Alla luce del sole (IT)

Directed by Roberto Faenza
Palermo (Italy) July – Agust, 2004
Making of directed by Mario Canale

 

Roberto Faenza – Director
I reckon this story about a priest murdered by the Mafia, is kind of a continuation of my previous film, Prendimi l’anima (Take my soul), in the sense that both films focus on a character, then a woman, now a man, fighting against evil in the name of idealistic values, dreams, in the name of utopia, that is. Here, I am dealing with such a man, a man who wishes to teach children, from their youngest age, about a better world, safe from the fierce competition, arrogance, and violence which are what actually characterises best the Mob in the poor areas of Palermo. I developped a passion for this story based on the marginality of the character, his remoteness from fame and the medias, his complete anonimity while he was on the front line, not as an officer is but further in the battle, for his fight was a barehanded every day fight. What he did was the most threatening thing for the Mafia; he took the wind out of their sails, for his audience was the new strength, the future generations, that is, the children, the boys. Pugliesi knew this part of Palermo very well, for he was born in the very borough we are talking about, and he knew mafia talk, the language of the big bosses. He was born with these people and he grew up with them. Later, when he comes back as a priest, he meets them all again, grown-up too but grown in the opposite direction, unfortunately.

 

Elda Ferri – Producer
Before Alla luce del sole, which recounts Pugliesi’s story, Roberto had made several proposals I did not agree upon, because I did not really like them. I did not find a compromise, mostly because I felt even if Roberto and I agreed on a project, we would still have to make further compromise and if it did not work, the agreement would be worth nothing, and our collaboration would end there. Let me tell you something…you know how directors do…they have ideas, they want to try them now, yearning to work, but after a while, they let go a bit. I don’t. I say no right away, as if in passive protest, I just say I can’t afford it; at the end of the day I don’t think we made many mistakes. Roberto is in my opinion very isolated, in the sense that he is on his own a lot, does not interact with others, and spends all his energy working, while other directors with comparable talent take it easier. In this respect, I like working with him because I see in him a coherent and hard-working man who makes life a constant effort; and I am glad to work hard for him, to help him make this movie. Why wouldn’t I since my interests coincide with his?

 

Luca Zingaretti – Actor
Roberto read the story of Father Pugliesi a while ago, but he was still under the shock. This strong impression was in fact a desire which missed a shape, and he could not find it. Finally, once, that night we met, he said ‘this guy could be my Padre Pino Pugliesi’. As far as I’m concerned, I have to say I was really impressed and shy before Roberto, for he is one of the few authors in Italy who gets good recognition, and I use this word also because you can actually recognise Faenza’s style in his films which I always liked, I must say. Our meeting was a lucky one, because Roberto has a great gift, in my opinion, a fantastic gift for a director which is the art of collaborating easily with anybody, accepting occasional suggestions, interacting with the actors. He wants to know how you would do this or that thing, and for what reason, he asks what you think, etc. This however does not prevent him from guiding you anyway. While he gives you an opportunity to show what you can give —as if he let you pull stuff out of your bag— he never leaves you alone when it is time to decide; he says, well keep that, in my opinion that’s the most interesting way to do it, etc. I think this way of working is ideal for an actor because it allows you to express yourself, while providing for direction, so that you don’t get lost.