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Little thoughts of Italy .. .... ....

to celebrate the famous 150'anni
children and I have prepared
the "little thoughts of Italy!
idea already stolen from the famous little thoughts of buit ***
only this time are now tricolor ...
colored with beets for the green,
white flour and water
and tomato for red,
filling is made with ricotta,

version here in flag waving ....

some seasoned only with fresh cream and parmesan cheese, simple but good
version,

the other for tomorrow with a good sauce,
WISHES TO ITALY!!
and that the force be with us!
although at this moment I just want to
me .... I have to clean up all the flour
slaughterhouse that has spread to every corner ....

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150th anniversary of the Unification of Italy

The Democratic Party calls on all Samarate to exhibit Thursday, March 17, the day of the celebration of the 150th anniversary of the Unification of Italy, the tricolor flag.
also invite you to attend a concert held Thursday, March 17th at 20:30 at the Church of the Holy Trinity.

Ilaria Ceriani, PD Secretary Samarate

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STORIES OF THE

Ever wonder why boxing is the sport most represented in the cinema, especially the Hollywood? Simple, because boxing embodies all the characteristics of the 'American Dream': sweat, dedication, perseverance, revenge. The dream of 'self-made man' which, starting from the lowest point of the social scale, is able to 'get', to 'make it' against everything and everyone. Not only that boxing is the sport 'noble' par excellence, who takes away the poor from the road and directs them to real life, perhaps providing each of them the famous 'fifteen minutes of fame'.
a boxing movie, in fact, it have been done many, many decent, other than not really memorable, some masterpieces. These here:

1. Raging Bull (M. Scorsese, 1980)

De Niro looks in the mirror and 'enter' ideally in the ring. Because only there can find dignity, to be real person. As was the old Jake La Motta. Shot in an exciting black and white, with mounting dramatic Thelma Schoonmaker. It was the turning point for Scorsese film, and perhaps the best boxing films ever made so far.

2. ROCKY (JJ Avildsen, 1976)
right, compared with the previous one seems almost blasphemous. But who is not keen on seeing the first Rocky? Who does not tremble on the famous soundtrack by Bill Conti, stallions, which climbs the steps of City Hall in Philadelphia, use liberating 'Adrianaaaaaaaaaa !!!!'. American Dream to the nth degree, but genuine.

3. WHEN WE WERE KINGS (L. Gast, 1996)

A quarter of a century to achieve it, nearly two hundred hours of footage, the camera following tireless the greatest boxers of all time. An extraordinary documentary, engaging as a direct, passionate today as then. Clay running, snorting, fight, Foreman is angry with scorn: 'I do not like, talks too much!' . Fantastic.

4. ALI (M. Mann, 2001)
him again after the documentary fiction by Michael Mann. And as in all Mann films the plot is an excuse to turn a large fresco on the social time and history. Magistral.

5. FAT CITY - CITY 'LOVE (J. Houston, 1972)
Film amiably 'classic' signed by a master of the genre, the great John Houston. Old-style cinema, mannered but timeless. Jeff Bridges on the first role in a drama that would have liked to have another 'grand old man', Clint Eastwood, who will compete for many years after.

6. Up there 'SOMEBODY LOVES ME (R. Wise, 1956)
Rocky Graziano, aka Paul Newman. The first major success of a boxing film, acting through the dry, angry, 'exaggerated' the star. Wise supports him, the camera the 'chase' without delay: the film is 'he', and the director notes.

7. Million Dollar Baby (C. Eastwood)

If Rocky was the apotheosis of the American Dream, the tragic parable of Maggie Fitzgerald is the end of an era: Maggie is white, 'old' for the sport, poor and angry. But this time there is no chance, no 'moment of glory'. Only emotion, respect, dignity and a lot of the magic of a film that only the 'grand old man' could turn 'so'.

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BOXING FIGHTER (USA, 2010) by David O. Twenty years ago Russell

Boxing has always been the sports 'sacked' by the great screen, especially from film stars and stripes, and the reason is obvious: the boxing embodies the main features of the American Dream (sacrifice, perseverance, dedication, success), they want the '' everyman ', taken from the street, often poor and humble, able to get on the roof of the world. The story of 'one in a thousand stand it', well, even better if served by a good dose of patriotism and, perhaps, redemption and subsequent lifts. As a film about boxing if they have made a lot (see post above), some absolute masterpieces, more discreet, not many memorable.

