Contempt (5 page)

But, if I continued to delude myself that Emilia still loved me as in the past, or rather, if I preferred not to put the question of our love to myself, there was one thing which betrayed the state of my heart towards the change that had come about between us. That was my work. I had, for the time being, given up my theatrical ambitions and devoted myself to the cinema, simply in order to satisfy Emilia’s longing to possess a home of her own. As long as I had been sure that Emilia loved me, the work of script-writer did not seem to me too onerous; but after the incident of that evening it seemed to me that a subtle feeling of discouragement, of restlessness, of repugnance had crept into it. In reality—as I have already said—I had accepted this job just as I would have accepted any other, even more uncongenial and even farther removed from my own interests, merely out of love for Emilia. Now that this love was on the point of failing me, the work lost its meaning and justification and acquired, in my eyes, the absurd character of sheer slavery.

I want to say a few words about the job of script-writer, if only to give a better understanding of my feelings at that time. As everyone knows, the script-writer is the one who—generally in collaboration with another script-writer and with the director—writes the script or scenario, that is, the canvas from which the film will later be taken. In this script, and according to the development of the action, the gestures and words of the actors and the various movements of the camera are minutely indicated, one by one. The script is, therefore, drama, mime, cinematographic technique,
mise-en-scène
and direction, all at the same time. Now, although the script-writer’s part in the film is of the first importance and comes immediately below that of the director, it remains always, for reasons inherent in the fashion in which the art of the cinema has hitherto developed, hopelessly subordinate and obscure. If, in fact, the arts are to be judged from the point of view of direct expression—and one does not really see how else they can be judged—the script-writer is an artist who, although he gives his best to the film, never has the comfort of knowing that he has expressed himself. And so, with all his creative work, he can be nothing more than a provider of suggestions and inventions, of technical, psychological and literary ideas; it is then the director’s task to make use of this material according to his own genius and, in fact, to express himself. The script-writer, in short, is the man who remains always in the background; who expends the best of his blood for the success of others; and who, although two thirds of the film’s fortune depends upon him, will never see his own name on the posters where the names of the director, of the actors and of the producer are printed. He may, it is true—and as often happens—achieve excellence in his inferior trade, and be very well paid; but he can never say: “It was
I
who made this film...in this film
I
expressed myself...this film is
me
.” This can only be said by the director, who is, in effect, the only one to sign the film. The script-writer, on the other hand, has to content himself with working for the money he receives, which, whether he likes it or not, ends by becoming the real and only purpose of his job. Thus all that is left for the script-writer is to enjoy life, if he is capable of it, on the money that is the sole result of his toil—passing from one script to another, from a comedy to a drama, from an adventure film to a sentimental film, without interruption, without pause, rather like a governess who goes from one child to another and never has time to grow fond of one before she leaves it and starts again with another; and in the end the fruit of her labors is enjoyed entirely by the mother who is the only one with the right to call the child her own.

But, apart from these disadvantages, which we may call fundamental and immutable, there are others also, in the job of the script-writer, which, though varying according to the quality and type of the film and of his collaborators, are no less annoying on that account. Unlike the director, who enjoys a considerable measure of independence and freedom in his dealings with the producer, the script-writer can only accept or refuse the task offered to him; but, once he has accepted it, he has no choice whatever in the matter of his collaborators: he is himself chosen, he does not choose. And so it comes about that, as a result of the personal likes and dislikes, the convenience, or the caprice of the producer, or simply as a result of chance, the script-writer finds himself forced to work with people he does not care for, people who are his inferiors in culture and breeding, who irritate him by features of character or behavior that are offensive to him. Now working together on a script is not like working together in an office, let us say, or a factory, where each man has his own job to do independently of his neighbor and where personal relations can be reduced to very little or even abolished altogether. Working together on a script means living together from morning to night, it means the marriage and fusion of one’s own intelligence, one’s own sensibility, one’s own spirit, with those of the other collaborators; it means, in short, the creation, during the two or three months that the work lasts, of a fictitious, artificial intimacy whose only purpose is the making of the film, and thereby, in a last analysis (as I have already mentioned), the making of money. This intimacy, moreover, is of the worst possible kind, that is, the most fatiguing, the most unnerving and the most cloying that can be imagined, since it is founded not on work that is done in silence, as might be that of scientists engaged together on some experiment, but on the spoken word. The director usually calls his collaborators together early in the morning, for this is necessitated by the shortness of the time allowed for the completion of the script; and from early morning until night-time the script-writers do nothing but talk, keeping to the work in hand most of the time but often talking from sheer volubility or fatigue, wandering away together on the most varied subjects. One will tell dirty stories, one will expound his political ideas, one will psychologize about some common acquaintance, another talk about actors and actresses, another relieve his feelings by telling of his own personal circumstances; and in the meantime, in the room where they are working, the air is filled with cigarette-smoke, coffee-cups pile up on the tables amongst the pages of the script, and the script-writers themselves, who had come in in the morning well-groomed, tidy and with neatly brushed hair, are to be seen in the evening rumpled and sweaty and untidy, in their shirtsleeves, looking worse than if they had been trying to ravish a frigid, restive woman. And indeed the mechanical, stereo-typed way in which scripts are fabricated strongly resembles a kind of rape of the intelligence, having its origin in determination and interest rather than in any sort of attraction or sympathy. Of course it can also happen that the film is of superior quality, that the director and his collaborators were already, beforehand, bound together by mutual esteem and friendship, and that, in fact, the work is carried out in the ideal conditions that may occur in any human activity, however disagreeable; but these favorable combinations are rare—as, indeed, good films are rare.

