“Bertolucci died,” my wife said, checking the pinging on her smartphone.
Immediately, we were transformed to the Baths of Caracalla, where the grand director was making “La Luna” in the Roman summer of 1978 – with two broken arms.
There was a lot going on in a month when Romans normally head for the countryside during the annual shutdown known as “Ferragosto” – taking one major Roman Catholic holy day and turning it into a one-month holiday.
Pope Paul VI had died on Aug. 6 in the summer retreat of Castel Gandolfo and the Vatican took an ungodly time getting the Pope to St. Peter’s for the funeral.
I was sent there by the Times, as a learn-on-the-spot religion reporter. Pretending I knew something, I speculated on who would be the next Pope. (All wrong, of course.)
Then the Times went on strike, leaving me in Rome with a borrowed friend’s apartment near the Piazza Navona. How sad. I sent for my wife, and we wandered the city.
A friend of ours had a connection to another major event in Rome that summer – the making of a movie by Bernardo Bertolucci, in the Baths of Caracalla – a film called “La Luna” with a theme of incest, starring Jill Clayburgh.
Our friend sent a limo to take us to Caracalla for the day, where Bertolucci was directing with casts on his arms. He had been carrying a camera, peering down into it, and had fallen off a step or a platform, and had broken both arms, but he persevered admirably.
Now he bravely balanced the camera on the two casts, still framing scenes as they would appear through the lens, as directors do. A cadre of assistants hovered around him as he tottered on the steps to the stage, lest he fall again. The whole project was in his broken arms.
My wife and I hung at the edge of the proceedings with our friend, whispering, perhaps even giggling a bit. Nobody seemed to mind except for Jill Clayburgh, who was gearing up for the tangled emotions of the film, wearing elegant high heels on the uneven ancient stones of Caracalla.
She shot us a look or two, and we piped down.
That’s all I remember, except for lurid jokes and set gossip we culled here and there. It was, of course, Rome. Matthew Barry, the young New Yorker who was playing Clayburgh’s son, had to preserve his pasty-white coloration for uniformity during the shooting, so they enticed him indoors, day after day -- no beach, no outdoor trattorias. I wondered how they kept him indoors.
* * *
Our friend called for the limo and a stalwart Roman driver took us toward Centro Storico.
I forgot to say, it was also a dangerous time in Italy, threatened by the Red Brigade.
The former Prime Minister, Aldo Moro, had been kidnapped and murdered in May and more violence was feared.
“Aren’t you afraid of the Red Brigade?” I asked the driver in my minimal Italian.
He tapped the solid dashboard of his limo, to signify protection of some sort, and he said, “The Red Brigade should be afraid of us.”
I took his word for it.
* * *
Several years later, my wife was walking on Madison Ave., looking in shop windows, and she spotted the reflection of an elegant woman a few feet away, looking at her, as if to say, “Who is that?”
Jill Clayburgh could not place her, and kept walking.
I never saw “La Luna,” which did not get great reviews, apparently.
That’s my only memory of Bertolucci – carrying on, with all the force of a great Italian director, in the August heat, in Caracalla.