Which do then The Fighter, the last effort of David O. Russell, director of New York which has become critical to the honor of a decade ago with the brilliant Three Kings , vigorous action-movie about the Gulf War, and then rapidly decayed with disatroso fiasco I love Huckebees ?
Well, let's say right away that the film is a masterpiece. The Fighter is not Raging Bull (and that we expected), but it would be unfair to dismiss the film as 'story of yet another box made in USA' . Russell puts it all because we do not assume a movie (only partially successful), but should be appreciated the attempt to go 'beyond' the simple sports story to tell a story, family sometimes hard and angular, adopting the ring as a social parable. And this we must recognize this.

The film's characters are in fact two brothers, and them that dwell on the camera. Two brothers of Irish descent, both coming from the slums (and so far we're really 'on the classic' ) but totally different character: one (Dick, great Christian Bale) is weak and in poor memory lives on a moment of glory (honorably lost a match against the invincible Sugar Ray Reynold ) and spends the time to fill up with crack. In the rare moments of lucidity is delighted to coach his brother, Micky (Mark Wahlberg ) instead of determination that has to sell but also end up in trouble just to save Dick, who has tenaciously bound. Complicating the situation is added to the mother of two (Melissa Leo ), female-invasive, invasive and possessive, able to affect not just the emotional ties and family of two.

The first part of the film is beautiful, dark and touching. Almost documentary realism and emotional force. It feels like watching a Ken Loach film , with the camera capable of stripping without the need for dialogue, a reality of poverty, ignorance, squalor, poor physical and moral, but continued with great dignity. And much of the credit it must be the key players, in their truly commendable performance (Bale and Leo won the Oscar - deserved - but it would be unfair to 'forget' Wahlberg, never too seen a face in Hollywood , no doubt, however, one of the most versatile and reliable interpreters of the new generation).

But when the story 'viral' on the purely sporting side, this is the film s'incarta ... in the sense that it does not say anything new on the ground and began driving at well-known and predictable, typical American hero who fell from grace with great self-denial and self-confidence can get back on top and rising to undying glory. He knows so much about Rocky but not in any way to see, the rhetoric about maintaining an acceptable level. A film short, which do not leave a mark but that will give us a little moment of glory. Just like his hero.
better than nothing.

RATING: * * *

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ALL'AMMISTRAZIONE CONGRATULATIONS TO THE BUDGET CHOICES

We finally reached the first real important piece of the new majority: the 2011 budget.
Covering the "promises" of the campaign and looking back at the attacks against our directors in the past five years thought we would be faced with tariff reductions and new works, but the reality, unfortunately, is another.
The school transport will increase by 100% in school year 2011/2012, the nursery will increase from 30 to 40%, the canteen food stamps will increase by 10% with the new school year.
Regarding the waste is provided between estimates of expenditure reduction and revenue increase of over € 150,000 but the price remains unchanged.
Fixed costs for lighting, heating of schools, electricity have been reduced in all chapters. But these expenditures increased only for families or maybe they wanted to "underestimate" in order to balance a budget that after a year of Administration PDL-League is already on the ropes? We remind all the renegotiation of certain loans that will bring about 70,000 € in 2011 but savings in the long run the city (and us all) will pay about 1.6 million Euros.
The only items of expenditure appear to be increased allowances and reimbursements of the current administration ....
public works, beyond the usual empty phrases for effect, it's still nothing on the horizon if we exclude asphalt made with the money left from the center of the advanced, and meanwhile there are more places in the cemetery of Samarate center not to mention the broken promises of work on closing the streets in Verghera and roundabouts Via Locarno.
also expect the operating result of ASC in mind that for 2010 was revised service contract with more transfers and reductions in fees by the municipality for about € 120,000.
Montevecchio Foundation, administered by the center so far has closed 2010 with a profit of about € 20,000. We will see what will the next Board of Directors.
There is a doubt whether a majority of PDL-League did not have so carelessly thrown away the PGT might not be so hard to profile a year also saw cuts Tremonti, made in defiance of federalism.

