I, Don Giovanni Page #6

Synopsis: A drama based on the life of 18th century Italian lyricist Lorenzo da Ponte, who collaborated with Mozart on his "Don Giovanni" opera.
Genre: Drama, History, Music
Director(s): Carlos Saura
Production: Edelweiss Production
  3 nominations.
 
IMDB:
7.0
Year:
2009
127 min
25 Views


High and low, ma'am,

young and old, ma'am

Own the music

Of his tongue, ma'am

Though if I must

tell the truth, ma'am

He'd give the choice

to youth, ma'am

Ugly, pretty, fat or thin

Something a petticoat within

Something a petticoat within

It matters not,

For, short or tall

'Tis very plain

He loves them all

'Tis very plain

He loves them all

'Tis very plain he loves them all

Excellent. Thank you!

Please excuse me for a moment.

I'm sorry to hear

about your father, Wolfgang.

My heartfelt condolences.

Thank you, Lorenzo.

Don't leave me alone.

I loved my father.

He was often unjust

and cruel with me.

He obliged me to play the piano

instead of playing

with the other children.

But I was a prodigy,

touched by the gods.

I received compliments,

I was applauded wherever I went.

And my father reaped the benefits.

I was suffocating

in the world he built around me.

He'd hound me continually so he could

earn more money off me.

Always for the good of the family.

One day he told me that if I didn't

do as he said,

the devil would come

and bear me away.

What do you think of that?

His very words.

The devil would bear me away.

Yet, despite all this, I loved him.

Very much.

I loved him and feared him.

I feared his rebukes, his criticism.

He distanced himself when he realized

my music was better than his.

He was jealous of his own son!

Of my popularity!

He wanted to have

complete control over my life,

he'd always tell me what to do.

He loathed Costanza.

When we married he sent me a letter:

He wrote that I was in debt to him

for all the money

he had invested in me.

What do you think of that?

What meanness.

Sometimes, in my thoughts,

in my dreams...

I wished for his death.

Ah, great Heaven! Powers of mercy!

Come along, Mozart!

You're merely upset.

You must get over this misfortune

and there's nothing better

than work for that.

I cannot continue

with "Don Giovanni".

My wife is right, it's bad for me.

I must stop.

- What are you saying?

- You haven't understood?

If I complete this opera,

I will damage my soul.

That's absurd!

If you feel something

burdening you inside,

see a priest and ask him

to give you absolution.

Why don't you give me absolution?

I didn't mean that...

- Aren't you a priest?

- Yes, but it's been a long time...

I beg of you,

if you really are my friend...

free me from this torment.

Kneel down.

Well done!

Bringing me here

was a splendid idea.

Well done!

The best thing you can do

is forget Annetta.

Stop thinking about that woman.

That depends on you.

Are you going to name

a serenade after her?

It's your fault

if my heart is broken.

What do you mean?

It was through you

that I met Annetta again.

You're the culprit.

The Vizier!

- Were you bored, my beauty?

- Yes, my love.

Without you,

the minutes are never-ending.

My love,

I brought you this jewel

as a token of my feelings.

You are doing me

an invaluable service.

It's difficult to replace a musician

who falls ill at the last moment.

It's an honour for me to play

with so many virtuosos.

I don't know if

I'm equal to the task. Look.

You're merely afraid

of being in the forefront.

Annetta, you are my best pupil.

Once you begin to play,

your fears will disappear.

Thank you.

Maestro, are you sure...

That he will not come?

Of course.

- Which ring do you like most?

- This one.

The biggest.

Very well.

At length, my sweet Zerlina,

we are rid

Of this troublesome fellow

Say, then, my angel,

have I not well contriv'd?

My lord, he is my lover

What? He?

Do you think that a nobleman

A man of rank, as I am

Can suffer such bewitching beauty

To be profaned

By such a base clown?

But, my lord,

I have promis'd to marry him

Such a promise is void in itself

You were not born to be

the wife of a country booby

Those roguish eyes

Those pouting lips

Those little fingers,

so white and tapering

Ensure you

A better fortune

Ah, but I would not...

Would not what?

Not like to be imposed upon

I have heard that noblemen

are seldom frank and sincere

With women

It is vile calumny of the vulgar

Nobility and honour

always go together

But do not let us lose time

This very moment I will marry you

You?

