Org (Fernando Birri, 1978)

film che ho conosciuto spulciando i post apocalittici su imbd…
fa ’ parte di questo genere?

Direi che è più un film sperimentale (di tre ore), pare prodotto coi soldi di Terence Hill che vi lavorò anche come attore.

Dev’essere una mazzata terrificante…

la versione che ho io dura 1:43: e qualcosa sembra un film punkettone!:smiley:

Da qui:

In 1978 he completed the epic experimental art film ORG. The producer of ORG was so outraged by the film that he ordered it be destroyed.

Birri è un regista argentino molto quotato, ha vinto anche il Leone d’oro a Venezia nel 1962.
Lo sposto in Cinema Sperimentale.

Da Surreal Moviez:

This exceptionally rare film was shown once at the Venice Biennale in 1979 with a running time of 177 minutes and then apparently shelved. The Euro-Western/Camp actor Terence Hill ‘starred’ in and bankrolled it and supposedly his agent advised him that its further distribution could be damaging to his international career.

The rip runs 104 minutes. Supposedly there is a 120 minute version, but this may be identical with both. The ‘film’ more or less ends at about 1:35 and then there is a short moment of white screen followed by a long one of red (with more, intermittent voice-over ranting). The original 177 time may have been the length of time it took the final audience member to grow weary of the red screen, stand up and leave the screening room (see Birri’s account below)! The film stretches the limits of perception with 26,625 negative splices incorporated into its main body (compared with an average of about 800 in a typical film).

I acquired this from a clan-sudamerica announce that indicated that it was ripped by Tranquilino from a VHS in the archives of EICTV (La Escuela Internacional de Cine y Televisión, founded by Birri with Gabriel Garcia Marquez and Julio Garcia Espinosa in 1986).

Tranquilino’s rip had packed bitstream which I’ve fixed in the avi being shared in this ■■■■■■■. But be warned: what was already a difficult film is even more difficult in this rip which is still interlaced and may have sound and image drop-outs (it’s difficult to say due to the rapidity and variety of the film’s transitions between sound and image elements–which also quite clearly include white noise and black screens).

Under his cosmunym FERMAGHORG, Birri spent more than ten years elaborating this pataphysical essay film which also works as an experimental sci-fi rendering of Thomas Mann’s The Transposed Heads (the same source for Jodorowsky’s recently recovered La Cravate). As he says in the lecture I’ve translated below, the film contains all of the elements from his earlier work (the anti-animation of La primera fundación de Buenos Aires, the dialectical, rapid cutting style of his early documentaries) and much else besides. It communes with Lettrism, Czech New Wave, Carmelo Bene, Actionism, Arte povera, to name only what immediately comes to mind. Throughout the film, Birri probes the politics and history of cinema culminating midway through in a series of distressed interviews with filmmakers including Rossellini, Godard, Nemec (in absentia) and Mekas. It’s quite a trip!

There is almost nothing out there about this film I have tracked down this transcript of a lecture given by Birri at the school he co-founded in Cuba which has almost helped me recover from watching it. It includes a synopsis of the narrative part of the film The film also features documentary elements and several lengthy sequences of pure experimentation.

Extracts from a lecture given as part of a master class at EICTV on the 22nd of March, 1994

ORG and excess roads to wisdom
Fernando Birri

“The road of excess leads to the palace of wisdom,” said William Blake. This was the mantra we attempted to analyze in the non-film ORG. I want to try to make this lecture correspond formally to its subject, an experimental film. This may or may not work, but I want to attempt an experimental lecture as a way into the film.

I chose Memories of Fire by Eduardo Galeano because I think it gets to the heart of our experience. That is, the Americas as a vessel for delirium. This has as much to do with dreams as it has to do with the creative energy that some call poetry.

In fact, the whole of ORG has been conceived so that each viewer is required to complete it. It starts with this name, ORG, which can function as a prefix or a suffix. ORG generates organ, orgasm, orgy as well as Amorgos, for example. Search for the word that you want. In the course of the film, the word becomes intertwined with the Orgone theory of Wilhelm Reich. It is precisely to him that the film is dedicated along with two other names: Che and Méliès. … Putting these three names together is like mixing oil and vinegar, salt and sugar, Yin and Yang, traditional and conservative culture. In this schizophrenic and ecstatic mixture, contradictory elements remain separate and grow ever more opposed. This was an attempt made with the film to respond to the old concept of “harmony in discord” which is usually taken to imply that contradictions have been overcome.

The film first took shape in the crucial year of 1968: Che had died in 1967 in Bolivia, man was about to reach the moon and his ego had shifted. What was happening in the human psyche seemed to me to be like what happened when the Ptolemaic was replaced by the Copernican world system. At that time the human ego, or its sentiments, was loosing its centeredness. An ego-cosmocentric conception of the human was also being breached. The film suffers all the tensions and ruptures of these contradictions which are, in truth, only psuedocontradictions. {I don’t understand this sentence: “Una crítica es al lenguaje cinematográfico, hecha, de alguna manera, desde el interno del lenguaje cinematográfico, concebida por una bestia cinematográfica que es quien les habla.”} It advances a critique of the concepts of the left of that time from a man who, naturally, has also lived or tried to live in solidarity with the left.