Ilaria Ceriani, PD secretary Samarate

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\\ THE SILENCE OF THE LAMBS (USA, 1991) Jonathan Demme

I went to see the movie just came out, just twenty years ago ... but I confess that I do not remember much of that 'first time', also because I saw only half. Why the other half kept my eyes closed and ears plugged. Yes, I was nineteen years old and below me I fear. The only reason I was in that room was the presence of Jodie Foster, even then my favorite actress. Only after (many) other visions that I realized that movie made me so scared he could be considered, without exaggeration, a film 'momentous'. An absolute masterpiece. Moreover, a true visual experience, and (mostly) psychological, the sort that 'mark' a person and, unequivocally, the open eyes. Even in an age when sbruffoncello ...

Twenty years have passed but the emotional charge of this incredible, unbelievable film is almost intact. It 's true that we are now accustomed to everything, that we live in a society so sick exactly As this film we had predicted that certain events that fill pages of newspapers and television tell us that there are many Hannibal Lecter in this world. But this film is unique, because of the evil force that releases and the subjective 'forces' the viewer to put themselves on the same level of the murderer, to observe without being seen panting in the darkness of their prey.
The Silence of the Lambs is a treatise on insanity, a dissertation on horror and human stupidity, shot as a psychological thriller that, through an obsessive and excessive use of close-ups and depth of field, beyond the limits of endurance and it stuns with sequences of unbearable tension, accompanied by masterfully musicaledi Howard Shore score.

Paradoxically, but not too much, think about it we can say that The Silence of the Lambs follows the spirit and the basic idea of \u200b\u200bthis blog, as if he were complementary as Solaris wants to convince us that you do not need to flee elsewhere to get rid of their phobias, Demme's film tells us that the horror is mostly within ourselves, in the privacy of our thoughts, and that all of us, first, we are guilty of the wickedness of the world around us. A vision grim, apocalyptic, but seeing the film we have to say extremely convincing.

To all this must be added, of course, the extraordinary performance of the leading actors. Jodie Foster is wonderful, moving portrait of the young recruits who agree to be 'raped' in your subconscious to save innocent lives. His Clarice Starling is one of the most beautiful female roles ever, and certainly Michelle Pfeiffer (the 'first choice' for Demme, who then declined the part) you will still be eating your hands for that refusal. of Anthony Hopkins there is little to say, this role is been for him at the same time a triumph and a conviction: the character of Hannibal the Cannibal 's has stuck to him forever, and the half-hour in which it appears in the film is more than enough to show us as one of the most famous , horrible and fascinating at the same time in the history of cinema.

RATING: * * * * *

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the gem (Italy, 2011) Andrea Molaioli

"Aside from the fourteen billion debt, this company is a gem." The sentence has been attribute to Calisto Tanzi, and is emblematic of a certain level of typical local entrepreneurial class, that of the 'billionaires provincial 'which, with great ignorance and despicable cialtronaggine pretend to be fathers and masters of Italian finance in the immediate post-tangentopoli. It was the second half of the '90s, the storm that had crumbled the first republic had not yet subsided, but there were those who, in spite of all, it allows you to 'invent' from scratch easy money, trusting in his own omnipotence, heedless of the consequences (both about themselves and those, far more dramatic, to unsuspecting investors who had given them confidence). In other words: change everything so that nothing changes, according to the well-known theory gattopardiana.

Little Men, mean people, rude in appearance and awkwardness: they deal in hand, barely speak English, plunge in the stock market without knowledge of the facts, without ideas, without dignity, without shame. Spending and spreading, falsify financial statements, they steal from their pockets (the climax!), Using their own business as an ATM. They are called Tanzi, Cragnotti, Fiorani, Coppola, Ricucci ... inept and barbarous people, sad example of a country (always spelled with a 'p' lower case) that too often is identified in their own image and likeness. And too often covered the misdeeds of these individuals, even encouraging their career disturbing. This is shown various decriminalization of false accounting, the failure of viglilanza bodies, politicians behind 'lavish rewards' (Let's call it that) to turn a blind eye (and maybe both) in the face of blatant criminality.

