This was written in May 2014 for an Italian volume about fantastique cinema between 1980 and 2010 coedited by Antonio Gragnaniello. — J.R.
Speaking to Tom Milne and Richard Combs in Monthly Film Bulletin, the director of Aspern, Eduardo de Gregorio (1942-2012), avowed that “it was never meant to be a fantastique film”— which isn’t surprising given that its source, Henry James’ novella The Aspern Papers, has no relation to that genre either. But it was regarded by several French critics as having some relation to fantastique, apparently for two reasons: because fantastique as opposed to fantasy is often regarded as a matter of style and/or atmosphere rather than content, and because the better known works of de Gregorio — such as his scripts for Jacques Rivette’s Céline et Julie vont en bateau, Duelle, and Noroît and his own Sérail and Tangos volés—clearly belong to fantastique, while his work as a whole has clear links to both the 19th century Gothic tradition and the so-called “magical realism” of 20th century Latin American literature.
Even though much of Henry James’ dialogue is carried over into Aspern (translated into French), its basic plot — an obsessive literary scholar (the narrator in James’ tale) insinuates himself into the Venice household of an aged woman cared for by her lonely spinster niece with the aim of procuring her love letters from Aspern, a long-deceased romantic poet she was once involved with — undergoes several decisive changes in de Gregorio’s version, scripted by his partner at the time, Michael Graham.… Read more »