Neruda - at the HEART centre

Sally Bavage writes:

Do you like Marmite?  It seems most of the audience did at last night's showing of Neruda, a 2016 film nomimated for a Golden Globe award in 2017 and winner of the Fenix Award for Best Fictional film in 2016.  The clue is in the last award title.  This is a mixture of fictional film noir and a biopic, not a straightforward genre.  It has garnered many 4* reviews, but a few reviewers were less enthusiastic.  What is it about this film that generates a divide of opinions?

It deals with events in 1948 when Chilean politician Ricardo Baoalto, a staunch Communist with a flair for writing in a variety of styles, including the surreal and the overtly political and - under his pen name of Pablo Neruda - love poetry both tender and sensual.  A case of poetic licentiousness.

His work inspired huge devotion from many oppressed workers and after an warrant was issued for his arrest, he was kept moving and in hiding for months with help from sympathisers.  He eventually escaped across the Andes into Argentina.  It is these events in his life with which the  film plays. 

He is pursued by an archetypal policeman, out to achieve glory and enhance his self-respect.  Or is he?  How much is fantasy is left for you the viewer to decide.  How much does Neruda need the excitement and challenge of being hunted to keep his rage poems flowing and his commitment to the cause strong?  The dialogue contains many snatches of Neruda's writing, both poetic and polemic – you are constantly lulled into believing in his affairs until you realise that perhaps all is not as it seems.  Again.

Are you asked to like Neruda?  Yes and no.  His writing is inspirational but he is also portrayed as an egotistical snob who mistreats his wife (by today's standards, anyway).  What you would undoubtedly like is his real-life commitment to social justice as well as his poetry.  A close adviser to President Allende when he returned from exile to Chile shortly after receiving the Nobel Prize for Literature in 1971, he was in hospital being treated for cancer when General Pinochet's coup d'etat  murdered Allende.  

Neruda discharged himself early from hospital as he suspected he was being poisoned by a doctor on the orders of the new regime.  He died hours later.  It was only in 2015 that the Chilean government acknowledged that it was “clearly possible and highly likely” that he was killed.  Same old same old then, if you read this week's news about Sergei Shrikal.

I really like Marmite.  And this film.  I urge you to see it if only to make your own mind up.

https://www.poemhunter.com/poem/tonight-i-can-write-the-saddest-lines/

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Audience Comments

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I loved the hunt and the scenes through the snow and I found out more about Neruda.  I expect it was partly about magic realism and the need to engage with fantasy in such a difficult country politically

Did not like it at all but all films cannot be good.  Usually films at Heart are great

Excellent film, not widely shown

Interesting: know more, but unclear overall; good in parts

Very puzzling but strangely engaging

Quite gripping but totally baffling

An amazing film – completely surreal but gripping

Strange but engaging film.  I knew very little about the true s tory and am not sure if I know much more now!  Films@Heart have a great set-up

Not convinced about this film … still, how many films are made about poets?  Glad I've seen it

Fascinating film – so glad I have seen it

The sound was terrible I had to read subtitles because the Spanish was so unclear, and it is my language

Tended to induce nodding off

Haunting.  Very glad to see it

Il Postino at Cottage Road Cinema

Richard Wilcocks writes:

For me, this charming, funny and touching study of the effect of the exiled Pablo Neruda on a poor, near-illiterate island where fishermen vote communist and also dress up to take part in a procession with a statue of Our Lady of Sorrows is about naivety and fundamentalism as well as about the use of metaphors and the wooing of women with poetry.

The story (based on a novel) is strongly rooted in facts: the great poet was forced to get out of Chile in 1948 after the Communist Party was made illegal there and tried to settle in a number of places in Europe before he landed (in this film that is) on the small island in the south of Italy in 1952. That part of Italy was much poorer than the north of the country, and still is. He wrote political manifestos and historical epics as well as beautiful, erotic love poems and was a recipient of the International Stalin Prize for Strengthening Peace Among Peoples, which puts him in the company of Pablo Picasso and Paul Robeson. He was not only a fervent admirer of Lenin and Stalin, but also (in the nineteen thirties) of Vyshinsky, the chief prosecutor during the Moscow Show Trials, in public at least.

