000			04606nam a22003257a 4500
999			_c91 _d91
003			OSt
008			110721t xxu||||| |||| 00| 0 ita d
040			_cSILC
041			_aita _beng _hita _jeng
046			_k1974
050			_aPN1997 _b.C378 1974
100		a	_aRoberto Rossellini _9504
245			_aCartesius: Chaos and Order _h[videorecording] / _cRoberto Rossellini
260			_aItaly _bIstituto Luce _bOrizzonte 2000 _bRAI Radiotelevisione Italiana _bOffice de Radiodiffusion Télévision Française (ORTF) _c2008
300			_a1 videodisc (ca. 162 min.) _bsound, color. _c4 3/4 in.
440			_aEclipse From The Criterion Collection _vSeries 14 _9505 _pRossellini's History Films: Renaissance and Enlightenment
440			_aThe Criterion Collection
520			_aFrom case cover: As profoundly simple as its hero’s famous statement “I think, therefore I am,” Roberto Rossellini’s Cartesius is an intimate, psychological study of obsession and existential crisis. _bIn Roberto Rossellini’s films about them, Descartes, Pascal, and Socrates argue incessantly for the superiority of reason. But in all three cases, their emotional deficiencies cast doubt on the wisdom of their obsession. “Science prevented me from living,” Descartes himself concludes. Still, for Rossellini, it’s “crazies” like these men who make new realities. In Descartes’ day, sensible people questioned the crazies who, for example, claimed the earth moved around the sun, since not only did everyone know the earth stayed still but in this biblical truth they founded their faith, than which nothing was more essential. By what right did self-proclaimed “science” contradict Holy Scripture? René Descartes (1596–1650), a devout Catholic, refused to question his church. But on the other hand, he was stunned by the world’s ignorance and inspired by the gains in knowledge made by science and reason. Therefore he sought reasons to trust reason. Rossellini is moved less by Descartes’ philosophy in the abstract than by the anguish with which he pursues his obsession. Action and drama in Cartesius are entirely inside Descartes’ head, where thought and emotion are locked in deadening struggle—and where perhaps something is amiss. “I’ve closed myself up, alone, in this room for many days,” Descartes says. “I shall close my eyes, I shall close my ears, I shall extinguish my senses . . . spend time only, only with myself.” Here truly is involution. Descartes’ crisis is existential, yet he excavates for salvation deep inside syllogisms. Rossellini said his idea for the movie came from a book by Benedetto Croce, who thought Descartes hopelessly abstract. Yet Rossellini felt that if he could translate the “incredible chaos of the times” into his movie, “viewers would understand immediately why Descartes felt the need to write a Discourse on Method.” Rossellini described Descartes as less likable than Pascal, even “a son of a bitch, a coward, a lazy person. He was quite repulsive, of course, not simpatico. But I don’t care about that. He was intelligent.” Cartesius cost about $130,000 and was financed by Italian and French television. Rossellini had planned to shoot in France, in English, with an American actor playing Descartes, for American television. The French were unhappy with English and an American in a French movie on Descartes. When the smoke cleared in February 1973, the production had moved to locations near Rome, an Italian was playing Descartes (Ugo Cardea), and on the first morning the actors learned they would enunciate brand-new dialogue in French. French television refused the film, however, for lack of authenticity, so, ultimately, it was dubbed into Italian and shown only in Italy. Cardea wanted to proclaim Descartes’ famous line “I think, therefore I am.” But Rossellini said, “Say it as if you’re buying cigarettes. Do you think Descartes was figuring out that moment what he was saying? He’d been thinking about it all his life, which is why he’d say it now without any particular expression.”
538			_aDVD video; Dolby Digital 1.0; monaural; NTSC; Regions 1; 1.33:1 as 4:3 fullscreen.
546			_aItalian audio. Optional English Subtitles.
700			_aRoberto Rossellini _eScreenwriter _eDirector _9479
700			_aMarcella Mariani _eScreenwriter
700			_aRenzo Rossellini _eScreenwriter
700			_aLuciano Scaffa _eScreenwriter
700			_aUgo Cardea _eActor
700			_aAnne Pouchie _eActor
700			_aClaude Berthy _eActor
942			_2lcc _cDVD