's latest film Molaioli says this, and should be acknowledged that they had courage. The film is not perfect, far from it, but the central purpose: to sketch out the meanness and squalor of a society based on easy money and corruption, where it goes on for 'knowledge', 'friends' support politicians, and where those who are striving to be honest (or less 'villain' of others, if you prefer) is inevitably a bad end. The story follows that of expressly Parmalat , but not necessarily to make a comparison with the 'protagonists' age. And 'just' an Italian story 'like many others, as an example.
The film is quite instructive, has a structure a bit 'too' television ', it gives a superficial and even naive enough situations far more complex and dramatic, mix the drama and by referring to places far more common that (the woman in career who goes to bed with his head), but it must be said that overall, involves and passionate, though not a movie 'complaint' but a good film of inquiry, definitely 'out of context' and courageous in the current panorama of Film home.

Good performers, all well chosen: Servillo is 'imperial' as always in his role, but runs the risk of 'inflating' its image always playing the part of the 'cynical bastard' sooner or then we would like to see him in a comedy ... Remo Girone, modest and restrained, perfectly embodies the role of the entrepreneur and naive 'old style', overwhelmed by events. Sarah Felberbaum , beautiful and 'bitch' in the right place, his first major role is more than credible.

RATING: * * *

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The Oscar of Her Majesty

No Facebook, We're British. The 83. edition of the Oscars has reserved special surprises, more or less confirming the predictions of the vigil. And so the King's speech , glossy historical reconstruction of public speaking on the difficulties of His Majesty King George VI of England, takes home the statuettes most important those for best film, director, lead actor and original screenplay.

announced a verdict, then, but that leaves a little 'bad taste in mouth movie fans overseas that we were hoping for a prize list is very different and more respectful of our 'tastes' the West.
clear: not that King's speech is a bad film, far from it. But it is a film that owes its appeal only to the performances of the leading actors: the rest is the classic 'film from Oscar' is designed specifically to win: great packaging, leccatissimo conventional, politically correct and pandering to the right point. All ingredients are easily breached in the jury of the Academy has always been oriented towards conservatism and a more reluctant to reward the most innovative works and disturbing. A jury that has its own merits as well as celebrated film Tom Hooper (himself unexpectedly rewarded for directing, very flat and tremors).

Sorry, though, that the expense was The Social Netwok , ruthless portrait of contemporary society signed David Fincher, which takes as its pretext the 'genesis' of Facebook to bring us to a cynical and hard pamphlet on the disintegration of values moral in the era of 2.0. The Social Network for us is the most beautiful and important film of this millennium, and probably will remain so for many years to come: a film 'landmark' in the literal sense, able to keep us in suspense throughout its duration, as a thriller, and capable of making us cringe and think about our condition when finished. The three captured stauette ( Best Adapted Screenplay, Editing and soundtrack) are just a 'sweetener' that does not do justice to the greatness of this film. All

also required on the front of the cast: Colin Firth won hands down the Oscar for best player, while Natalie Portman triumphed among the actresses. Two victories largely 'announced' but this time, well deserved. Beautiful especially the triumph of Portman, radiant with his belly on the expectant mom and almost 'sorry' to have beaten four colleagues of great skill: Annette Bening, Nicole Kidman, Michelle Williams and Jennifer Lawrence . This year the women's competition was the highest level, and each of these actresses, without rhetoric, could be awarded without anyone storcesse the nose (unlike last year when, among thousands of controversy, was awarded Sandra Bullock) . Among the non-actors instead The Fighter triumphs, yet another story of boxing brought to the big screen by David O. Russell , which sees Christian Bale be rewarded (it was now) that Melissa Leo.

the rest, make news in the four awards in technical categories Inception (picture, sound, visual and sound effects ) in partial compensation of the 'stigma' against Academy dell'incompreso Christopher Nolan. Discounts also awards Toy Story 3 as best animated film and best song, and Alice in Wonderland statues in for costumes and set design . Victory for Danish Suzanne Bier in the category of foreign films with his In a better world. And finally a curiosity: the seventh victory (!) Career in the make-up artist Rick Baker , now a 'myth' for the Academy Awards. This time winner thanks to the make-up of Wolfman.
See you next year!