At the time of the film, Stalin was just about to die, there was no thaw in the communist world and the revolts in 1956 against Stalinism and Soviet dominance in Hungary and Poland had yet to take place. There is no mention of any critical insights amongst the local communists in the action: their political feelings are largely gut reactions, of the sort which go with being dirt poor. The secondary plot is about a political campaign by an elegant, smart-talking Christian Democrat politician by the name of di Cosimo (he promises to bring running water to the island) who criticizes Mario, the love-stricken postman, for being in love with Beatrice after he admits that he is going to vote communist. He tells him that his preferred poet is d’Annunzio, who also had a muse named Beatrice. Gabriele D’Annunzio was a twentieth century nationalist poet who was very influential amongst the early Fascists, including Mussolini. In fact, the choice of the name Beatrice for Mario’s loved one and muse is highly significant, because that is also the name of the ideal woman of Italy’s national poet Dante Alighieri, the one who guides him through Heaven in The Divine Comedy. I think that Massimo Troisi, the actor playing Mario, actually looks a little like Dante Alighieri.

The island’s grim priest, the one with no feeling for poetry, has the fundamentalist right-wing views of the time, which were common amongst Catholics at the time of the Cold War. It’s all part of the film’s appealing 'retro' feel, with old black cars, early Vespas, the traditional wedding, the peculiarities of an Italy long before Berlusconi, all there for the savouring. But the main story is about the bored fisherman’s son Mario Ruppolo, who is fascinated, naively fascinated perhaps, with the famous visitor and the number of letters he receives from female admirers, in the pre-email days when people wrote them. The scene in which he asks Neruda “What is a metaphor?” brings to my mind many memories of teaching English, along with Neruda’s stock response – “the sky weeps” - but Mario gets it, and later makes attempts to do better than that.

The film is full of metaphors, not just the ones in Neruda's sublime poems, of which there are plenty: students of cinema would be able to spot dozens, for example the pinball which Beatrice pops into her mouth and which Mario carries around as a love token, and the statue of the Virgin in a fishing boat. Mario's personification of the fishing nets, using the adjective 'sad' recurs several times.

For me, a side-effect of the film is to bring to mind the terrible events of the seventies: Neruda died just after General Pinochet took over Chile in a violent military coup in 1973. He was already terminally ill in hospital with prostate cancer, and it was probably shock which finished him. Pinochet soldiers apparently wasted no time in diverting a stream through his house on the Pacific coast after ransacking it.

The acting throughout is superb, and Phillippe Noiret bears a startling resemblance to the real Neruda. He is absolutely credible in the role. Maria Grazia Cucinotta is just right as the innkeeper’s beautiful niece and Massimo Troisi is the ultimate in charm, for his lover on the screen and for his audience in front of it. His portrayal of the timid yet passionate postman must be the result of very careful Stanislavskian preparation, because it is just brilliant.

It was a great tragedy when he died shortly before the film came out, in 1994. He was a poet himself, as well as a great actor.

 

At the 68th Academy Awards in 1995, Il Postino received five nominations and one Academy Award. It also won the BAFTA Award for Best Film Not in the English Language.

 

Pablo Neruda's body to be exhumed

A Chilean judge has ordered that the remains of poet and Nobel laureate Pablo Neruda should be exhumed in an investigation into whether he died of cancer as commonly believed or was killed by agents serving Augusto Pinochet. The exhumation was announced by the foundation that manages his literary legacy. The leftist poet, who died twelve days after the 1973 military coup that ousted socialist president Salvador Allende and brought General Augusto Pinochet to power, was long believed to have died of prostate cancer, but officials in 2011 started looking into the possibility he was poisoned by agents of the Pinochet regime, as claimed by Neruda's driver and aide. Neruda is best known for his love poems as well as his Canto General - an epic poem about South America's history and its people. 

