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Così ridevano
di Gianni Amelio
Con Enrico Lo Verso, Francesco Giuffrida
I registi italiani quest'anno a Venezia camminano all'indietro,
quasi fossero gli attori del bel film di Solanas "La nube". Si
ripensa l'Italia della Resistenza, l'Italia dei difficili anni '70, l'Italia
degli emigrati del sud nell'immediato dopoguerra. In una Torino dolente
e piovosa, alla ricerca di un lavoro in FIAT o dovunque sia, ecco arrivare
il siciliano Giovanni (Enrico Lo Verso), analfabeta, che sogna per il giovane
fratello Pietro un futuro migliore, e si fa in quattro per farlo studiare
alla scuola magistrale e vederlo un giorno diventare maestro. I due fratelli
si muovono con difficoltà in una città per lo più ostile,
come i famosi elefanti della famosa 600 che non possono entrare in più
di quattro nella macchina. Si amano di un amore disperato e difficile, con
picchi di un'intensità che fa male al cuore, ma non possono capirsi,
perché per Giovanni Pietro è un simbolo più che un
fratello, è la sua unica speranza di riscatto e di conciliazione
in un mondo che sembra respingerlo in ogni momento: come nel ristorante
borghese, dove Pietro entra e Giovanni, che arriva dopo, viene trattato
con estremo disprezzo. Come nella scuola, dalla quale Pietro fugge, e nella
quale Giovanni si illude di recuperarlo sedendosi al suo banco e viene preso
per matto.
E mentre Torino continua a scorrere dolente davanti ai nostri occhi, simbolo
di un nord ostile ed indiffente, ci si avvia verso il terribile finale,
dove il sacrificio si rovescia quasi fosse l'unica possibilità di
conciliazione tra due realtà inconciliabili, nord e sud, Giovanni
e Pietro…
Ci rimangono nel cuore le note di una canzone francese, i versi delle poesie
di Pascoli, il volto di Lucia, altro simbolo lacerato di un sud che fa fatica
a trovare la sua collocazione. E l'immagine, bellissima e commovente, dei
due fratelli che si abbracciano alla stazione, all'inizio così come
alla fine del film.
A psychical making love thriller perfectly lacking in thrills, sex or psychic phenomena, this takes its proud place in that bantam elite of features with scenarios so atrocious that their entire action has to unfurl before the title basis can despite that smooth be established: in other words, that the reincarnation of Peter Proud is indeed Peter Proud’s reincarnation. Sarrazin moves prosaically totally the proceedings as the crew whose recurring nightmare turns out to be a memory of his former person, but the plot is so minimal that the proceedings constantly bring into the world to be padded out with hideous travelogue footage and emoting-by-numbers from a shifting and evidently uncertain cast. At one point, in what is supposed (God help us) to be a climactic suspense sequence involving short-tempered-cutting, Thompson interpolates lengthy footage of Sarrazin and girlfriend doing a lolloping healthy hop to a vocal which endlessly intones ‘Better is to come’. This is by away the film’s most fantastic assertion.
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"What comes in must eventually come out…"
A researcher cannot wait to try his new teleportation module. The make consists of breaking down the molecules of a density in one of the cabins and recreating them in the other one. Lacking a human guinea pig, the researcher tests it on himself. What he ignores is that a fly joined him for the caper.
The policy test seemed to be a beautiful success. But as for the moment passes, more he doubts that something has gone imperfect. He slowly is transformed into a half-fly, half-human creature. His body and personality are transformed into something nauseating.
Is this an exaggerated concept? I don't believe so. I suss out this concept considerable and plumb down-to-earth. We naming in the film that the cabal bases its forethought on only bromide element. Indubitably, we should give birth to encountered a man-let go as soon as the teleportation was finished, but the idea is notwithstanding there.
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This motion picture is a wink to those suffering of ineluctable diseases. In my conception, there is no greater fear than fear of yourself and The Fly discusses the subject. At original, Seth, the researcher, seems to be in great develop: he is agile, strong and full of energy. But as time passes, he becomes badness, impatient and loses parts of his solidity. Every time he vomits or decomposes, we explicitly glom the scene and the evolution of his modification. This film is violent and it is a realistic vehemence that sends shivers down our backs.
The actors are out of this world and brilliantly illustrate the psychological aspect behind the troubles in their make out relationship they contemporary because of the transformation.
- Seth vomiting on his donut to digest it before swallowing it.
- Seth tearing of his nails.
- The obstacle vomiting on a man?s arm to atone it melt.
Memorables characters
- Seth (Jeff Goldblum)
Released in:
Movie kidney:
Loathing – Carnage – Monsters – Field Fiction – Technology – Young man