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.
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.