This story will no doubt be of great interest for those who were at the special showing of Il Postino at the Cottage Road Cinema almost a year ago, which is about how the poet was forced into exile in Italy. Read the review here: http://headingleylitfest.blogspot.co.uk/search?q=neruda

'Biking with Che' in Café Lento

Sean Hayes writes:

MESTISA - Beautiful songs from South America

Taking refuge from the surprisingly crisp winds of an early spring evening in the warm confines of the Café Lento was a perfect prelude to the sun-scorched journey of one Ernesto Guevara, (later to re-moniker himself 'Che', which he adopted because it was an Argentinian colloquialism for 'hey you' and used as a general term in other areas of South America to address Argentinians) from Argentina to Florida, taking in much of the continent along the way. 

Our introduction into the world of the young Che began with the specially decorated Café Lento, which featured pictures and illustrations of Guevara (yes, including that one) and as the centre-piece a large-scale map of South America, with the course of Ernesto and Alberto charted via illustration. Mestisa, the band made up of Barbara, Ana Luisa, Mike and Tenley, were setting out their assortment of weird and wonderful authentic instruments as the audience arrived. Amongst their inventory, as they explained during the course of the performance, was a quijada - the jawbones of a donkey played using the teeth, a charango - a small lute-like instrument which traditionally would have been made from the shell of an armadillo and a cajón - a box-shaped instrument developed by slaves whose other instruments had been taken away. To complement the music, wine and food prepared by Jose Gonzalez was served to complete the authentic atmosphere.  From there, we were introduced to an evening immersed in all things Che, as a narration of the biking trip, concisely scripted and read by Richard Wilcocks, based on and featuring extracts from Guevara's own Notas de Viaje (Motorcycle Diaries) provided a combination of irreverent insight and deep historical context to the life of one of the most iconic figures in modern history. 

Our story began with the son of a wealthy property developer. During his days as a medical student at the University of Buenos Aires, Ernesto met Alberto Granada, who was in charge of the distribution of medical supplies in a nearby leper colony. In 1952, after deciding to take a year off from his studies, Ernesto joined Alberto on a trip which had long been their shared ambition: an odyssey across Latin America on a motorcycle, namely their occasionally unreliable 1939 500cc Norton, which was christened La Poderosa - The Mighty One. What followed was a surprisingly funny series of mis-adventures, as Ernesto doggedly journeyed on, not at all resembling the noble freedom fighter that the colossally famous portrait would later depict. Instead, he and Alberto were mangueros motorizados - motorised scroungers - and amongst other exploits they accidentally shot one of their hosts' beloved German Shepherd dog, passed themselves off as expert researchers of leprosy and suffered through an unfortunate vomiting incident while stowed away on a cargo ship. 

This was far from a simple tale of gap-year shenanigans, however. Over the course of Ernesto's journey we saw the origins of his revolutionary leanings, as he encountered the harsh callousness which poverty can bring about in the form of an elderly, dying servant whose chronic asthma was met with apathy from her burdened family. Later, as Ernesto and Alberto's journey took them through a Chile on the brink of a massive presidential election, they encountered a stranded miner and his wife - outcast after being held in prison for his allegiance to the Chilean Communist Party - on their way to seek work in the terrible conditions of a sulphur mine deep in the Chilean mountains. The encounter led Ernesto to describe the couple as “tragic” and “a live representation of the proletariat of any part of the world”. 

Inserted into the narration was one of the poems (in English translation) by Pablo Neruda which Ernesto probably read on his travels, perhaps while dreaming of Chichina, the girl he left behind in Buenos Aires and who dropped him - 'Poem 20', which begins:

Tonight I can write the saddest lines.

Write, for example, "The night is starry

and the stars are blue and shiver in the distance"

...

