Guernika

A long scene - not even technically one scene, but several in a larger sequence.  From the MODA nominee for Best Foreign Film for 1973, Guernika. Written by Salvador Garrastazu for the Spanish National Cinema production, directed by Floro Ibarra. Today Guernika is widely seen as the superior film from those nominated in its category, but as we all know history is not always kind to the victor and often the film that posterity will recognize is not the one honoured in its day. The winner C'est le Bordel, while provocative in its day actually served up its own demise by pushing boundaries to where the film's once sly humour is now excessively tame, coupled with its stream of consciousness structure - well, bluntly - its a mess.

Meanwhile, the timeless tragic beauty of Guernika, as it follows almost in real time the three hours in April of 1937 in which the market town became the first civilian population to be attacked by air, still stands today as one of cinema's most haunting examples of historical drama.

As many film scholars have pointed out in the past, 'historical drama' may be a poor choice of words to describe Guernika as the film is not in fact based upon the actual attack, so much as the Pablo Picasso painting that was created in response to the atrocity.

The scenes I've selected are those of the first eerie wave of the attack - the bombers aren't even seen (Indeed Ibarra only shows us the enemy gradually, echoing the townsfolk's confusion as they didn't initially comprehend the nature of the attack.) only the impact of their passing is revealed.

EXT. GUERNICA - HILL STREET - DAY

Kemen scampers up the hill to the market. He runs as fast as his legs will go. He turns a corner and is met with the teeming masses of people in...

EXT. MARKETPLACE - DAY

...The market. It is fully alive.

Money, food, textiles and more exchange hands.

Argi hands out leaflets.

Unai pours cream for Eskarne.

Igon buys cheese and breaks a corner off for Lorea. She takes a bite and takes his hand.

With mutual delighted passion, Bihotz haggles with customers over prices.

Bakarne trades eggs for produce.

Aroztegi demonstrates the sharpness of his knives.

Kemen runs among the many townsfolk and visitors looking for his mother.

Faintly - almost inaudibly behind it all - the sound of a distant chorused buzz arises on the aural landscape.

INT. CHURCH - DAY

Father Mixtel and Gotzon continue their work. The buzz penetrates Gotzon's consciousness. He stops and reaches out to Father Mixtel.

GOTZON

Stop. Stop. Wait...

Father Mixtel ceases hammering.

FATHER MIXTEL

What is it?

GOTZON

Listen...

EXT. FARMYARD - DAY

The buzz is clearly audible up the hill at the farm. Aitor steps out of the barn inquisitively. He doesn't know where to look. The din seems to be growing by the moment, seemingly coming from everywhere. As it builds Aitor determines a direction - the forest at the edge of his farm - away from the town. He looks up in wonder and surprise.

EXT. MARKETPLACE - DAY

The hubbub of the market still drowns out most of the sound - scattered townsfolk sense the change and look about confused, but most have not heard it at all and no one knows what it is.

INT. CHURCH - DAY

The sound is an omnipresent multi-voiced drone. Gotzon and Father Mixtel rush to the church doorway. As they throw their weight against the door, a pounding series of concussions fills their ears. As the doors swing open, the pair are showered with a hail of small debris. They turn away from it as it tosses them to the ground.

EXT. MARKETPLACE - DAY

The thunder of concussion dissipates as every person in the market square stops what they are doing and look to one another for answers that are not coming.

EXT. FARMYARD - DAY

Aitor stands, eyes wide open in shock. Mouth hanging dumbfounded as he looks towards the town.

At the end of the road leading into Guernika the only bridge into town is enveloped in a cloud of dust. Around the edges of the cloud lies scattered rubble.

Aitor drops the tools in his hands and breaks into a headlong run down the hill towards town.

EXT. CHURCHYARD - DAY

Father Mixtel picks himself up from the dirt.

FATHER MIXTEL

Gotzon?

He looks about before picking Gotzon's shape out of the dust.

FATHER MIXTEL

Gotzon, are you alright?

He pulls at Gotzon's shoulder - turning him over. Gotzon moans as he does. His face has been bloodied - a significant gash on his forehead - he is covered in dirt.

FATHER MIXTEL

Gotzon. Your head.

GOTZON

What? I am fine...

He touches his face.

GOTZON

Oh....

He reels.

FATHER MIXTEL

No. You are fine. You are fine.

He helps Gotzon to his feet.

GOTZON

Madre Maia.

Father Mixtel looks to where Gotzon has cast his gaze...

FATHER MIXTEL

Madre Maia.

The dust is clearing... the bridge is gone.

From the final shot of the film - the color, all bombed out of a once verdant and thriving town.