Word: lucio
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Moravia's ostensible subject is suicide. His 27-year-old Italian hero, Lucio, is headed for Capri on holiday in 1934, the fateful year that was Mussolini's twelfth in power and Hitler's first. On the boat from Naples to the island, the young anti-Fascist asks himself: "Is it possible to live in despair and not wish for death?" At that moment his eyes lock with those of a German tourist, a teen-age girl who transfixes him with a pleading, desperate look. Lightning strikes. The girl, Beate, is accompanied by a husband as wickedly...
...rare verbal statements. Beate and Lucio do not converse; nor do they touch. They communicate by literary reference. Lucio confesses his love by passing her a copy of Nietzsche's Thus Spake Zarathustra, drawing her attention to a poem that ends on an oddly depressing note: "But every pleasure wants eternity-wants deep, deep eternity." She reciprocates by returning the book with the poem underlined in red. Lucio interprets these underlinings as a sign of her willingness to lie under him in ecstatic consummation of their love...
Werther's suicide for the love of Lotte inspired an epidemic of self-immolation in Germany in the 1770s, but history does not repeat itself in Lucio. True, he is in despair-life in Fascist Italy is intolerable and Beate refuses to sleep with him-but he is seeking ways to survive. Beate, on the other hand, wants to "carry despair to its logical conclusion, suicide." Their encounter, Lucio observes, had not been love, but death at first sight. Beate yearns for a suicide pact with Lucio that would be modeled on what she regards as an ideal death...
...Lucio Lleras, one of the filmmakers, pointed out in a recent interview that the war has forced every citizen, "not just filmakers but writers, photographers, singers, who were not involved, to take positions." Cero al Izquierda's position earned it the trust of FMLA leaders, whose "liberated zone" of Morazan remains in constant danger of attack from the government. This danger, and the tenuous position of the guerillas even in their own stronghold, is woven throughout the second, feature-length film. Decision To Win--The First Fruits...
Although the comedy in this play is of a strange sort there is still a wonderful collection of clowns. Pompey (Peter Ginna) is a gangly, very funny fellow, particularly when paired with the troglydite hangman David Van Taylor. Sam Samuels utter perfect obnoxiousness turns the foppish Lucio into a narcissistic climber. And Bill Rauch has a short but memorable cameo as the incompetent officer Elbow...