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Isherwood's story centers on the production of the vacuous fictional melodrama Prater Violet, set in nineteenth-century Vienna, providing ironic counterpoint to tragic events as Hitler annexes the real Vienna of the 1930s. The novel features the vivid portraits of imperious, passionate, and witty Austrian director Friedrich Bergmann and his disciple, a genial young screenwriter: the fictionalized Christopher Isherwood.… (altro)
Un libro strano per certi versi, che però sottolinea la grandezza di Isherwood come autore. Ambientato a Londra poco prima dello scoppio della seconda guerra mondiale, narra del modo con cui viene girato un film. E si incentra su un personaggio strano, un regista austriaco. Il racconto si muove veloce, in uno ritmo di commedia che a tratti diventa quasi umorismo puro. Se non fosse che il tutto avviene sullo sfondo dei fatti che porteranno all’Anschluss dell’Austria da parte di Hitler. Ed è questo il punto che fa alla fine riflettere. Come i grandi temi della vita, la morte, la guerra, l’amore vengano spesso vissuti sullo sfondo di una sorta di commedia che si astrae dalla realtà. Una lettura facile e veloce, simpatica in superficie, ma che nelle ultime pagine risuona di una sonora critica alla realtà umana. E ci parla di Isherwood stesso come uomo e amante. Della vita. ( )
In "Prater Violet," the Isherwood character who calls himself Christopher Isherwood and who is the focussing eye of all these narratives works in London on the script of a movie with an Austrian Jewish director. The director is a man of real talent: imaginative, energetic, and resourceful, a Viennese mixture of Jewish irony, worldly cleverness, and old-fashioned Goethean culture, whose soliloquies are brilliant examples of the author's mimetic gift. But in England, Imperial Bulldog Pictures sets him to making one of those idiotic films about the romance of gay old Vienna... It is to be hoped that Mr. Isherwood, with his recent experience of the Coast, will go on to give us the story of the more streamlined and larger- scale American methods of wrecking talent and suppressing issues.
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To Rene Blanc-Roos
Incipit
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'Mr. Isherwood ?'
Citazioni
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Bergmann was reckless, now. He was ready to pass even the weakest of my suggestions with little more than a sigh. Also, I myself was getting bolder. My conscience no longer bothered me. The dyer’s hand was subdued. There were days when I could write page after page with magical facility.
“You see, this umbrella of his I find extremely symbolic. It is the British respectability which thinks: ‘I have my traditions, and they will protect me. Nothing unpleasant, nothing ungentlemanly can possibly happen within my private park.’ This respectable umbrella is the Englishman’s magic wand, with which he will try to wave Hitler out of existence. When Hitler declines rudely to disappear, the Englishman will open his umbrella and say, ‘After all, what do I care for a little rain?’ But the rain will be a rain of bombs and blood. The umbrella is not bomb-proof.” “Don’t underrate the umbrella,” I said. “It has often been used successfully, by governesses against bulls. It has a very sharp point.”
With a foreigner’s luck, or intuition, he nearly always succeeded in picking out the unusual individual from the average type: a constable who did water colors, a beggar who knew classical Greek. And this betrayed him into a foreigner’s generalizations. In London, all policemen paint, all the scholars are starving.
Ultime parole
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Isherwood's story centers on the production of the vacuous fictional melodrama Prater Violet, set in nineteenth-century Vienna, providing ironic counterpoint to tragic events as Hitler annexes the real Vienna of the 1930s. The novel features the vivid portraits of imperious, passionate, and witty Austrian director Friedrich Bergmann and his disciple, a genial young screenwriter: the fictionalized Christopher Isherwood.
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