It was after I had signed the contract for a second filmscript—this time not with Battista but with another producer—that courage and determination suddenly abandoned me and I began, with increasing repugnance and annoyance, to resent all the disadvantages of which I have already spoken. Each day, from the time when I got up in the morning, seemed like an arid desert, with no oasis of meditation or leisure, dominated by the merciless sun of forced cinema inspiration. As soon as I entered the director’s house and he welcomed me in his study with some remark such as: “Well, did you think about it last night? Did you find a solution?”—I had a feeling of boredom and rebellion. Then, during our work, everything seemed to be infected with impatience and disgust—the divagations of every kind by which the director and the script-writers, as I have already mentioned, seek to alleviate the long hours of discussion; the incomprehension or obtuseness or simple divergence of opinion amongst my collaborators as the script was gradually written; even the director’s praises for each of my inventions or decisions, praises which tasted bitter to me because I felt, as I have said, that I was giving the best of myself for something which did not fundamentally concern me and in which I was not participating willingly. This last disadvantage, in fact, appeared to me at that time to be the most intolerable of all; and, each time that the director, speaking in the demagogic, vulgar way that is common to so many of them, jumped up in his chair and exclaimed: “Bravo! You’re a wow!”—I could not help thinking, contemptuously: “I might have put that idea into some drama or comedy of my own.” Furthermore, by some strange and bitter contradiction, I could never manage, in spite of my repugnance, to fail in my duty as a script-writer. Film-scripts are rather like the old-fashioned four-in-hands, in which there were some horses, stronger or more willing, who did the pulling, and others who pretended to pull while really they allowed themselves to be dragged along by their companions. Well, in spite of all my impatience and disgust, I was always the horse who did the pulling; the other two, the director and my script-writer colleague, when faced with any difficulty always waited—as I very soon noticed—for me to come forward with my solution. And I, though inwardly cursing both my conscientiousness and my facility, did not hesitate but, with some sudden inspiration, provided the solution required. I was not driven to do this from any spirit of rivalry, but merely from a sense of honesty stronger than any contrary desire: I was paid, therefore I had to work. But each time I was ashamed of myself and had a feeling both of avarice and of regret, as though, for a little money, I had ruined something beyond price, something of which I could, somehow or other, have made an infinitely better use.

As I said, I did not become aware of all these disadvantages until two months after I had signed the first contract with Battista. And at first I did not understand why they had not been obvious to me from the beginning and why I had taken such a long time to notice them. But, when the feeling of repugnance and failure aroused in my mind by the work I had once so ardently desired still persisted, I could not help—very gradually, as often happens—coming to connect it in some way with my relations with Emilia. And at last I realized that the work disgusted me because Emilia no longer loved me, or at least gave an appearance of no longer loving me. And that I had faced the work with courage and confidence as long as I had been sure of Emilia’s love. Now that I was no longer sure of it, courage and confidence had deserted me and the work seemed to me nothing better than slavery, waste of talent, and loss of time.

I BEGAN THEREFORE to live like one who carries within him the infirmity of an impending disease but cannot make up his mind to go to the doctor; in other words, I tried not to reflect too much either upon Emilia’s demeanor towards me, or upon my work. I knew that some day I should have to face this kind of reflection; but, just because I was aware that it was unavoidable, I sought to put it off for as long as possible: the little I had already suspected made me shy away from it, and also, albeit unconsciously, fear it. And so I went on having those relations with Emilia which at the beginning had seemed to me intolerable, and which now, when I feared the worst, I tried to persuade myself—without any success—were normal: during the day indifferent, casual, evasive conversations; at night, from time to time, lovemaking, with much embarrassment and a hint of cruelty on my side, and no real participation on hers. In the meantime I continued to work diligently, even furiously, though more and more unwillingly and with a more and more decided repugnance. If I had had the courage to acknowledge the situation to myself, at that moment, I should certainly have renounced my work and renounced love as well, for I should have been convinced, as I was later, that all life had gone out of both. But I did not have that courage; and perhaps I deluded myself into believing that time would take it upon itself to solve my problems, without any effort on my part. Time, in fact, did solve them, but not in the way I should have wished. And so the days passed, in a dull, dim atmosphere of expectancy, with Emilia denying herself to me and myself denying myself to my work.

The script I was writing for Battista meanwhile was nearing its end; and at the same time Battista mentioned a new undertaking to me, of much more serious importance than the first, in which he wanted me to have a share. Battista was a hurried, evasive sort of man, like all producers; and the very fleeting hints he gave me never went beyond such remarks as: “Molteni, as soon as you’ve finished this script, we’re going to start at once on another...a really important one”; or: “Molteni, be prepared, one of these days...there’s a proposal I’ve got to make to you”; or again, rather more explicitly: “Don’t sign any contracts, Molteni, because in a fortnight’s time you’re going to sign one with me.” So I knew that, after this first, comparatively unimportant script, Battista was preparing to give me another, more important one to do, for which, naturally, I should be far better paid. I must confess that, in spite of my growing distaste for this type of work, the first thing I thought of, instinctively, was the flat and the money that still had to be paid on it; and I was delighted at Battista’s proposal. In any case, that is what film work is like: even when, as in my case, one is not in love with it, every new offer is agreeable, and if offers do not arrive, one becomes suspicious and fears that one is being excluded.

But I said nothing to Emilia of this new offer of Battista’s, and that for two reasons: in the first place because I did not yet know whether I should accept it; and also because I had by now realized that my work did not interest her and I preferred not to speak of it, so as not to provoke some further confirmation of her coldness and indifference, to which, however, I persisted in paying no importance. These two things, furthermore, were linked together in a manner of which I was vaguely conscious: I was not sure about accepting the job precisely because I felt Emilia no longer loved me; whereas if she had loved me I should have talked about it to her, and talking about it to her meant, really and truly, accepting it.