Due silenzi e un'armonica

Country: Italy
Year: 1971
Duration: 30'

“…I will tell you today so that you can tomorrow…” “…just so, I can cultivate flowers in the sun, that every human being can see from here. It’s  marvellous! Don’t you agree?” I always told you that your “science” is an illusion. Your H-Atomic bombs can destroy cities, but not my flowers. And you don’t like this, nope! You have lost the “power;” now all you have left is fear. Oh no! You can’t kill me. Before, you could; you could catch me and put me in prison or in the madhouse, kill me; but not anymore. Why not, eh? Because I can disappear. You don’t believe me? So much the better for you, but you’re not sure, eh. And in the meantime I continue to “deny you” with my flowers. You don’t have any power over me anymore, you can’t force me to be silent. As you can see, I’m the one who has caught you, and not just that; I can do it whenever I want, behind your back and without you even realizing it. What are you doing! Why are you so desperate, when you have a means of salvation? It’s simple, you know, all you have to do is become like me. You see, all you have to do is love me, you mustn’t hate anyone anymore. So if I’m thirsty and I ask you for a glass of water you have to lovingly give it to me, get it? Without taking advantage of me. “To Love/Love” means many things: everything you take away from me today, that you force on me and forcefully prevent me from doing isn’t love, neither toward yourself, nor toward your neighbour. Therefore if you want to cultivate those flowers you only have to love me and everyone else in the same way. (P. Bargellini)



film director

Piero Bargellini

Pierfrancesco Bargellini (Arezzo, 1940-1982), also known as Piero, bought his first movie camera when he was 20 and pointed it at his youthful passions: competition cars and motorcycles. A few years later he met Marco Melani, who became his cinema companion and an actor in his films. He started to make a name for himself in the world of amateur filmmakers and won a prize at the festival of Montecatini. One of the members of the jury was Massimo Bagicalupo, a founder of the Cooperativa cinema indipendente, and he invited Bargellini to enter the brand-new world of Italian underground cinema. While working as an agronomist at the Val di Chiana Irrigation Office he continued to make films in his free time, but shortly afterwards, with the notice and support of the magazines “Cinema & Film” and the group “Filmstudio 70,” he left his job and moved to Rome. Here, during the early 1970s he worked occasionally for RAI and carried on his activity as an independent director in the world of underground cinema. During this period he suffered a series of misadventures with the law and ended up fleeing to Turkey with his wife Oriana and their daughter Rebecca in 1975. After returning to Italy he continued experimenting, jotting down his discoveries in a series of notebooks and fruitlessly trying to find financing for various projects for experimental programs for Rai. Bertolucci and Storaro consulted with him during preparation for La Luna (1981) to try to resolve problems with various special effects. But Bargellini progressively lost contact with the world of cinema and shortly thereafter his troubles with the law began. He was found dead, officially because of an overdose, at dawn on July 10, 1982.


Il teschio; La fiera dei sogni; L’incompiuta; Club 3P Battifolle (1965), Anno 2000 (1965), La striscia (1966), ...vi prego di accettare questo semplice bouquet di parentesi appena sbocciate ((())) (1966), Questo film è dedicato a David Riesman e si intitolerà «Capolavoro» (1967), Morte all’orecchio di Van Gogh (1968), Fractions of Temporary Periods I parte: Ovvero Plans- Séquences per una bambina (1965-1968), 360° di cinediario (1968), Tempo-Tempio-Ritratto (1968), Macrozoom (1968), Baraccone (1968), Water-Closet ovvero attesa per una defecazione (1968), Stricnina (1969- 1973), Fractions of temporary periods II parte: Due ore pomeridiane della bambina (1969), Trasferimento di modulazione (1969), Nelda (1969), Un ottofilm di Pierfrancesco Bargellini (1969), Zukie (1970), Gasoline (1970), Bacino Casa del lupo o di Tonino Massimo e Piero (1970, esiste solo in stato di frammento/only fragments), Oracolo (1970-1971, distrutto dall’autore nel 1974/destroy by the director in 1974), Erinnerung an die Zukunft (1970, non terminato/unfinished), Due silenzi e un’armonica (1971), Dove incominciano le gambe (1974)

Dispersi/Lost: Saluto (gennaio/January 1968, 8-16mm, 18fts, sonoro/sound, 3’30’’, bn/bw), Relazione filmata (1968-1970, 8mm, 24fts, sonoro/sound, 13’, col.); Abbandonate ogni illusione, preparatevi alla lotta (co-regia/co-director Marco Melani, Stefano Beccastrini, 1969, 16mm, 24fts, 40’, col.-bn/bw)