CLICK HERE FOR THE COMPLETE LIST OF WINNERS:

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few more hours ...

now less than forty-eight hours of opening the envelopes and the 'Oscar fever ' rooms. It 's no point in making the snobbish indifference: Anyone passionate about film can not fail to throw their eyes to what will happen next Sunday in the Kodak Theatre in Los Angeles. Because like it or not the film can not help but Hollywood and the Oscars are the party that celebrates Hollywood itself: an anniversary garish, pachyderm, kitsch, outdated as you like but always indicative of trends on fashion and film of the moment. Why do not you forget that the Oscars are the rewards of industry, and what comes out of the night of the stars is always an ideal 'thermometer' to test its creative and commercial studios. And this year more so the competition is indicative of the state of health of the majors, because they challenge as well as two films in the struggle between them, two diametrically opposed ways of making films that evoke different reactions in viewers and interests.
But then we see, in detail, who will star in the Oscar 2010. Try, as always, play in the predictions and the applications which I enjoy very much (Yes. .. everyone has fun as possible).
Let's see then:

BEST FILM

As mentioned, two totally different concepts and the antithesis of filmmaking. On the basis of applications received, it is clear that King's speech is the number one favorite. Both the number of nominations obtained (twelve) for the type of film. Tom Hooper's film fact is, on paper, the classic product made especially to win the statuette, is politically correct, glossy, icy, packed extra luxury and allows the extraordinary 'tests players': all of the Colin Firth , which this year is quite determined to grab that prize by a whisker sfuggitogli the past year. Above is a British film, and we know that across the Channel are masters in producing silisticamente works perfect (but often quite low in content) that much like the 'mature' jurors Academy. Think Shakespeare in Love, Sense and Sensibility, Howards End, Atonement ...

Sorry, though, that the cost is having to make a film intended to rimanese imprinted in people's heads for many years to come. The real Kane the present century, and certainly the bloodiest and true fresco of contemporary society. I'm talking, of course, of The Social Network , for which the undersigned is not ashamed of doing some cheering a shameless plug: David Fincher's film is the best film of the beginning of this millennium, and who knows how many years it will be again. Work 'momentous' (in the strict sense of the word), which shows us' (in) evolution of the human and social relationships and social skills through the invention of what is considered the most influential (and profitable!) Of recent years. And to which this blog has devoted plenty of space (see here and here ). Of course, it will be difficult to convince 'fogies' Academy of the scope of this title, considering that it is mostly elderly members and little reluctant to films 'innovative' and investigation. But often we enter Oscar pope and cardinal exits (see Avatar the last year), and then the hope is the last to die. Very few chanche instead for other titles in the race to have increased to ten the number of nominees to the most coveted statuette has not been revealed (for now) quality assurance: the only true outsider might be possible coena The Grit (nice and 'classic' as I like the Americans, plus shot of a pair of filmmakers who always falls under the 'preferences' of the jurors). For others, really, just crumbs.

WIN ': THE SPEECH OF THE KING

MY FAVORITE: THE SOCIAL NETWORK


BEST DIRECTOR
Nobody can take away the award to David Fincher . Otherwise I'm angry! The Social Network is a solid film, masterful, flawless, brilliant. There are certain virtuoso's car and found that no stylistic comparisons with the film patinatissima Tom Hooper (as usual, the other antagonist) pointing at the actor's definitely not on the 'construction' of the scenes. Any other result would be a steal beautiful and good. Pace of Coen Brothers (already amply rewarded in past), David Aronofsky, David O. Russell . We'll see.

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MY FAVORITE: David Fincher

ACTOR
The winner is already written: Colin Firth, having missed out on the statuette 'last year with A Single Man Tom Ford , is already virtually secure the prize. The bookmakers are not accepted more bets on him. And after all this prize is good: because it is a fair recognition to the career of good British actor, is actually because his performance in The King's speech is 'majestic' (excuse the pun). Besides, in a year where, strangely, there is not much competition: little more than 'ornamental' nominations for James Franco, of the 'usual' Javier Bardem , the young Jesse Eisenberg and increasingly gigione Jeff Bridges, winner of 'outgoing'.

