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[citations]

The truth is always unlikely. To make it more likely to be mixed with a little lie - Dostoevsky (Demons)

in life should try everything at least twice, once is not enough to understand whether we like - Marlon Brando

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I just have to buy

With all the good will .. but I can not go to the movies. If you find a huge traffic before parking the car in front of your multiplex of joy and then a row at the box office just as endless, well not even go down and come back. But it did not turn at all: between Monday and Saturday I will refer.

Meanwhile my necessary purchases smell masterpiece. The mind needs of intensive injections of images from 4 stars and up. Two that Kubrick had to get me in dvd, LA Confidential, The Thin Red Line.
Very little extra in its entirety, but 10 € each ...

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W (ithout) end ...

This image struck me. An angel with a confidence alienating swing in black ink film .. without getting wet. An eternal movement now.

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trailer - Genesis

not an educational documentary on nature, but a great story (myth) the world and living creatures.


Genesis

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soon in your nose and the Chocolate Factory

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left me slightly cold.
Not that it is a good movie but I expect more from Burton invention.
To be really valuable for the visionary and, specifically, the characters of Willy Wonka and Charlie, is the book by Roald Dahl: a tale written in language clear, moving, exciting.
Reading Tim Burton is a great spectacle for the senses, but no other locations of the wonderful fantasy like "Bedknobs and Broomsticks" and even that of "Mary Poppins" I am referring to the classics because it is clear that this intends to be on that list. To make it short and do not dwell on the "usual" even if they are essential to the praise music, Depp's interpretation of the quotations and smiling, the dialogues of the film is great for kids and especially (the really more memorable!) For the exhibition of Umpa-Lumpa (flash-back of the forest is superb). Tim Burton is, shall we say inevitable, the theme of father-son relationship which is the most important difference with the Dahl book, but what else new that is not what we already know of Burton?
I consider to be one of the best This author for narrative pace and maturity, that one of the most stable, less innovative. In short, no progress.

Corpse Bride I hope to be significantly higher.

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Good Night, and Good Luck

It's easy to say what is this film is not great.

is selected to participate in the main competition of Venezia62 and after the first run of the press raining compliments for all the work around the figure of Murrow.
Fortunately, the film was well publicized without giving too much weight to the person of Clooney, to which no one seems to have spared no praise for confirming to be able to match its image to a mind engaged.

Jumping small premises and considerations, cmq I agree, "Good Night, and Good Luck" is a film that fulfills perfettemante his task, ie show the best journalism (either TV or not does not matter) , and the best use of the instrument and television.
In an era of decidedly improper use of the mass medium par excellence, Clooney gives his point of view with a different spirit from that of Moore, but with the same intention to inform the conscience. Can you? Yes, because when you leave the room (but also during playback) the comparison with the lack of investigation in the Italian TV, but especially compared with the state of journalism in Italy, it is inevitable and depressing.
To do this the director makes us here and now in the difficult mechanisms of programming a week ("See it now", as it happens). The film and television program, television journalism is using the film medium aplificare for himself and not talking about a documentary, but something that is very similar. The atmosphere has been written anywhere, is that of a news program of the '50s to become prefect of the universe in which everything happens. So the whole story and all characters, including the protagonist, assume an air of unnatural, are made of the same field of television, are the soul of the TV, and this does not seem quite real, but suspended in a dense, static representation of the concept of television journalism very oral, radio.
Faces, gestures, details are immortalized, carved by the admiring gaze of George Clooney who shows that he has learned the lesson of his father. Thus offers us one of his lessons very well built with great skill players, with a very compact script, one look and almost hypnotic sensual ear (that of cigarette smoke, and reassured the Jazz that fills with the mother's voice) and above with an excellent use of real movies that relate to processes and McCarthy. The game between fiction and reality is successful because the film relies more and more thin in this building in the real addentrante through the most appropriate use of tools of convenience.
But this atmosphere is just unreal, rigid, static, dead, with passions that can really stand out and break, which makes the film great, but just nice / fair. Edward Murrow is breathless, yet the sound of his voice survives his image of Clooney, just this amazing person is to emphasize the message that the body-most Murrow Murrow. No coincidence that he has done is already done when the film begins and ends with the speech a few years later. Despite everything the aesthetics of the television is not the triumph of the film as it should, instead remain in balance without ever afford to do so sharply that we remember for a moment exemplary.

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is a boon for those in Venice this year there is gone. Out of hours in exchange for a few thousand euro and before distribution in theaters, manages to give (even if half an hour before the official program ... but so be it, two miracles can not get along with) an extraordinary black and white A huge special effect that is not nostalgia but self-criticism, a return to the '68 Paris today, a moment after a dispute and before everything vanishes into the void of disappointment.

