Margarethe and Pierre Clementi

Pierre and Margarethe Clementi with their son

To be exceptional film directors, cinema’s super-masters – or more: its eternal creators, the human beings who must have unique abilities to combine new configurations of cinematic life on the screen before the human perception. To be like this it means to be a very rare artist. The majority of directors are just cinematic specialists making fume of fame and good money from their craft. I don’t want to insult movie directors, but they are not Godard, Bergman, Resnais, Pasolini, Kurosawa, Bunuel, Fellini, Bresson, Cavani, Antonioni, Kluge, Makavejev, Bertolucci, Mizuguchi, Demy and some others. Of course, the few enumerated here are intellectual geniuses of cinematographic magic, and are not just individuals with cinematic talents but people with a special creative thinking abilities. When extraordinary analytic gifts meets with virtuoso cinematic artistry we can only… cry with astonishment or be in stupor waiting till the moment we will regain ourselves.

But extraordinary filmmaker-creators need – “supernatural” actors. But here we only covering two exceptional actors – Pierre Clementi and his wife Margarethe Clementi. For example, Pier Paolo Pasolini invited Clementi to act in “Pigpen or Pigsty” in a way that his character will personify human being in general, yet it’s difficult to imagine his existence because his behavior is absolutely exceptional. The same with Margarethe Clementi playing in “Casanova” not a typical person but rather an extraordinary one, as if incarnated as a strange character of a “super-nun”, a person with unexpectedly virtuoso mind, mimics and pantomimic, but without unrealistic exaggerations so widespread in the mediocre films. Margarethe is an exceptional master of her artistic abilities.

Margarethe Clementi “in a professional mood” according to Federico Fellini’s “Casanova” is waiting in the Temple for the masked appearance of the Pope preparing himself for exceptional dance-and-sex performance.

Margarethe Clementi together with the virtuoso master of sexuality – Casanova, the both deserving the cheerful and generous gratitude of the Pope in Federico Fellini’s unbelievable film.

Margarethe Clementi in Pier Paolo Pasolini’s “Medea” feels that her character Glauce (Corinthian princess, daughter of King Kresus) is losing her love for Jason because of Medea’s (Jason’s wife) powerful magic spells.

Poor Glauce played by Margarethe Clementi feels herself on the verge of ultimate collapse.

Pierre Clementi in Pasolini’s “Porcile” plays a person who is suffering from unbearable chronic hunger and has surrendered to cannibalism which includes number of murders. Pasolini’s film compares the destiny of a desperate cannibal with that of two German billionaires of our times responsible for mass murders and after the end of war masterfully saved their own lives, business and people’s cheap respect and admiration.

Pierre Clementi as a chronically hungry pauper in “medieval” segment of Pasolini’s incredible film “Pigsty/Porcile”.

In Luis Bunuel’s extraordinary film “Belle de Jour” Pierre Clementi plays a petti-thief who super-confidently falls in love with a super-beautiful and rich woman (Katrine Deneuve)

Trying to embellish himself with his matter-of-factly elegance and pretentiously capricious manners Pierre Clementi’s character is bragging with his artificial gold teeth and is very successful in stimulating the rare lady’s feelings (mise-en-scène – the interior of a scene where the lady’s tender butterfly eyelashes and her caressing touch belong to Kathrine Deneuve in the role of “Belle de Jour”, created by Luis Bunuel)

Our persistent and irresistible lover with his aristocratic pretensions decides to activate his handsome masculinity and monarch’s will when he learns that Belle is married by discovering the photo of her husband…