WIN ': COLIN FIRTH

MY FAVORITE: COLIN FIRTH

BEST ACTRESS

Contrary to what usually happens, this year the women's competition is highest level, much more than their male colleagues. Large uncertainty Natalie Portman, a wonderful interpreter of a bad movie like The Black Swan should do it, but the heavy falls on her 'shadow' of Annette Bening , talented and she never rewarded despite numerous nominations, and also very good at it The boys are doing well . It will be a good fight, and in any case will emerge a worthy winner. But attention also to the other: Michelle Williams has impressed in Blue Valentine, while Nicole Kidman (Rabbit Hole) is now un'habituè the Kodak Theatre. Although in the end the best of all is the young (and tough) Jennifer Lawrence , The great protagonist of a cold winter , independent film and hard, light years away from the logic of Hollywood. It will not win, but be assured that it affects our speech.

WIN ': NATALIE PORTMAN

my favorite: NATALIE PORTMAN

ACTOR
As always, great uncertainty. Christian Bale is one of my favorite actors: I loved The Prestige and The Dark Knight, and now with The fighter could get to the statue. But if the king's speech were stealing all the prizes (as I suspect) Geoffrey Rush here that certainly would benefit domino-effect. mind you it would be a worthy winner. Already awarded with the OSCE Shine, is also perfect in the role of speech therapist trusted of King George, where he keeps his head well to the 'predestined' Colin Firth (see above).

WIN ': GEOFFREY RUSH

my favorite: CHRISTIAN BALE

ACTRESS

already seen Frozen River, Melissa Leo is popular interpreter of a film is not as memorable as The fighter . Could you check it though honestly I doubt that a movie like The Grit , great western (genre beloved by Americans, and then the jurors dell'Acedemy, anzianotti and 'nostalgic') remains empty-handed. So here is the possible looming victory of the young Hailee Steinfeld (just fourteen years old), energetic and pugnacious in the film signed by Coen, and that can not disappear in the presence of 'superstars' like Jeff Bridges and Matt Damon. Y'know what? I point to her ...

WIN ': Hailee STEINFELD

my favorite: Hailee STEINFELD

BEST SCREENPLAY ORIGINAL
The screenplay is the category which usually are awarded the most original ideas and 'courageous' year, and where the jurors Academy (often with a guilty conscience) took refuge to give a sop to those works 'should' be awarded but are often 'politically incorrect' or too far away from Hollywood royalty to aspire to the goal of best film. A premium, in short, often assigned the banner of 'I would but I can not', and that have a history of illustrious winners.

In fact, this year among the nominees for best script we find the pair Lisa Cholodenko-Stuart Blumberg , competing with the 'scorrettissimo' The boys are doing well and, above all, Christopher Nolan with Inception . Needless to say that his screenplay is the most beautiful ones in the race, without a doubt. Inception is a film that, in truth, it touched my heart, in that it is too cold and 'brain' for my tastes, but work on the screenplay by the talented director in London is superb. Nolan, however, is not too much loved by the Academy, perhaps because of its (too?) Awareness of being good, or maybe because he never bowed to the logic of power Hollywood. Fattostà after the sensational exclusion from the quintet of the best directors, the jurors could preferigli convenzionalissima the screenplay king's speech, especially if that effect will occur-cascade mentioned above.
WIN ': THE SPEECH OF THE KING
my favorite: Inception

BEST ORIGINAL SCREENPLAY
Here there is just tender. And if things go wrong for The Social Network , it is frankly impossible for screenplay by Aaron Sorkin not be rewarded: the strength of the film by David Fincher is just the script, fast, engaging, exasperating, cynical, incredibly effective. An extraordinary work that will be remembered for posterity as a true manual script, and that can not be afraid to even the good adaptations of The Grit, Toy Story 3, and 127 hours An icy winter.
MY FAVORITE: THE SOCIAL NETWORK
WIN ': T HE SOCIAL NETWORK

OTHER CATEGORIES
little to say on the other candidates: uncertainty reigns in the best foreign film, always a harbinger of surprises: the favorite seems to be Inarritu's Biutiful , with Javier Bardem , but also with his Suzanne Bier A better world has good chances, and it says a lot of good also de The woman who sings , seen in Venice. For the rest, easy to predict the victory of Toy Story 3 between the cartoons and that of the 'master' for photography Roger Deakins de The Grit, and frankly I do not do predictions for the technical categories and for the music, moltro more details. Finally, little hope for the only Italian bid: Costumes for Antonella Cannarozzi I love have little chance of upsetting the odds favored seeing the 'legendary' Colleen Atwood (winner of two Oscar) with Alice in Wonderland .

