useless talking to her,
but she went to the hearing this morning
and laughed, she laughed alone.
She was dressed and made-up
as if she was going dancing.
Wait.
I've seen something...
What?
What's this?
There's a thread.
She's put threads everywhere.
Mrs Pulcini's gone mad!
Look.
Well, what shall we do?
Shall we leave?
Wait!
Laugh.
Why are you laughing?
What are you thinking, are you dreaming?
Am I in it too?
Don't laugh.
Don't laugh!
Be careful, I could cut it off.
It won't take long, it's easy.
Yes?
Andrea.
- Andrea? - Eh?
Andrea, what were you dreaming?
- Were you dreaming? - What are you talking about
What were you dreaming? Tell me.
Look at me, wake up.
Look at me, what were you dreaming?
Was I in it too?
You were laughing all the time.
- Me? - Yes, you were laughing!
But don't laugh now,
don't laugh.
Tell me, what you were dreaming.
Was I in it?
Yes.
- Hey, slow down! - And how did it finish?
Who was in it?
You woke me up, but if I go back to sleep now,
I'll remember.
- No, don't fall sleep. - No, no.
If you love me, don't fall asleep.
- Be with me. - Yes.
- Will you help me to fall asleep? - Yes.
Yes?
No!
You're disgusting!
No. Stop, stop.
Stop.
Now you'll make me fall asleep.
Please.
Don't be scared, I won't do anything.
If you don't make me fall asleep now, I'll kill you.
Now, what have you got to tell me?
I want a nice story.
No, any one will do.
Well...
On the 3rd April 1917,
Lenin arrived in St. Petersburg from Switzerland.
There was an incredible crowd waiting
for him at the station in the torchlight.
Yes, that's right, torchlight.
But he was a bit tired because,
he'd stood all the way...
And maybe he has a head cold...
...with his Cossack hat.
Yes, it's true.
Listen have you ever seen a photo
of Lenin with a Cossack hat?
He didn't wear a Cossack hat.
Yes, maybe because he has some little problem...
Lets not forget that Switzerland is the home of watches.
At that time...
there wasn't any competition...
from Japan.
Giulia.
I can't find the key.
What time is it?
It's 8:20,
I must go to school.
What? You're going to school?
Yes.
- No, come on, stay here. - I can't
Come back to bed.
You're already bored with me.
Giulia, please, where did you put the keys?
Find it yourself! Couldn't you wait till I woke up?
I tried, but I didn't find it.
Stay here and go in for the second hour.
- No. - Yes.
No.
And I won't let you out.
Why?
Because I was born this way. I'm crazy.
You're a real shit!
Andrea! Andrea, forgive me...
So, are you coming to the court?
I'll have a shower and come.
Yes?
Doctor, it's Miss Dozza.
Can you repeat that?
Miss Dozza.
How is she? What's she wearing?
She's standing in front of me.
Alright, let her in, but in a moment.
Tell my wife I'll be late.
- Good morning. - Good morning.
- How's it going? - Fine.
I'm pleased.
You always look beautiful.
Relax now.
Make yourself comfortable.
- Please... - Thanks.
Lie down if you want to.
Please!
Wait...
Here...
The same lavender scent.
Almost a year has passed.
I never get tired of repeating that
the first condition for this therapy
to give results is to...
recognise your precise motives.
The world is what it is, and we are what we are.
Psychoanalysis certainly doesn't have the aim of changing the world,
but rather to help you to adapt to it in the best possible way.
So, imagine this room empty,
like a decompression chamber.
I'm basically happy that you've returned,
not for reasons of futile professional satisfaction,
but because you've obviously decided to...
re-establish that rule, that pact,
without which no improvement is possible.
No.
Noooo!
You're not going out.
Look, I'm serious, you know! I'm not moving from here.
- The whole evening? - The whole night.
I've got the time.
Look, if you want to punch me, I'm ready.
Go on, laugh.
You say that to me?
You think I'm worth nothing, you do.
I'm an idiot, aren't I?
Because I didn't understand anything
about Giulia because she's fine,
and all she needed to get well was to fall in love.
Great, but when you leave her?!! I won't lea ve her.
You've got to think about it, you're not a kid!
The psychoanalyst's first duty is
not to go to bed with the patients.
I don't understand.
Because if I had to go to bed with all the patients
who asked me I'd already be in a mad-house,
because women send you to the mad-house, understand!
But I'm not a psychoanalyst.
I'd never be a psychiatrist like you!
Right.
Well go then, who's stopping you?
Andrea, f... f... fine.
Andrea remember that I may be mediocre
and nothing will probably remain after my death,
but I'm honest and this should be recognised, understand?
I've never profited from my patients,
even though I could have easily done so with impunity.
Get out now, go. Go.
Go, get out, get out.
Go.
Hi.
What's wrong?
- Nothing. - Hey, what's wrong?
You're already tired of me?
