Mainstream Movies With Domination

ON THE DEATH OF MARY SCHNEIDER, AND THE WEIGHT OF (SOME) WORDS ...

I made a great impression, and of course very sad to learn of the death of Maria Schneider . The chronicles tell us that she let go, he had given up on life long before it was attacked by the disease. A sad fate and somehow announced that it has taken away a woman of 58 years that life has given fame, but not happiness.


Maria Schneider has danced for one summer, that the 1972 film, a role, a conviction. Last Tango in Paris at the same time he made his fortune and his damnation. In what has become today the world of entertainment, some stars and starlets would make false papers for two decades to become the sexiest woman on the planet. Schneider was the almost despite himself, playing one of the most controversial film 'Scandal' of film history and eventually be overtaken by the role that 'damn'.
not be astonished. Many actors have been left 'slaves' of a character, who has always put up their careers: think only Anthony Perkins (Psycho), Malcolm McDowell (Clockwork Orange) or Bela Lugosi (Dracula), whose interpretations were also serious consequences on their privacy.

But Mary Schneider's speech was different. She, naive and disenchanted twenty, he realized not reading the script for what would be his role in 'Last Tango'. She accepted the part with the unconscious and the boldness of those who want to forge ahead in his career, and certainly did not imagine the carnage and moral media that was reserved for the critically received and bigoted '70s. And not only that ... the film was declared blasphemous by the courts in much of the world, in Italy it was even condemned 'the stake', as in the times of the Holy Inquisition. And Schneider was regarded as an evil witch, by point and mark as a negative example, became the stone of the scandal around the globe.

Words are stones, "said Carlo Levi . And I think that the death of Maria Schneider should make us reflect once more on how to go about the weight and use that when you give moral judgments about people. With us the poor Mia Martini is dead for this, and many others still suffer from this absurd media pillory. And the rule should apply to anyone who writes, from the most acclaimed critics until the last of the amateurs like myself. In a world of mass-dominated media, where thanks to the web news in few seconds around the world, the use of the word is weighed and doubly planned, because none of us can have the life of a person, even with a pen (or keyboard) in hand.

Thank You Note Community Service

THE SPEECH OF THE KING (GB, 2010) by Tom Hooper

There is a genre that knows no crisis, and that always comes out on time these days: is the so-called 'Oscar-winning film' : it is said, in fact, the produced classic 'perfect', well acted, with ultra-luxury box at the right and politically correct. They are films that seem built especially for gaining the highest number figurines possible (although not always the case), and allowing players the classic 'test as an actor', that is, a role specially packaged to enable a skilled interpreter to break the heart of the judges of the Academy. It must be said that the British are masters in this: the days of Shakespeare in Love , through Sense and Sensibility, Atonement, The Hours, The Queen, Howard ... or almost all strictly honored.

Here King's speech that is not chronologically the last member of this very particular kind, and fully reflects all the features listed so far: it has a pair of amazing actors ( Colin Firth and Geoffrey Rush), a flawless script, an obsessive attention to detail (costumes, scenery, music, makeup). The classic film that, in short, is in your eyes like a work of art but ... mind you, without being at all.
Yes, because the films 'Oscar' have practically all the same weakness: they are highly accurate in staging, but difficult to excite and involve. I'm icy, detached, impersonal, and leave the actors' 'burden' to warm the hearts of the audience.

And King's speech is no exception to the rule without the 'golden couple' first cited would be very difficult to be caught by the enthusiasm for a story all in all not too interesting, and rather obscure to most: that of King George VI of England, father of Queen Elizabeth and quiet man, shy and unfriendly, with a 'defect 'rather embarrassing for a king: the stutterer and be antrofobico, so frightened and unable to utter a word whenever it needs to go out in public or read a speech on the radio, with millions of people listening. If so, then add that the king has experienced a difficult childhood, a physicist, not just an athlete, a health unstable and volatile character and temper, things get even more complicated ... of course all are consulted the most important psychologists and scientists of England, but nobody can get away from a spider hole. Until, as in fairy tales, here is that at some point materializes the 'savior' in the form of a speech therapist 'sui generis', failed playwright and ex-brewer, perennially penniless, whose unorthodox methods but is finally able to make effective read a speech to the sovereign acceptable e. .. very important: the declaration of war on Germany (we are in 1939).

be clear: I speak of history 'very interesting' in terms of film buff in the sense that I honestly did not feel the need to bring to the screen biography a king's stuttering. But I will not completely diminish nor to mock those who suffer from this disease, in the strongest terms. Also because only those who have suffered difficult to understand what it involves: great great shame and shyness, resulting in fear of dealing with the outside world. Stuttering is not disease but a mental state, psychological insecurity born, anxiety, fear of the people, and the only way to heal and seek to overcome these phobias achieving greater self-esteem and inner peace.
exactly what you need to understand the bewildered George VI 'Doctor' Logue (a good Geoffrey Rush) succeeding the end of its mission. And the final just happened, is the only truly moving moment, thanks to the usual performance-monster of Colin Firth, who books with few worries of mind the Oscar for best leading role. But it remains the only 'click' on a good film but 'plastered'.

