Documentaries in particular get short shrift, and as a result, the political impegno of these directors is a less salient, a less essential fact of their work for American audiences. Lina Wertmüller - the first woman ever to be nominated for a Best Director Oscar, for Seven Beauties in 1977 - directed a brief, forty-five minute documentary, for RAI in 1981, È una domenica sera di novembre ("It is a Sunday evening in November"). This film is not available with subtitles, nor does it appear to have seen any release on physical media. It is a work of reportage, a stark, intimate portrait of the devastation wrought by the 1980 earthquake in Irpinia, which left more than two thousand dead, more than seven thousand wounded, and approximately 250,00 people displaced from their homes. Though a narrator gently and lyrically describes the horror of being buried alive, and Gheorghe Zamfir's pan flutes waft over images of crumbled towns, the political fire and fury is permitted to explode through the raw (in more than one sense) footage of emergency personnel and ordinary citizens attempting to excavate people from the rubble. The dust is so thick that one could be forgiven for thinking it was snow. Although as a film, È una domenica sera di novembre is no masterwork, its very lack of overt technical work creates the illusion that there is no mediation between the viewer and the victims of the earthquake.
Why should American viewers, who in most cases can't understand Italian, know about this film? Why is it important? I believe that it is important because it opens a window on emotions that are quite oblique in Wertmüller's sarcastically comedic narrative films: sincere agony, questioning of faith, quiet indignation, pity, full-hearted sadness, active compassion. Irony and sarcasm, the carnivalesque, the grotesque, parody, play, cruelty and sadism, that is, the qualities that make her narrative films so extraordinary, are not present in this documentary. Instead of bitter resignation, demoralization, or jaded despair, È una domenica sera di novembre presents us with a picture of mourning, indignation, and pleading for help, help that might actually be possible, and thus also hope. It reveals another facet of Wertmüller's project: here she is uninterested in parties or ideologies. She is concerned with suffering; by focusing on real human beings instead of fictional characters, she accesses a well of compassion and insistence on political action without reference to ideologies. One wishes that these sorts of precious materials, the 'lesser' works (the shorter, or more serious, or less marketable ones), could be made available to wider audiences. Until then, this is one more film that we're missing.