EYES, THE MOUTH, THE

Marco Bellocchio's first feature “Fists In the Pocket” in 1965 immediately established his place at the forefront of Italy's most dynamic young filmmakers. He has since worked in the theater, television and documentary and continues to pursue his themes that probe into society's institutions through such films as “Leap Into the Void” (1980), “China is Near” (1967), “The Seagull” (1977) and the award-winning “Fit To Be Untied” (1975). THE EYES, THE MOUTH is a sort of sequel to “Fists In the Pocket,” extending Lou Castel's role of an actor struggling with family relationships now 18 years later. Bellocchio's main theme in THE EYES, THE MOUTH is the detachment from the past; “to recover a free and wise sexuality,” a fusion of “The eyes, an intellectual instrument. . .used to see, the grasp, to penetrate, to read” and “The mouth, a sensual instrument. . .used to bite, to snap, to crunch, and also to kiss.” Giovanni (Castel) returns home after the suicide of his twin brother Pippo. He and his relatives try to protect the grieving mother from the truth while Pippo's pregnant mistress rebels at any pretense. She and Giovanni become lovers but the past raises desperate conflicts that must be resolved with certain risks. Compelling performances, insightful jabs at bourgeois values and intense, mysterious images intrigue the serious filmgoer. “Sharply cut scenes evolve into dream sequences that merge past and present into a Bunuel-like phantasmagoria. . .Satirical scenes mix with deeply emotional ones.” -Margaret Croyden, New York Times “Bellocchio's films fit into no conventional category. . .they are beautiful, elegant, darkly funny.” – Vincent Canby, New York Times