Certainly

That house you see is mine

There we shall be alone

And there, my angel

We will be married

Then with thy hand in mine

Thou'lt whisper gently yes

The castle's lord be thine

Come and thy lover bless

I would, and yet I would not

My breast with terror heaves

'Twould be the happiest lot

Unless this lord deceives

Come, then, with me, my beauty

Masetto claims my duty

I wish to change thy state, love

I yield myself to fate, love

Come then

Then with thy hand in mine

I would and I would not

Thou'lt whisper gently yes

My breast with terror heaves

Come and thy lover bless

Unless this lord deceives

Come, then, with me, my beauty

Masetto claims my duty

I wish to change they state, love

I yield myself to fate, love

Then come

Then come

Then come

And share with me the pleasure

Of innocence and love

Of innocence and love

How did it go?

For the best.

- Annetta?

- She played perfectly.

That's not what I meant.

What did she say?

She left immediately

after the rehearsal.

She said nothing about me?

You must have patience

and let her contemplate in peace.

Meanwhile, occupy your mind

with other things.

Perhaps you could finish

the opera's concluding scenes.

May I remind you that we open

in less than a week.

You'll fall ill out here.

Why not stay and dine with us?

Lorenzo Da Ponte!

Come and make love with me.

Come on, Lorenzo!

I'll warm you up.

It's so cold.

I left the door open for you.

You were so certain

that I would come?

No.

But I hoped.

And now you're here with me.

Good heavens, Lorenzo.

You're boiling hot.

Wait.

Don Giovanni has extended

a dinner invitation to the statue

of the Commandant he killed.

He certainly doesn't expect

the Commandant to accept.

Let's go then.

Repent!

And change thy life,

or thy last hour has come!

No, no.

I'll not repent.

Far hence, away, begone!

Lost man! Repent!

No, obstinate old man.

- Repent!

- No.

Repent!

No!

No...

Are you truly convinced, Lorenzo?

No?

Why not, for once, abandon

this inane journey to hell

and fly upwards to heaven?

A goal would save his soul.

The just price

for one who has been

a slave to earthly pleasures.

Let us save his soul,

let her say no.

No.

Don Giovanni must accept

his responsibilities.

Otherwise he would be a hypocrite.

You yourself said:

"A moment of earthly life was worth

more than eternity to him."

I said that?

Well, so what?

Why consign him to the flames?

You see me in him

and wish to condemn me?

No, Giacomo.

I recognize myself in Don Giovanni.

If that's so, then his fall

would also be yours.

I only see part of my life in him,

that part that I now wish

to free myself of.

Why?

For her?

For a love story,

for love!

All my lessons scattered to the winds.

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Carlos Saura

Carlos Saura Atarés (born 4 January 1932) is a Spanish film director, photographer and writer. His name, with those of Luis Buñuel and Pedro Almodóvar, forms a triad of Spain’s most renowned filmmakers. He has a long and prolific career that spans over half a century. A great numbers of his films have won many international awards. Saura began his career in 1955 making documentaries shorts. He quickly gained international prominence when his first feature-length film premiered at Cannes Film Festival in 1960. Although he started filming as a neorealist, Saura quickly switched to films encoded with metaphors and symbolisms in order to get around the Spanish censors. In 1966, he was thrust into the international spotlight when his film La Caza won the Silver Bear at the Berlin International Film Festival. In the following years, he forged an international reputation for his cinematic treatment of emotional and spiritual responses to repressive political conditions. By the 1970s, Saura was the best known filmmaker working in Spain. His films employed complex narrative devices and were frequently controversial. He won Special Jury Awards for La Prima Angélica (1973) and Cría Cuervos (1975) in Cannes; and an Academy Award for Best Foreign Language Film nomination in 1979 for Mama Cumple 100 Años. In the 1980s, Saura was in the spotlight for his Flamenco trilogy – Bodas de Sangre, Carmen and El Amor Brujo. He continued to appear in worldwide competitions earning numerous awards, and received another two Academy Award for Best Foreign Language Film nominations, for Carmen (1983) and Tango (1998). His films are sophisticated expression of time and space fusing reality with fantasy, past with present and memory with hallucination. In the last two decades, Saura has concentrated on works uniting music, dance and images. more…

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Submitted on August 05, 2018

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    "I, Don Giovanni" Scripts.com. STANDS4 LLC, 2024. Web. 19 Nov. 2024. <https://www.scripts.com/script/i,_don_giovanni_10939>.

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