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Extra info for [Journal] Studies in European Cinema. Vol. 4. No 3
In this aspect, then, the infraction to the limited point of view of Vannina, dictated by the diary, allowed Scandurra to make more explicit references to Giacinto’s attraction for Santino, adding a further layer of ambiguity to the main male character. 3 A second problem in the adaptation of the novel was the considerable number of characters who have an important role in it. In addition to the female protagonist, the novel presents a vast array of major characters, who act as catalysts of Vannina’s final coming to awareness in the novel: from her sexually liberated, paralytic friend Suna; to Tota and Giottina, two island women who at the same time attract and repulse Vannina with their magical gossip, full of erotic innuendo; to Vittorio and the other members of the political movement ‘Proletarian victory’, who involve Vannina and Suna in their plans for armed revolt; to Mafalda, whose 202 Daniela Cavallaro SEC_4_3_05-Cavallaro 10/24/07 8:26 PM Page 203 involvement with the political movement prevents her from continuing her homosexual relationship with Suna.
For Marguerite, the stroll becomes not only a journey through space but also through time, as if she has moved back into the pre-modern age. Secondly, while her favourite pastime is playing tennis with anyone who is available, he prefers the amateur puppet theatre created together with his friends. And thirdly, her knowledge of languages makes her, as it were, a citizen of the world, while his world is painfully restricted to his native language. The enumerated differences ultimately establish a set of fundamental binary oppositions: modernity vs.
Good Bye, Till Tomorrow . . , which, as mentioned above, should be interpreted as swimming on the tide of the October 1956 revolution, represents the defeated hopes for changes in the power structures of society at that time and, as a consequence, the impossibility of overcoming the crisis for Polish men (especially the relaxation of the alliance with the Soviet Union and the access of Polish men to positions of power). While the film represents the condition of the Polish nation represented by Polish males, its ending, as Marguerite abandons Jacek, metaphorically re-enacts the thwarting of their ambition that with the help of Western countries, Poland will break free from the Soviet Union and reunite with Europe.