Sergio Rubini and his tragicomic adventure on the set of Mel Gibson’s passion: « It was said three times a day, there were those who saw the Madonna at night. Because of his fault Caddi in depression « 

By our correspondent
BARI – « I went to depression with that film. » Sergio Rubini’s passion. At Bif & St in Bari he receives the career award and holds a monologue on the actor’s profession, hitting him onThe tragicomic adventure experienced in 2004 on the set of the bloody and violent Mel Gibson filmtaken from a medieval mysticism, on the last 12 minutes of Christ’s life. In the same hours, the American actor announces the sequel to the film The Passion of Christ, shot in Cinecittà, Puglia and again in Matera and entitled The Resurrection of the Christ. The protagonist does not change, Jim Caviezel will still be (at the time he came from Malick’s subtle red line) and to rejuvenate it, special effects on the computer will be used. Maria will be the Romanian Maia Morgenstern and the apostle Pietro the Tarantino Francesco De Vito. It is no longer recited in Aramaic, which is a dead language, but in English. I will tell the 24 hours of the passion and the three days following the crucifixion, until the resurrection of Christ, « said Mel Gibson.

But the doors of Paradise, Sergio Rubini will not see them. Indeed, he saw hell at the time. And he remembers it in a hilarious monologue, to emphasize the differences between the Italian school of the comedy of art, from that of Stanislavskij’s concealed, dear to the Americans, so once Mastroianni said to Fellini: « Ah Federì, Marlon Brando has been at the Camposanto for three months because he has to do one who dies». So he remembers that Caviezel « he said he was called the day of his 33rd birthday, and he went around among the Sassi di Matera thinking of multiplying the loaves and fish ». And then that movie «it was full of priests, but real priests, Lefebvriani, Those with the red, dogmatic, severe dress, with the hosted consecrated to be distributed to the cast. For the desire to please the director, away with the apparitions, to some in the morning he seemed to have seen the Madonna. Giuda also said and Mel Gibson, who considered that film a fate, an electrocution, got angry.  »

There was a mystical climate, it was said three times a day, in Italian, Latin and English. « If you wanted to enter the magical circle of Mel Gibson, you had to be invited to the rite that officiated in his presence».
It was November, it was a cold dog. Sergio Rubini, practically naked, interpreted « the good thief » who climbs on the cross next to Jesus Christ, and for the Anglo -Saxon realism he had to stay all the time hanging on the cross, « but in the dead times I could rest for a cyclist of a racing bike, very small, from which I just cleared myself Gibson, who, out of his hindsight, walked with the whisk in his hand, exclaimed action. And in addition I had a sheath with tubes to pretend the blood that went down copious. He had to seem like everything, they even threw me the mud, and next to me I had a mannequin identical to me, with the sheath: the mannequin of me seemed more alive. Instead for Mr Ripley’s talentmy other American experience, it was all fantastic. Now I found myself acting in Aramaic, but fortunately those guttural sounds with the aspirated vowels resemble the dialect of Grumo Appula, the village where I was born, twenty minutes from Bari ».

The sacred mixed with the layman, in that delirium of American preachers mixed with Yankee materialism. At night Mel Gibson got drunk and went to knock on the actresses. Religious during the day, sinner at night: «The image he gave of paradise was that of Las Vegas, we rush HE drunk, we make love. I thought he had chosen me to punish me ». He could not do miracles and … «Caddi in depression. Mel Gibson seemed to me a crazy. I thought it would be a fiasco. Nothing more wrong ». He collected 612 million dollars, had three Oscars nominations. « Mel Gibson has become so rich with that film that he sent me extra money into an envelope with the effigy of Jesus, the logo of his production house. Don’t want to accept it, then the gearbox is broken to the Smart and collected it. After this story, I don’t think it will call me for the sequel ». But Rubini’s faith for cinema is intact: «The series are beautiful, however, they have a mandate that they never end, they produce a collective narcosis, they are a pet, accompanying. The series disengage us: the films instead commit us « .