No.
It's nothing, just that I had
a little argument with my father.
Little?
What did he say?
He's angry that we're seeing each other.
Did he talk about me?
Yes, once.
He's convinced you're crazy.
That's why he's so angry.
And what do you think?
Tell me what you think!
Did you screw him?
Answer.
You seemed so sure of yourself.
Did you screw him?
Why do you ask?
If you did it's...
Did you screw him?
I'm sorry.
Yes, yes, yes, do it again, again, yes.
- Well, did you screw him or not? - Beh?
Right, who gives a shit anyway.
You're disgusting.
No, I didn't screw him.
Ljust went to see him.
- Lets go. - Where?
Lets go. I don't know.
Alright.
Another one of these.
Thank you.
Listen these...
I wrote to the Socialists but they haven't replied.
I wrote to the CP and they shut the door in my face.
I wrote to the Archbishop and he came, saying:
"You wanted me? Here I am".
Meaning that, without being polemical,
I met people in the Church who prove
they live Christian values
without having designs on you or wanting to use you.
So maybe you feel...
that behind their faces someone's watching you,
that 'someone' in whom you
believed when you were a child.
And today I...
...the glider pilot...
...in a society in which everything's violent.
Would you hold onto this for me please?
Handing it in already?
There's still 3 hours left, use it.
- I've finished. - I don't doubt it, but it's the Final.
Read it again, trust me.
- I'm sorry, I don't have time. - You don't have time?
What's up, the Council of Ministers?
Ludovica Colombo: Crimes combined,
25 year prison sentence, 8 months since arrest.
Maurizio Leto: Based on Article 3CP,
3 year sentence, fined 500,000 lire plus legal costs.
Agostino Banzi:
13 year prison sentence,
Roberta Fabbri: Crimes combined,
21 year sentence,
Pulcini Giacomo: Crimes combined,
under Article 3 of Law 29/582,
8 year 7 month sentence,
600,000 lire fine plus legal costs.
Angeli Daniela:
6 year prison sentence, fined 500,000.
Campoli Allessandro: Crimes combined,
23 year sentence,
With regard to the accused Pulcini Giacomo,
based on Article 2 of Law 495 of 12th May '82
this Court grants provisional liberty commencing today.
- It's done. - Thanks.
- Best wishes. Congratulations. - Thank you.
Thank you. Hi.
- Congratulations. - Thank you.
Hi.
- Hope you'll be very happy. - Thank you, lovely to see you.
Giacomo, your ring...
- Giacomo, hi. Congratulations. - Thank you.
Best of luck.
Giacomo,
Giulia's not coming.
Andrea.
Andrea!
Come on, it's your turn, come on.
Andrea.
You got lost in the corridors...
My dear colleague, can we finally start the exam?
Read and comment on the
introduction to Cacciaguida's Prophecy.
The contingency that outside your
subject notebooks does not extend
is depicted in the eternal presence.
Necessity therefore is not felt
if it is not like a face reflected in a mirror,
or a boat descending a torrent.
That's enough. Analyse those two tercets.
The contingency would be the course of contingent events
that are typical of the material, terrestrial world.
This contingency is completely visible,
depicted in God's mind.
Aveterum, to be precise. Who's smoking?
Despite this divine presence,
the course of contingent events
doesn't take the characteristics of necessity...
Exactly like a boat
descending a river's strong currents doesn't derive...
the necessity of its own movement
from the gaze of the observer who's contemplating it.
Fine. To which theory is Dante referring in these verses?
To the theory of free will.
You give logical, unexceptionable answers,
but the tone - indeed the monotone which is a bit boring -
with which you answer perplexes me a bit.
It's as if Dante interested you little or not at all.
Just enough to pass the exam.
It seems your seriousness belongs, ideologically as well,
to some young people from, for example,
Comunione e Liberazione. Is that the case?
No, I'm not in Comunione e Liberazione.
- Are you offended? - Not at all.
- I don't know... Are you a pacifist? - No.
Ecologist?
- No. - Scared of the bomb?
- Not particularly. - A Marxist then?
No, I'm sorry.
It doesn't matter, you can also survive
without being a Marxist.
So, Mrs Barante, shall we pass onto
some questions about Greek?
Alright.
Shall we read a passage from Antigone?
Yes.
Lets open it at page 344
and we'll read the first 4 verses
starting with verse 1,339.
I'd say the metrics are fine.
Now lets hear the translation.
O, take this poor fool away.
I who killed you, my son,
and I didn't want to.
And I also killed you
who are here in front of me, my woman.
Another question:
In your view, which position takes
form in this dramatic contrast
between Antigone and Creon?
Fundamentally, they fight with all their differences.
The positions are...
the one who is the defender of human laws
freed of the unwritten laws of the divinities: Antigone.
The other honours the laws of the gods
and the fathers instead and makes it the basis
of his own existence and social life: Creon.