The plot is simple
enough: Inexplicably on the run from Swedish assassins, Clooney hides out in a scenic Italian village where in spite of his best efforts to avoid
human contact he winds up befriending a priest (Paolo Bonacelli), which allows
for some convenient discussions of morality.
Early in 1940 we managed to find a small house and
for the next three years... I was not able to carve at all... the only sculptures I carried out were some small plaster maquettes
for the second «sculpture with colour», and it was not until 1943, when we moved to another house, that I was able to carve this idea... In St Ives I was fortunate
enough to have constant
contact with artists and writers and craftsmen who lived there, Ben Nicholson my husband, Naum Gabo, Bernard Leach, Adrian Stokes, and there was a steady stream of visitors from London who came
for a few days rest, and who contributed in a great measure to the important exchange of ideas and stimulus to creative activity... It was during this time that I gradually discovered the remarkable pagan landscape which lies between St Ives, Penzance and Land's End; a landscape which still has a very deep effect on me, developing all my ideas about the relationship of the
human figure in landscape - sculpture in landscape and the essential quality of light in relation to sculpture which induced a new way of piercing the forms to contain colour... The sea, a flat diminishing plane, held within itself the capacity to radiate an infinitude of blues, greys, greens and even pinks of strange hues; the lighthouse and its strange rocky island was an eye; the Island of St Ives an arm, a hand, a face... I used colour and strings in many of the carvings of this time.
It's worth a shot if normal channels just aren't working
for you — perhaps you can't
contact a
human at all, or perhaps the
humans you did talk to don't seem to have
enough power or interest in helping you with your problem.