In addition to the two crises I’ve already mentioned, the one about film language and the other about history, there was the third crisis: whether the film could ever be shown, a decision not to be weighed lightly any more than whether or not to commit suicide. But then it was decided that it would be shown in Venice. I constructed a large screen in front of the door of the cinema. This was never intended to be projected in a movie house but as part of something else, part of a happening, what today you would call an installation. So I install this giant screen before the entrance of the cinema and, with a large knife I’d picked up in India, at three o’clock sharp I climb a ladder and begin to cut away at the screen, tearing it open, so that the audience came through the screen. The audience was the backdrop for the film. Rather than situating the viewer in front of the screen as an active spectator, one who leaves no different than when he came to see it, I intended the viewer to enter the film …

The synopsis of the film, or non-film, I’ll read as it appeared in the press-kit: “Some years after the explosion of a mushroom cloud, a black man named Grrrr helps his white friend Zohommm to seduce his beloved Shuick in a love triangle. When Zohommm later becomes jealous, he consults an electronic Sybil about his woman and friend. She confirms his suspicions and, in despair, he cuts off his head. Grrrr, his black friend, finds him dead and also kills himself. When the woman Shuick discovers them, she tries to jump off a cliff, but is stopped by the electronic Sybil, who brings the two friends back to life. Shuick reunites with the two men, but their heads have been transposed, swapped (by mistake or not?) and a dispute arises between the two bodies to decide who will now get the woman. Is a man his head or his sex? This little question, the film leaves open.”

Si rimedia qualche stralcio da vedere? O al limite qualche screencap? son curioso…

In uno dei link postati più sopra c’è uno screen caps. Altrimenti da Surreal Moviez:

Aggiungo, avendo dato una brevissima visione al suddetto: chiamarlo film è un’esagerazione, è più che altro un’installazione audiovideo.

Sulla soglia dell’ inguardabile, un susseguirsi di immagini e suoni con la presumibile pretesa di denuncia sociale, le solite robe, il bene e il male, buoni e cattivi, amore e odio, bianco e nero, nazisti e comunisti e quant’ altro, il tutto mostrato attraverso immagini di cronaca e documentaristiche, intervallate da inutili siparietti col nostro Terence Hill, del quale posso dire dopo la visione della pellicola, di avergli visto le chiappe, ma francamente stavo bene anche prima.

Tra le tante scete mi pare di aver avuto un deja vu col monfo “Magia Nuda” la scena dell’ elefante, chi ha visto entrambi i film sa a cosa mi riferisco.

In omaggio vi posto Terence Hill con elmetto ss:

Chissà perchè nei vari posti riguardanti Terence Hill, ad esempio il sito ufficiale, non ne parlano per nulla…

Pare in uscita in Germania, con audio italiano:

Francamente inaspettato…

In Germania, quando si tratta di roba con Terence Hill, farebbero uscire anche film porno. Figuriamoci quindi 'sta sbobba sperimentale. Ma forse era meglio che in effetti girasse un porno. Chissà che ne pensa oggi il signor Girotti…

“Lo produssi io stesso, fortunatamente era a bassissimo costo. Un’esperienza da dimenticare, per quanto mi riguarda”.

Terence Hill in FILM TV anno 26 n.50 dell’11/12/2018

Solo per segnalare che su YouTube è comparsa quella che dovrebbe essere la versione integrale di quasi 3 ore

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Sono arrivato al quindicesimo minuto… l’idea che ci sian altre due ore e mezza tutte così mi fa desistere. Non ha il minimo ritmo, l’azione in movimento è continuamente abortita da fermi immagine e immagini statiche o pesantissime citazioni in sovrimpressione che rendono tutto monolitico, indigeribile, un cinema di zero movimento fatto solo da una accozzaglia di immagini o soluzioni visive slegate e disconnesse, che si susseguono talmente a caso e senza un percorso narrativo che perde di interesse già fin dall’inizio. Rimane solo la curiosità di scorrere in avanti per osservare certe soluzioni visive, sterili esercizi di stile neanche originali puramente fini a se stessi. D’altra parte mancando una benchè qualsiasi continuity in movimento, non si crea neanche un senso non dico logico (mancando qualsiasi senso di racconto cinematografico) ma anche semplicemente un senso nel capire tutta questa accozzaglia di pochissime immagini in movimento e tonnellate di fotografie, cosa stiano a significare, cosa vogliono raccontare, dove vogliono arrivare, perchè si susseguono così per quasi tre ore.
Non è un film. Non ha nessuna trama e nessun significato. Son solo 3 ore di masturbazione tra telecamera e qualche migliaio di fotografie e un pò di rumori e dialoghi inseriti a casaccio, così come a casaccio è il montaggio, probabilmente fatto pensando di aver raggiunto chissà quali vette artistiche e genialoidi… Senza regole. Probabilmente col solo scopo di prendere per il culo chi voglia trovarvi qualcosa in questa pura perdita di tempo.
Il cinema sperimentale e di protesta è tutta un’altra cosa. questo semplicemente, non è cinema, non è neanche sperimentazione. è solo un giochino fatto a casaccio che magari viene spacciato per arte. O che forse sta solo a predere per il culo chi invece crede di averci trovato qualcosa di artistico.

Ammetto che l’ho segnalato, ma neanche ci ho provato a vederlo… Complimenti per il tentativo!

E’ stata dura arrivare ai 40 minuti. Poi ho mollato. Solo per estremisti.

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Ho visto i primi minuti. Mi aspetto a breve la telefonata che mi dice “sette giorni…” :joy:

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È già stato rimosso per problemi di copyright da Youtube…qualche anima pia l’aveva per caso scaricato? (lo so, è solo per completismo)

È però rimasto una sorta di trailer:

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