[Quick Summary: A couple argue after the husband is caught with a prostitute by the press.]
In this short film, writer/director Luchino Visconti is interested in the small moments of marital dynamics.
But how does he keep the "small" from being boring?
He has his characters make interesting choices, i.e., lingering when most people would move on, or moving on when others would linger.
For example, in today's scene below:
- Visconti seems interested here in how normal people do connect, even in crisis.
- Here, Pupe is married to Ottavio, a count who has cheated on her.
- The newspapers are hounding them about the scandal.
- They come home one evening and do not really speak about the scandal.
- Pupe is mad at Ottavio but still wants him to notice her.
- She doesn't do the normal thing and insult or provoke him.
- There must be some feeling on each side because they pay attention to each other. She puts out a "bid" for attention by asking a question. He does the same.
- They start to establish a rhythm and it furthers a connection.
Pupe's apartment.
...No answer. Ottavio decides to go into the bedroom. Pupe is standing in front of the mirror in her slip. Her hair has been arranged differently.
COUNT: What're you doing? (Pupe spreads out her hands as if to say, "You can see'; then she opens the wardrobe.) Do you want to go out? Let's go to the Rock.
Pupe has taken a dress from the wardrobe and puts it on. It is a very elegant evening dress.
PUPE: I'm going out.
COUNT (irritated): You mean you're going out on your own?
PUPE (nodding affirmatively): Uh huh. (Pupe finishes arranging her dress; she is in a hurry.) I'm going to La Scala for a minute; I have an appointment with Wally. (Brusquely) These kinds of things don't interest you, dear. It's for my work. I'm late now, and ...
COUNT (offended): Excuse me, excuse me. Then I'll go to the club.
Pupe is not listening; and Ottavio, ever more offended, leaves the room. Alone, Pupe looks at herself in the mirror one last time. She completes her toilette and picks up her accessories, then leaves the apartment and crosses the drawing room.
Ottavio is alone in the drawing room, sitting in an armchair almost in the dark.
PUPE: Night.
Ottavio does not answer. Pupe continues across the drawing room. She is about to go out when she slows her steps.
PUPE (to Ottavio, without turning to him): Didn't you say you were going out? [This is her "bid."]
COUNT: Yes. No. I don't know. I want to read. [He answers the bid.]
PUPE: Oh.
She is about to start off again, but she stops once more to look in the mirror.
Actually she is watching her husband stealthily. Then she looks again at her own image.
PUPE (impatient): Damn.
Pupe turns back with resolute step. As she passes before the count he asks her lazily:
COUNT: Forget something? [This is his "bid."]
PUPE: All wrong. [She answers.]
COUNT: All what?
Pupe stops and turns to him. She seems very edgy and impatient.
PUPE: This dress, can't you see?
COUNT: What's wrong with it?
Pupe comes over to Ottavio.
PUPE: The tone's wrong. A person looking for a job...How would you dress?
COUNT (still half-sprawled out in the armchair): If you're going to La Scala...
PUPE: But I'm not going for the opera!
COUNT: Who ever goes for the opera?
PUPE (out of patience): Ooooh!
She hurries out of the room.
Delighted to have found something to do, Ottavio gets up too, throws his book to the floor, and follows his wife.
COUNT: Pupe. Wait, Pupe. I'll help you choose something.
WHAT I'VE LEARNED: Writers have to find that fine line in which characters make interesting decisions, but not false ones.
"Bids" for attention is a good entry point for writers to consider. What does the character want to happen?
Il Lavoro (1962)
by Suso Cecchi d'Amico, Luchino Visconti
From an idea by Cesare Zavattini, based on Maupassant's short story, Au Bord du Lit
