Morel’s
Mediterranean party palace looks like Xanadu as refurbished by Le Corbusier.
The music and fashions are vintage 1920s, whereas the technology he has
developed is considerably more to near side of “near-future” than when Adolfo
Bioy Casares’ 1940 novel was first published. Nevertheless, its big revelation still
comes as a surprise. Yet, the real drama derives from the fugitive protagonist’s
tortured response in Emidio Greco’s Morel’s
Invention (trailer
here), which
screens during the Film Society of Lincoln Center new series, Strange Lands: International Sci-Fi.
He
is a castaway who does not wish to be found. Washing up on a deserted island,
he finds a dusty, closed-up villa, but as soon as he reconnects the power and
water, Morel arrives with his guests for a week of low impact revelry. The
interloper tries to avoid them, but he becomes fascinated with the beautiful
Faustine. His infatuation grows deeper when he witnesses her rebuffing Morel.
However, when he rashly approaches her, she refuses to acknowledge him.
Of
course, something extraordinary is afoot or Invention
would not be programmed during Strange
Lands. However, be advised some of the FSLC descriptive copy gives away too
much of the game. Frankly, you might kick yourself for not guessing it, but
editor Mario Chiari seamlessly cuts the film together, effectively hiding the
secret in plain sight.
For
those previously unfamiliar with the Argentine novel[la], Greco’s Italian film,
or a subsequent English short film based on the same source material, Morel’s Invention is the biggest find of
the series. The first act set-up requires a little patience, but the pay-off is
shockingly moving. Even though it is very much set in the terrestrial world, it
completely takes viewers out of their current mindset.
Godard’s
onetime muse Anna Karina is absolutely perfect as the beautiful but distant
Faustine. The role of Morel, the inventor with profound tunnel vision, also
fits British Giallo veteran John Steiner like a glove. Nevertheless, it is
Giulio Brogi who really lowers the emotional boom as the tragic castaway.
