Featuring Now
Coming soon
The Via Crucis of Camille - Crux 2 - Page 30

I tied the rope to the crossbar, making sure it will stay there. This is a very delicate moment, Camille's safety rested on the strength of the rope, the pulley, the crossbar. The previous time we did this it worked well, so I was confident this time.

The process of raising a crufixion victiim was artistically recorded, centuries after the events, in what has become the traditional representation of this step. The entire cross is raised on these representations. A very difficult task that needs the assist of many strong men.

In my small recreation of this event I only had one person. Me. That's why I came up with something that I believe is closer to the truth. It's only the patibulum that is raised up. The post is there, always.

And so, I began to pull the rope to raise Camille.

Lyvia was in her standing position, her legs open, her ankles nailed to the crossbar, her feet not touching the ground. Her arms stretched over the crossbar, her hands nailed, her shoulders tied to the wood, her mouth and neck fasten to the crossbar, her eyes wide open, looking up at the sky above.

Rachel was looking at the spectacle of the woman she now saw as her family, suffering the pain of her execution.

Lyvia was raised slowly, she could not scream because the rope in her mouth was like a gag that prevented her from letting a sound come out. The weigth of the crossbar at her feet pulled and stretched her body down as it went up the post.

When her head reached the very top of the post, the rope raising her was fixed to the post. Her body was hanging from the crossbar attached to her arms by the nails and ropes. Her feet felt the pull of the woode that kept her legs open.

She could not move her head as the ropes over her mouth and neck kept her staring at the sky. The sun was high over her and its heat was on her face.

The soldiers afixed the crossbar holding her ankles to the post, giving Lyvia some relief as the wood was no longer pulling her down. Her whole body was now in a fixed position, breathing became easier and the pain was a little less.

The crowds saw that the process was almost complete. Some began to walk away, others stayed on to see how long Lyvia would last.

Rachel approached the post to look at the woman painfully perched at the top. She was allowed because after haging a victim family and friends were allowed to approach them, to talk to them, to say goodbye.

The brutal process of raising someone up the post is not easy. As I raised camille up, she kept her body loose, all of it pending fom the crossbar. I had to manouver a lot the get her in the position that would make my task a little easier. It requiered a lot of work and many pulls to the rope before Camille was in the position for one final pull to raise her off the floor.

In the script Maricelli had her fantasy where the martyr of her dreams is raised up the post. She can only dream of making that fantasy a reality for herself. This she does at one point in the story, and she does it in public, during the processions of the Holy Week.

That part of the story in the film has a lot to do with my own experience. The processions of Holy Week in my childhood were very intense and filled my imagination with powerful images.

Camille was, after a lot of struggling in my part, in positioin for that final pull. Her nailed hands were going to hold the weight of her entire body for the time she was going to be hanging off the floor until her feet found rest on the small footrest at the bottom of the post.

I took a deep breath. Camille was tip toing, struggling as her body moved from side to side. I pulled hard and I lifted her off the floor. She dangled for a short time as I labored to pull the rope all the way until Camille's feet were at the level of the footrest.

Camille found the wood and she fought to position herself on top of it.

The task was done.

1 / 2 / 3 / 4 / 5 / 6 / 7 / 8 / 9 / 10 / 11 / 12

13 / 14 / 15 / 16 / 17 / 18 / 19 / 20 / 21 / 22

23 / 24 / 25 / 26 / 27 / 28 / 29 / 30 / 31 / 32 / 33

©2009 RFPIX-Red Feline Pictures

Worldwide rights reserved.