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The Black Swan (USA, 2010) Darren Aronofsky

one thing one must give credit to Darren Aronofsky : it is a great director of actors, capable of pulling out the best interpreters of their film. It had already happened with Mickey Rourke in The Wrestler and now it's time to Natalie Portman, in this role that flies straight to sail to the Oscars and, despite everything with excellence (we'll see why). With one difference, though: what if Rourke's Randy 'The Ram' Robinson was the role of life in a movie and then openly autobiographical extremely 'heard', the young Israeli-American actress in the past has offered much more significant evidence than The Black Swan (think V for Vendetta , Closer or underestimated My Bluberry Nights ).

That is to say that the merits of the director not stop there. Why I
modest opinion The Black Swan is a very mediocre film, a staggering banality: the story is about Nina, a young ballet dancer whose sole purpose in life is to become the star of the company, hoping to be chosen to interpret the main part of it 'Swan Lake' by Tchaikovsky. To get the party is willing to do anything, even sacrifice his own life, which however is not the best: because of a paranoid and over-protective mother, his life is divided between the stage and his bedroom, ignoring all else: not a boyfriend, no friends, no other interests and is sexually repressed, which does not play in his favor having a gym teacher and womanizer, stubbornly convinced that to play the role of the 'black swan' work has a strong erotic component required by the protagonist (Mah ..). Nina at first appears to be chosen but later when another young student, but much less good technically astute under the sheets, it seems happened there on purpose to blow the party, things inevitably fall ...

The Black Swan is the chronicle of an obsession: to that absolute perfection in dance and in life. Theme rather abused it generates a series of platitudes, all widely stravisti : competitiveness and social climbing in the world of entertainment, envy our neighbor, the degeneration of values \u200b\u200b(only get the part if you go to bed with the 'boss' ... we have not already heard this story?? ?). But so far there is nothing wrong after all, is not that obvious that a film must necessarily also be bad. The problem is that Aronofsky excessively emphasizes the dramatic tones of the film falling into trash TINIEST: To show the mental illness of the protagonist uses a horrific record of bad taste, with special effettacci so tacky as ridiculous, and showed no have neither a sense of proportion nor the depth of soul to represent the discomfort of the girl, and ended up getting exactly the opposite effect: to awaken the indifference (if not hilarity) of the viewer instead of creating tension and awareness of the drama.

All this does not overshadows the proof of the talented Natalie Portman . As we said at the beginning, her performance is remarkable and deserves to win the statuette them more precious: the Portman offers an interpretation 'extreme', unpleasant, almost disturbing: we see the nail-biting, tearing away the skin, scratching to bleed, tormenting his little body resulting from eternal teenager always believable in a movie that otherwise might really ridiculous.
E 'the case to say that it is she who saves (in part) the film. But as I saw the images scroll across the screen I could not ask me, including myself, and if this film had as direct a genius Alfred Hitchcock what would happen?

RATING: * *

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GRINTA IL (USA, 2010) by Ethan and Joel Coen

Beware of misleading the Italian title. We are in Arkansas, circa 1870. America is still a country for old men, and fourteen year old Mattie Ross must use all his extraordinary frown to keep up with rude and ignorant men, without law, nor scruples. And 'her' true grit ' the original title, and certainly not to Roster Cogburn, ruthless bounty hunter and a drunkard who is 'hired' by the girl for you to capture and deliver justice to the murderess of her father. Even from here you understand that this western filmed by the Coen brothers is much less 'classic' of what he wants to look: they are in fact very rare cases of western movies in which the role of women is so important and marked, and not confined to those 'usual' to obbidiente wife or, worse still, a prostitute.

