The elderly lady with silver grey hair and a formidable bosom corners the festival’s Programming Director and demands that he explain himself.
Her hair is tied at the back in an elegant bow, and her glasses suggest literacy both cinematic and literary. Her lips are glossed red, but the upper lip is quite thin, and the lower lip is quite full, and at the corners these lips pull somewhat towards eighteen past eight, which gives her a permanent expression of ever so marginally lopsided vexation. She bears an uncanny resemblance to Mrs Richards who pitches up in Episode One of the second series of Fawlty Towers, but this lady is not unhappy with her view, nor is she hard of hearing; she hears all too well, and what she objects to is English.
What irks—so as not to say angers—her (‘anger’ seems too uncouth a term for her form of displeasure) is that here in Locarno, the picturesque lakeside town with the second oldest international film festival in the world after Venice, an announcement (or was it a speech? I am not entirely sure now) was made not in Italian (the language of the Canton Ticino, where we find ourselves), or any of the other official languages of Switzerland, German, French or Rumantsch, but in the language of the global village, English.
She had no problem understanding it—she probably has a Swiss education, and her English is likely to be better than that of two thirds of all native English speakers around the world—her objection is one of principle. One of culture, even. And a concern for how what is being cultivated—the unstoppable advance of the current lingua franca (obviously, and as the term itself reminds us, not the first one to sweep the globe, and it won’t be the last)—on the multilingual diversity of parochial Europe, specifically Switzerland.
This diversity has real charm, and, when witnessed in action, can be seriously impressive. It’s not just the trains here which routinely make all major announcements in three languages (one of which is always English, although English is not an official language in Switzerland), or the packaging of consumer goods, which mostly (but not always) eschews English but finds room, on such everyday produce as butter and milk, for all four national languages; it’s when you see and hear people actually using their languages seamlessly and matter-of-factly across their spectrum that you realise how capable we can be if we try.
Not long before this ‘incident’ in Locarno, I’d been to the other major film festival in Switzerland, Solothurn. This, unlike Locarno, is not an international affair but focuses entirely on Swiss film making; it is therefore not of global significance, but really important to Switzerland. A close friend of mine had directed the opening film. He’d also fallen out with his erstwhile best friend, who was the producer, over it, and so it was this not an entirely happy occasion. It was nonetheless memorable, not least for the opening speeches. I don’t remember their exact sequence, but: one was held by the then Artistic Director of the festival, who happened to be from the Ticino and therefore spoke in Italian. One was held by the then President of the Federal Council (this, in the egalitarian direct democracy that is Switzerland is a nominal role rotating on an annual basis through the Federal Council, which consists of seven members who are elected by parliament and who form the government of the country as a joint cabinet; the President of Switzerland therefore only ever is in office for one year as a primus inter pares), who happened to be French speaking and therefore gave her address in French. And a third was held by some dignitary from the Swiss film making community, who spoke German. There were no translations, no subtitles, no surtitles, no captions. The expectation was—as it is in the chambers of the national parliament—that everyone in the audience (which here, this being an open event, is the general public) speaks at least two, but preferably three, of the four national languages. And they do. Mostly. But you are talking about a film-festival-going audience with a particular interest in Swiss films. You are talking about Solothurn, not Locarno.
Locarno is one of the most important and quite possibly the most beautiful film festival for independent film in the world, and so obviously not everybody attending it speaks either Italian, or German, or French, or let alone Rumantsch. (Hardly anybody in Switzerland speaks Rumantsch: it has a native speaker base of some 36,000 individuals with about another 25,000 people speaking it ‘regularly.’ It’s a lovely language, though, and not at all impossible to learn, especially if you have Latin.)
The irony for my Swiss Mrs Richards in particular, and for us all, is that the one language almost all Swiss people speak to at least basic level—many to near perfection—is English. Professors often lecture in English at universities, there are kindergartens and pre-school groups conducted in English (also in Putonghua, now, as it happens), and it is not unheard of for high school students to deliver their papers in English. And with so many people living and working and travelling in Switzerland from all over the world, the one language you know for certain you’ll get by in is, of course, English.
The festival’s Programming Director is patient and polite. He gives a somewhat resigned looking smile—resigned more, I think, to the fact that being accosted with these kinds of grievances is simply part of the job, even if he’s really just here tonight outside this cinema to see a film at his festival, than resigned to the realities of globalisation—and explains the situation to his questioner in her seventies not unlike you would to a child of about seven. I half fear me she may feel patronised. She doesn’t. Her eyes light up, and she feels taken seriously. Her lips, at first reluctantly, but then giving themselves over to reconciliation, flatten out into almost a smile of her own. I wonder has he just charmed her. He is very charming, in a slightly headmasterly way: the kind of person who daily has to deal with unruly students and their impossible parents alike, and who just takes it all in his steady, slow-paced, long-suffering stride.
My queue starts to move, and I lose track of them both and their conversation. I don’t think it was his perfectly reasonable argument that won her over, I think it was just that he managed to signal to her for three minutes or four that he cared for her irk. And I’m almost certain he did, for three or four minutes. Which is probably about as much as it merited, after all.
What the film was that I saw, or what language it was in, or how it was subtitled (all films at these festivals are always subtitled), I can’t recall, but the introduction, I’m almost certain, was given in English…