“What interests me most about the casting of nonprofessional actors in dramatic movies is their disruptive presence,” tnyfrontrow writes.
There are as many ways of casting nonprofessional actors as there are of casting professionals, and as many ways to direct films with the one as with the other. Nonprofessionals can be dramatically inspired newcomers , exemplary documentary-style incarnations of themselves , blank slates for radical de-theatricalization . But there are particular creative tensions that arise out of casting nonpros alongside movie stars.
In “Stromboli” , Bergman plays Karin, a Lithuanian woman in her late twenties who, after the end of the war, is living in a refugee camp. She’s more glamorous, more energetic, more refined, and, especially, a lot more cynical than the other women in her barracks, and she’s desperate to get out. Karin is involved in a romance with an Italian fisherman named Antonio from the other side of the barbed wire separating the women’s and men’s compounds.
The urbane Karin comes to Stromboli, it seems, not only as a way of getting out of a refugee camp but as a way of avoiding deportation to her home country. In her misery, she plots her escape, scheming to get the money with which she and Antonio can leave for Australia or the United States, while also trying to squeeze whatever bits of happiness she can find into what she treats as her new form of confinement.
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