I Yam What I Yam...L'invenzione

Synopsis

The forthcoming film, I yam what I yam… L’invenzione is centred around the collision of two films shot on the island of Malta; Emidio Greco’s L’invenzione di Morel (1974) and Robert Altman’s Popeye (1980). Taking the narrative premise of L’invenzione di Morel and grafting it onto the set of Altman’s Popeye, the work draws parallels between cinema and the colonial project.

We re-imagine the plight of Greco’s protagonist by relocating him to Popeye Village. His boat comes to a halt washed up against the rocky shore; is he seafarer, explorer or perhaps a refugee? Fighting for survival he manages to climb ashore and make his way up the hillside to discover the village below. Arriving at the village he wanders through its empty streets and houses in desperate search of fresh water and food. Finding nothing but plastic bread, fruit and empty wine bottles he remains hungry and fatigued. After exploring the villages empty streets and rooms he quickly falls into a deep sleep only to be suddenly awoken by the singing, dancing figurines. As he rushes outside he sees Popeye, Olive Oyl and other cast members performing a dance routine to the sound of loud pop music. He approaches them, they fail to acknowledge his cries for help and he soon realizes he is invisible to them. He anxiously escapes to a hidden corner on the hillside before returning only to experience the scenario as before – replayed as if inhabiting an infinite loop.

In Greco’s L’invenzione di Morel the protagonist, identified in the film as a fugitive, follows an almost identical plight. However, in this low-budget science fiction film he seeks refuge in a distinctly modernist construction that sits awkwardly on this otherwise untouched terrain. Exploring its abandoned rooms and passageways Greco’s protagonist discovers it to be occupied by a group of wealthy bourgeoisie, only to realise that as suddenly as they appear, they vanish. Greco’s film unwinds with his protagonist discovering that they are, in effect, phantoms reliving one week of their lives in a perpetual loop facilitated by a machine that is capable of reproducing reality – the invention of Morel. With his characters locked in this eternal present Greco’s film elicits a critical reflection on the notion of modernity and its fundamental ties with fantasies of an eternal present.  

Altman’s Popeye brings the original comic book/cartoon character to life through a live-action film set in the purpose-built village of Sweethaven, Mellieħa. Outliving it’s original function the set remains today echoing Greco’s plot by existing as an open-air museum in which local entertainers re-enact scenes from Popeye on a daily basis for tourists on a pilgrimage to this otherwise forgotten Hollywood offspring. In this sense, it remains as a kind of archaeological site. However, in contrast to Greco’s theme of infinite presentness, Popeye Village remains entwined in a perpetual past. It celebrates the life of the emigre made good in a perpetual re-enactment of origins.

Concept

The act of transcribing Greco’s narrative onto the set of Popeye denotes an explicitly colonialist gesture – grafting a pre-conceived narrative and set of ideologies onto an existing set of local traditions and customs. Although direct colonial rule is largely an historical model, in the contemporary era a form of neo-colonialism persists through abstracted economic forms of control. This project engages with cinemas role in the visualisation and re-enactment of the colonial project. I yam what I yam… L’invenzione foregrounds the ways in which mainstream cinema projects itself onto localized ideologies through narratives that are manufactured globally through offshore methods of production.

I will use Popeye Village and reveal its status as an open-air museum rather than a closed set, reflecting on what has become a denationalised, de-territorialised space. The work projects the film-set as a site that is at once uprooted from both time and place and fossilized as a kind of relic, made meaningful by its temporary occupation, eternally rehearsing and performing a set of fantasies about itself, long after the occupiers have moved on.  Although Altman and Greco’s films are disparate in content and genre they incorporate a particular narrative trait that is found in almost every film that is shot in Malta – this being, the arrival of a foreigner as the primary source of conflict. By re-enacting this scenario the project extends its consideration from the role of cinema to touch upon themes displacement and territoriality. Malta’s geographical placement as a portal into Europe remains of vital importance both historically during times of global warfare and today through recent activities in North Africa and the subsequent arrival of refugees to its shores.

Breakdown

ACT I – THE APPROACH
Our protagonist (hereafter referred to as “A”) is washed ashore in his dinghy. With all the strength he can muster he manages to climb the clay dunes and head inland. As he
reaches the peak of the dunes he notices Popeye Village below.

ACT II – THE ARRIVAL
“A” enters the village in the dead of night in search of food and drink. He scavenges through a bakery, a grocer and offices only to find film props disguised as fresh food and wine.
He stumbles upon a strange room filled with miniature figures dressed as workers. Fatigued he quickly falls asleep inside.

ACT III – THE AWAKENING
“A” is suddenly awoken by the sound of workers as they spring to life sawing, singing and laughing. Alarmed and confused he races outside only to hear the sound of people and more music coming from elsewhere. As he walks toward the sounds he finds Popeye, Olive Oyl and other characters performing a dance routine to group of tourists. “A”, still confused cautiously approaches them and asks for help. His voice is not heard; to them he is invisible. Frustrated he dashes back to the direction from which he came. Noticing his dinghy has sunken he seeks refuge in a nearby cave.

ACT IV – THE RETURN
“A” awakes again to the same music and voices he heard yesterday as they penetrate from Popeye Village below. He peers inconspicuously over a rock to see the same dance
routine being performed again. Determined to survive he returns to the Village. As he nears the Popeye Village the music starts up again. However, by the time he arrives the
lights are being turned off one by one and the animators are leaving in the distance.

END.