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Reflecting the Mind
of the
Vatican
Since 1850
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“No one’s private life runs smoothly. That only happens in the movies, Alphonse. No traffic jams, no dead periods. Movies go along smoothly like trains in the night. And people like you and me are only happy in our work.”
That was how French director François Truffaut expressed his love for cinematography in his masterpiece Day for Night (La nuit américaine, 1973), one of the most extraordinary films ever about the world of cinema. These words of the French filmmaker – playing a director playing himself – like strong brushstrokes, bring into focus the protagonist of The Fabelmans, Steven Spielberg’s latest film: the magic of cinema.
Spielberg’s autobiographical film sensitively sketches the American filmmaker’s childhood and adolescence, revealing his passion for cinematography and complicated family relationships. It is a hymn to the universe of the “seventh art,” to its ambivalent role of evasion-reconstruction of new worlds and deep understanding of reality.
With his customary skill as a storyteller, able to excite, amaze and surprise, Spielberg introduces us to the origin of his passion. In a personal and intimate film we discover the origins of the director we have come to know and love over half a century of cinema. More broadly, we discover why the cinematic universe is so important to the life of someone who, as Truffaut says, is destined to be happy in his filmmaking.
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© Union of Catholic Asian News
2023
