It was to be expected that sooner or later Don Quixote would find himself before a motorcyclist. Likewise one could have expected that he would see in a moped what he saw in the windmills: a dangerous monster. Orson Welles’s unfinished film, Don Quixote, which he worked on, beginning in 1955, for more than fourteen years, was not the first to intuit the relationship between the windmills of old and contemporary technology; Miguel de Unamuno’s writing came first. If Sancho hadn’t been afraid, explained Unamuno, he would have understood Don Quixote’s prophetic gaze, as those windmills would become, in time, turbines, dynamos and machine guns. In 1905, Unamuno prefigured Orson Welles’s Don Quixote, wherein, within the first few moments, Don Quixote tries to save a lady-motorcyclist from the scooter she is riding. Don Quixote, in fact, sees the monster that has kidnapped the damsel on the scooter. The furious lady yells at him to get cured, calls him an old fool and quickly distances herself from the old man who mounts the hag, equipped with helmet, lance and shield.
Elio Cappuccio Demetrio Paparoni
The book includes illustrations by Honoré Daumier, Gustave Doré, Paul Cézanne, Marc Chagall, Salvador Dalí, Alexandre Gabriel Decamps, Edward Hopper, John Lurie, Edouard Manet, Yue Minjun, Tony Oursler, Mimmo Paladino, Pablo Picasso, Ferdinando Scianna, José Suárez, Wang Guangyi, Orson Welles.