Carmelo Bene, a pioneering figure in the Italian avant-garde, spent over six decades in the theater, with a filmmaking career that spanned from 1968 to 1973. Bene's early success came with his 1959 production of Camus' Caligula in Rome, which sparked controversy and earned him a police record, similar to Pasolini. Despite this, Bene lamented the notoriety his work received, as it attracted an audience seeking shock and titillation, rather than his genuine intention to revolutionize the vocabulary of theater.
Bene's shift to cinema allowed him to further explore his creative vision, as his films often defied synopsis. Deriving from narrative sources, Bene's films served as a critique of representation and interpretation, using unconventional storytelling and visuals to convey his message. The performances, sets, costumes, and editing in his films were wildly inventive, featuring eccentric movements, gestures, and grimaces from his actors, as well as innovative camera techniques.
A recurring theme in Bene's work was his satire of heterosexuality, where the two sexes consistently fail to communicate. He challenged traditional masculine and feminine roles, depicting male characters as hapless and hysterical, while female characters were often predatory, remote, or unknowable. Bene's revolt against convention and communication extended beyond this satire, as everyday actions became complicated, interrupted, or suspended, leaving only glorious spectacle and enigmas for the audience.
