Francesco Rosi's Adaptation Of Christ Stopped At Eboli?
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Francesco Rosi’s adaptation of Christ Stopped at Eboli (1978) is a political film that reflects on the effects of the Fascist Regime on Southern Italy. The film centres on the musings of Carlo Levi, a political prisoner from Northern Italy, who is sent to Gagliano, a fictitious village in remote Basilicata, for his confinement. By filming from Levi’s perspective, Rosi, a Southern Italian himself, highlights the feeling of isolation in Southern Italy and argues that the Fascist regime did not solve the Southern Question.
Carlo Levi’s confinement began in 1935 and lasted until 1936 when he was given amnesty as part of the celebrations of Mussolini’s victory in Abyssinia. Political confinement was common at this time and with the ongoing war…show more content… Many of the details in the opening sequence add to the idea that Gagliano is isolated. Firstly, the length of the scene contributes to the idea of a long journey. Secondly, the switch in modes of transportation (from train to bus to car) also adds to the idea that Gagliano is not an easily accessible place and is fairly remote. Thirdly, the panning shots of the transition from lush green hills to an arid landscape give the impression that they are moving into an area that nobody lives in because it seems quite inhospitable. These three aspects of the scene contribute to the physical isolation of the Southern town and emphasize their cultural differences. The idea of their otherness is furthered by the prominence of livestock in the scene which shows that they are entering a rural and not urban area. The cultural difference is also seen through clothing choices. Levi is what we would consider well-dressed, his structured clothing suggests a certain amount of professionalism. The locals on the other hand are mostly dressed in black traditional clothing of Southern peasants. This highlights the distinction between Levi, a Northerner, and the locals of the