Very few films are imprinted in the mind for its ability to be able to exude the reality of thoughts, all that is experienced and perceived. The beauty of the film certainly is not knowing how to tell how all of a sequel with the The Dreamers by Bertolucci, but also the incredible and rare gift to give a sense of universality as an overflowing fullness and a few great epics. The impression may be that seeing a Heimat three hours, without appearing as its trailer. Ghezzi and in fact in presenting the film mentioned is the giant Reitz saga that far away from Star Wars Episode III (the connection point, return to the accounts of the past, the sequel to infinity ...) contextualizing, as if it were needed, in large accounts through which passes the intimate history. The cool
Silver Lion is crossed by three steps necessary: \u200b\u200bthe challenge, the consequences and the critical utopia, the 'inevitable individualism. The first part does not allow other forms which are not true: plans and long drives on the police vehicle on the protesters, few words, creating an apocalyptic atmosphere of sounds and shapes. In the second the good motivation of a piano (maybe any), the faces around, closer to us, including one of the guys who smoked opium, the crucial meetings to parties, to escape from the gendarme, and few / many words of self-criticism makes it eternal. The age of few words, it is inevitable that individualism friendships that end, swallowed up by the utopian reality, the love that gives meaning to everything. The story is always the same, but the way it is told that we like.
Garrel juggles a sense of bitterness, the awareness of being the last French film lovers to talk about '68 and all the pictures that has been done in 38 years. And thanks to this film manages to wipe out all the disappointment of the film again from that very last moment of utopia, with a very personal and bitter self-criticism, which is not concise. The last becomes one of the first.
So many words to say the film is beautiful and is now just another back to me in mind, L'Atalante by Jean Vigo

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The Master and the Lion as



[...] I think that everyone should look at the world through his eyes and not through a lens, then each of us must seek to write or draw what he sees with his eyes.


We can talk about the relationship with his films and their messages?
If I had managed to convey in words what I think I would not make the film, that's where you have to look what I have to say.


What do you think of the DVD as a support to watch movies too in the original language?
I'm not even a DVD player and have no plans to buy one.

sentieriselvaggi

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F Whistle (Faenza) Nuovo Cinema Paradiso

Over the duration of the Festival, the critics and the public subscribed to a certain point it hurts the large number of films seen every day, so it seems almost automatically download all the stress on a single optical film, the worse it is among the most expected. Not having seen this I think it was also one of the reasons that led the audience to whistle, but just not to applaud or reject without showing it, the film by Roberto Faenza. The year last year it fell to Placido and his "Wherever you are," which would refer slating from the critics with some success by the public to its release in October, this did not happen, even if they riparlò so little that he never text her under-representation in the halls.
About this Faenza, "The Days of Abandonment," I read the newspapers and hear on television of good and Buy Zingaretti, but from what I understand the story of the protagonist is so painful that I think I will avoid it in cinema .
Prejudice? Only a simple choice. It is a story that now I do not care for the feelings that stages and in general is just the kind of history I try always to avoid because I just do not say anything.
Yes, but why is not offered to show a film that can also affect the young audience? And possibly an Italian film in competition. If there are, if anything, we find them in categories such collateral or Horizons Midnight ...

Film aside, it seems that Faenza will turn his further ostracized "Go Italy!" '78 that the intentions to be a stern word to Italians addicted:
"I do not take it with politicians, but with the infected part of us Italians witnessing the degeneration of this country, to its end, and does not react "
I look forward to.

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Tornatore's film I did the same effect on me that Italians did when it came out. They were perhaps the cuts (half an hour, I think) to make it less felt by the public, and probably the same audience was not ready for such a film. I honestly do not remember at the time circulated that film nor film what was the predominant taste. I think that Cinema Paradiso cmq merits a viewing without any cuts. Those commercials made me Rete4 almost insignificant.
very autobiographical. The childhood and adolescence of a boy of a Sicilian town, linked to the magic of cinema. The life of the country dotted Fellini's characters seen by a child of ten years, the parish hall of a cinema, even the projection booth of the "Paradise", the father figure is absent but always sublime and embodied in the cinema of Alfred ... : The charm of the film is mainly in the first half. In the second, that of adolescence, we find attempts to live in the image and likeness of the cinema, and especially the hard finding that life is elsewhere by the space and the time of formation. The escape forced. The third part is actually the whole movie because it coincides with the memory of Toto adult film and still far from love. Final assembly of memorable movie kisses ever seen because it cut. All film is a nostalgic memory from the break and the opening towards the realization of something that can be believed.
How do you imagine such a film divided by the music of Ennio Morricone? It is impossible!
Tornatore experiences ever. The innocence and simplicity of this film I believe is in the quality of some raw scenes may or may not like. Now as before, adolescence Toto seems too naive, too simple dialogues. To be able to accept you should think that the character and his dialogues in this part have been written keeping in mind the classic romantic movies of Hollywood, and beyond. But still I am not convinced. But what annoys me more than is the dubbing of Toto boy and adult. The voices seemed distant to me by the plaintiff. There is little to do the things they drop.