Mattie Ross is a young woman driven by the desire for justice, but in the wild west too often goes hand in hand with a vengeance: the 'small' intends to capture and process the outlaw Tom Chaney, forcing him to a sentence that is no different dall'impiccagione. But he soon realizes that will not be easy to enforce the law in a world dominated by arrogance, ignorance, arrogance and the sound of guns.

One wonders why the Coen have decided to make a western movie, a western 'true', made of landscapes scorched by the sun, dirty uniforms, gunfights and duels. In reality the answer is simple, if not obvious: the western and 'America, it is the essence, history and the heart of this relatively young and multiethnic nation. And no wonder, therefore, if the famous pair of directors, who in every film he showed us a different aspect of the land, decided to become the kind of 'American' par excellence, and reworking it to fit but to their way of making films.

Because there is no doubt that The Grit , despite appearances, is a film 'coena' to all intents and purposes as evidenced by the cynical and mocking irony of the end of the film, the characterization of extreme and caricaturist of the characters (especially that of Cogburn, a pre-Lebowski litteram grotesque and ridiculous, far from the 'original' played by 'mythical' John Wayne), and above all the 'usual' pessimistic vision of a cathartic companies that do not allows no room for reason and rules of coexistence. The evidence of the creeping racism of the film (see the scene dell'impaccagione of the three bands, where the Indian is not given the opportunity to speak) and the obvious comparison with our present time, because of intolerance and progressive loss of values and historical memory: when, forty years after the incident, the 'spinster' Mattie Ross will recover Cogburn find that on the trail of the survivors of the 'legendary' epic are now reduced to freaks who go around the country tell, as in a circus, enterprises of the past. And how, again, not recognizing the 'rude' alliance Cogburn and the ranger LeBoeuf, solidarity and respect (not necessarily the estimate) among individuals with completely different character and ideals, but ready to come meet in times of need, clearly exasperated criticism of the individualism of today's world.

In any event, without being obliged to take some respects, it must be said that The Grit is a wonderful genre, brilliantly played by (almost) all actors (Matt Damon on , grease, hair and we imbolsito many reservations ...), enhanced by a flawless package and class. Of course, those who love the Coen will find that their style is, paradoxically, the only weak point of the film: those who see The Grit will not find much except what you expect from a film like this. But it's only a venial sin for a great film, engaging, heartfelt and beautifully 'epic'. Avercene.

RATING: * * * *

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A cold winter (USA, 2010) by Debra Granik

A tip for real film buffs: among the multiple outputs of these weeks do not miss A cold winter, the second film by director Debra Granik and winner of numerous awards, not least of which is coupled Best Film - Best Actress last Torino Film Festival, where he literally charmed critics and audiences. A fiercely independent film, light years away from the film studios and able to awaken the soul wild, adventurous and free a continent and a grim legendary time.


A cold winter is a modern day western, which has as its heroine a beautiful girl even twenty of which he is all too easy to predict a great future: Jennifer Lawrence is spectacular in taking charge of the entire film and give us a ' interpretation worthy of a star. His Ree, seventeen sharp and resolute, the capacities made harsh by bad family, is one of those characters that do not run the risk of forgetting: his blue eyes, the fierce determination, the words rare and mutilated, anger stored in the many years of suffering they rise to the role of absolute star of this film beautiful and tough, made of solitude, panoramic views, stingy and inhospitable land, family ties made impossible by the harshness of daily life. By a curious coincidence, An icy winter arrives in theaters on the same days of the Determination , western 'vintage' and signed by the Coen brothers just happened (another coincidence?), Also starring a young girl and resolute as if to emphasize continuity with the short history of a people who now, for some time, withdrew its heroes.

VOTE: * * * *

Paragraph Discribing A Baby

a cake for my kids ..

the feast of St. Valentine ....
a
simple cake to celebrate the loves of my life:
my children, Gabriel and John !
PDS is a mere 18 cm.
soaked in syrup pineapple,
stuffed with custard and pineapple pieces,

decorated with fresh cream and wafer flowers and sugar,
*****
just an idea for people like me in the decorations,
sometimes browse the complete darkness .....
good and fresh

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