The music beautifully and powerfully represented Ernesto's feelings in this section of his journey, expressing not just his sadness with the mourning vocals but also using a rhythmic pounding to represent his rising anger and revolutionary spirit.  The music expressed perfectly the emotion of Ernesto's journey, as well as giving an authentic flavour, the songs being interspersed not only with the narration but with traditional Colombian dancing. Participation from the audience lent a sense of distinct camaraderie to the evening. Indeed, 'Biking With Che' was a witty and occasionally wry insight into the early days of an iconic legend, which gave us a powerful impression of the man behind the T-shirts and student posters. 

Sally Bavage adds:

The audience feedback, the delicious food and the atmosphere were fantastic.  Well done yet again to Café Lento, host Richard Lindley, and narrator Richard Wilcocks, for another splendid LitFest event which attracted a wide age range!  Interesting, too, that the importance of having time to read poetry was emphasised as Ernesto developed the foundations for Che.  

To book Mestisa contact Ana Luisa Muñoz  mestisauk@gmail.com  

Love's Lingo in the HEART café

Richard Wilcocks writes:

Love's Lingo, a preliminary - or if you like interim - LitFest event in the café of the HEART building on Bennett Road on Friday evening was a wonderful and very substantial taster for the full banquet to come. Becky Cherriman, the blue angel of the evening, delivered slices of heightened reality to an appreciative audience. She spoke truths about relationships close-up into our ears, intimacies conveyed in a conversational style. For me, there was just a touch of Angela Carter in her rhythmic scrutinies of old loves and fresh loves, fading pains and lasting pains.

Her poetic guest was Clare Neruda, a talented newcomer and similarly confessional: it was heartwarming to watch and listen as her confidence grew during her session, until she had us gripped. Her musical guests were Maggie 8, a duo which finished the evening beautifully.

Becky Cherriman will be with the LitFest again on Tuesday 20 March at 1pm for The Lingo of Food. The Workers Educational Association, in partnership with Osmondthorpe Resource Centre for adults with physical disabilities, and supported by Headingley LitFest, will be reuniting two creative writing groups for a delectable literary performance. She will be with both of them as facilitator.

About food - it's certainly delectable in the HEART café, and the atmosphere is just right for poetry and music. There will be more LitFest stand-alone events like this in future.

www.beckycherriman.com

Love's Lingo

 In honour of Valentine's Day, commissioned and published writer Becky Cherriman will take you on a poetic journey through the vast lexicon of love. This will take place in the HEART Café at 8pm on Friday 10 February as a preliminary event for the LitFest 'proper' in mid-March.

But don't expect it all to be hearts and flowers! Becky's work is known for its honest and often uncomfortable intensity.  The evening will also feature live music from Maggie 8  (http://www.myspace.com/maggieslovelymusic) and a reading from poet, Clare Neruda.

Tickets on the door will be just six pounds - and that includes a drink. 

Becky is a writer, creative writing facilitator and performer based in Leeds.  She works regularly for the Workers Educational Association, The West Yorkshire Playhouse, Artlink West Yorkshire and Ilkley Literature Festival, develops writing-related resources for The Hepworth Wakefield and delivers public readings of her work.   

Successes to date include being shortlisted for the 2009 Dorothy Sargent Rosenberg Award, the 2009-10 Fish Short Story Prize, and the 2011 Grist Poetry Competition, a commission to write and perform an interactive children’s story at The Rotunda Museum in Scarborough on the theme of geology, publication in an anthology ‘Along The Iron Veins’ and attaining second prize in the 2010 Ilkley Literature Festival Open Mic competition.  Her poems ‘Behind His Eye’ and ‘Every Bone’ will be published in the 2012 ‘Grist Anthology’. 


Here is a poem about the HEART Centre written by one of Becky's students:

The Heart Centre

New rooms wrapped round an old beating heart

Wall adorned with new, vibrant art.

Drums in the stairwell with Hettie the Cleaner

Pot plants abound to make it look neater

Guitar, pilates or trumpet lessons

Everything covered in weekly sessions

From young to old and those on the dole

With Heart in the Community, this place has a soul

Angela Lloyd Roberts