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outskirts of Turin. Two friends: a shop, the other works. They are very bonded and love the same woman. Two good guys, in the literal meaning of the term, who do not report anything not fight, adapt to their way of life without resorting to violence and excesses. Despite the setting and roles, filmmakers Paolo Vari and Antonio Boco do not create anything socially alarming, they turn the story around a very plausible dialogue and characters who do not need actors. Essential and convincing because the problems between residents and drug dealers and non-EU on the issue of precarious work are not pseudo-intellectualism.
The suburbs are usually seen as hotbeds of violence and tanks, where they face the last stages of society, but in this movie from the beautiful title "Fame Chimica" is to illuminate the harmony clashes between the people who inhabit these places work, leisure and survival.
On stage are the two main characters caught between their peaceful ideals of friendship and happiness, and the implicit desire to escape from the suburbs, a flight that does not want to hide anything.
fine performance and a incredibly evocative soundtrack that blends with Tony Little Zulu, passing by Ludovico Einaudi (long time the "dark line") and Pino Daniele. Fits perfectly and the memorable address to the camera ex-99 Posse as a greek chorus says with his songs and strengthens the spirit of the film.
In conclusion, the film shows good intentions, in which this lacks is a documentary look too that does not allow the story to appear so solid compared to the medium length of which is an evolution.

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Fame tribute to Edward Bunker

On July 19 the death of a genius.

How many people has noticed? The passionate readers of his books have certainly risfogliato these days at least one of his masterpieces to remember if any were needed, style and the true stories of survival that he witnessed a crime or whose cmq has heard from his "actors." Those who love the noir, the crime-novel/crime-movie, hard boiled ... can not know.

Edward Bunker was 71 years. I'm certainly not here to write a few words in his personal history, just read some of his statements to understand that a detainee was intellectual, one who spent many years in prison and that he chose to save himself by writing stories that are the facts occurred. A rarity. And all this thanks to an IQ above average.

Revered by two large, James Ellroy and Quentin Tarantino gave him the part of Mr. Blue in "Reservoir Dogs", has always written stories about criminals having the criminal perspective, concentrating on all facets of the American prison system. The great novel that made me know it is "like a wild beast" and I can not ensure that what the protagonist says Ellroy is absolutely true: "do not come out intact from your meeting with Max Dembo.

(the subtitle of the blog is a quote from page. 129)

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interview from Les Miserables

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Adaptation. (Adaptation)

"You are what you love, not what loves you"

Two words to describe what movie it is: the story original research originality of a story. But the obsessive drama of the need (or the obsession with the need) to find the cause in the nature of its movement, its evolution, its continuous adaptation ... in itself.
Spike Jones bows to the bizarre originality of the person and the genius of screenwriter Charlie Kaufmann and made the film about writing (and especially the attempt to write) the same script: The result is a film full of words, meaning and absolutely no heavy thoughts, not philosophical, about life, its origin, lies and so on and so forth. Charlie Kaufmann is a hero in spite of inner turmoil, loneliness for sociopathy, but also the hero of the genius who finally manages to give birth fregandonese (like all geniuses) of the rules of success. The interpretation that gives Nicholas Cage (like, if you wish, to Depardieu, as per instructions!) Of the twins is very good, Chirs Cooper and Meryl Streep in disguise know something really unusual characters, almost allenianamente, come out of the script and fit on the screen.
The thesis of the film Kaufmann-Jones to leave at least once by the change of characters (in) a story to tell the essence of a flower (Nature) is proof is dropped from the impossibility of its demiurge not to get involved: it is inevitable that enters into giving it the movement that it requires. It is the complementarity between author and work at the base of the reflection of Kaufmann-Jones. Not only that. I think the discussion also relates to the existential need to avoid becoming their thoughts, they do not get involved too much to remain locked in a trap with no right answers, making it possible to get out. The character of the writer is the true conception of the demiurge cmq powerful because its ability to objectify own words when writing a script and then the images of the film, manages to pull it out of the trap that could have remained. Its power is illusion-lie-inventing characters who are his alter ego (the twin is the most you can imagine) so as to be able to have an objective view, the complexity of its creation (not only artistic but also especially cognitive, mental, etc ...).

original film for these reasons but also because of cleverly put into the picture, a story apparently empty, the message is as simple as possible, to know how to love yourself (in the sense as universal as possible).