RATING: * * *

Stockings Lady Barbara

The road to Oscar

With Swiss punctuality, here again this year comes the ritual of Oscar nominations: thus begins the great race for the prestigious statuettes and begin the surprises: just ten days have passed from the Goden Globes ceremony (which, by tradition, are very good 'lead' the results of the Academy) and we have the first plot twist: The Social Network that the Globe had won hands down, is exceeded as the number of applications not only from King's speech (which at this point becomes the favorite for a number success as the best film), but also by sorprendentissimo The Grit , the remake of the '69 film directed by the Coen brothers and Jeff Bridges in the role that once belonged to John Wayne. the numbers tell twelve nominations for the first and ten for the second, while David Fincher's film on the genesis of Facebook is stuck at eight. It should be said, however, all three films cited contribute equally to the highest honors: The difference lies mainly in the actor cast for King's speech (which besides Colin Firth Best Actor Geoffrey Rush also square and Helena Bonham-Carter of the five non-actors) and the technical categories for The Grit (scenes, sound, costumes, where no figure The Social Network).


It 'pretty obvious, however, that the fight will be limited to these three films, with little hope for all others: the bringing to ten the number of candidates appeared fim plus a shot of the theater to' move 'from the point view of the television that evening for a real increase in competition is proof that Inception or movies like The Fighter altogether have received very little. Is quite sensational, for example, the rejection of Christopher Nolan among the directors, and here we could argue endlessly ... Only outsiders could eventually be Black Swan of Aronofsky, but I honestly believe little, that will end Natalie Portman will take home the statuette for best actress, among other well-deserved, and all happy.

In any case, I say clearly and without hesitation, the undersigned fans of The Social Network shamelessly for : epic movie, sad and extraordinary chilling portrait of modern society as seen through the genesis of the invention more infulente 'year zero': a real film 'break' between those in the race, beautifully classic in its approach but definitely 'beyond' in terms of emotional content and rate. I do not know whether jurors Academy, traditionally conservative, they will realize the scope of a film like this, but whatever happens in the end, David Fincher has constructed a work that will be remembered for years to come, that's for sure.

I have not seen king's speech, but frankly I just draw this feeling 'skin' is that both the classic film 'made' specially for the Oscars: icy, impersonal, stylistically perfect, very good in the package but otherwise insignificant in terms of content. Remember, just to understand, other films such as 'Shakespeare in Love' or 'Sense and Sensibility'. Fine, but rather 'wide boys' and unnecessary. We'll see.

Apparently sensational instead of the ten nominations for The Grit , but the surprise here is relative: the western, cyclically given for the deceased, always falls through the front door and no wonder: it is a usually immortal, the only real kind invented by the Americans and that has always identified their country, and it is normal ritrovarselo between the feet ... and if we think that this is remake directed by the Coen and Jeff Bridges as a 'showman' absolute, I can see him with sympathy. Let's say it is lying in wait!

Few words about the other categories (as we will riaprlarne): Colin Firth strategic is favorite among the actors (and would also be the time), while for women the Oscar goes to Natalie Portman is likely to for his remarkable performance in Black Swan (and this would be a nice bonus, even if the competition Annette Bening, Nicole Kidman and Michelle Williams is respectable). Incertissime, as always, applications among non-players stand out, however, where great names like Christian Bale, Geoffrey Rush, Mark Ruffalo and Melissa Leo . It would seem obvious the victory of The Social Network between the adapted screenplay and for the original probable duel between Inception, King's speech and the 'politically incorrect' The boys are doing well. Nothing to do for I love, the beautiful film by Luca Guadagnino who got the job only for the costumes (designed by Antonella Cannarozzi).

And the failures? Also this year there are excellent, starting with Christopher Nolan , blatantly excluded the quintet of directors: and here it seems a tad obvious dislike of the Academy for the talented filmmaker in London ... Inception
film is a cold, cerebral and perhaps too little addictive, but the quality of the shots you really can not discuss. And what about Roman Polanski , even considered by his beautiful The Ghost Writer? As well as confirming the absolute incompatibility between the jurors and Leonardo DiCaprio , and doubly snubbed again be the same Inception that Shutter Island. What will make the poor even Leo to take home an Oscar? I honestly do not know give me an answer ... appointment to 27 February! LOOK HERE

all applications

Raped On Japanese Bus

ALBANESE And Zalon: LAUGHTER (LOVE) POLICY. RING OF A MILLION

It is now clear that there is a passing phenomenon: Checco Zalone broken every day that passes all box office records (including Benigni), and sorry if it is little. Whatever, just released, is already staggering box-office record file (I've experienced firsthand this afternoon). And of course let's not forget Welcome to the South, although that came out well before Christmas (the period of 'fat cows' for our film), reached the remarkable figure of 30 million €.
With these numbers, you clearly this is a new kind of comedy that is gaining momentum, and we can only applaud. Also because it comes in the aftermath of the exciting results of the 'cinepanettoni', which mark the step in part. In short, for the first time since time immemorial, the charts show a resounding domination of Italian cinema, which places (for now) three films in the first three places with dizzying results.
At this point, there are two questions that most affect the movie fan: 1) what's going on? 2) It is true glory? Understood as: a consensus so high is the quality?

begin with the first. What are the reasons for this 'flashback' to the naked and pure comedy (and not passed off by 'comedy'?). Mainly, as mentioned, the partial alienation of the public against cinepanettoni. I stress partial because we do not forget that Christmas in South Africa grossed nearly 19 million euro, while The gang of Santas arrived at 21: I am still very respectable results for our box office. But the decline there, is undeniable. And the reason is quite simple after all, says Diego Abatantuono : ' are now twenty-five years in Italy are produced cinepanettoni, and people is a bit' broken bales ... 'To blame him?

Probably this is Checco Zalone has fallen into our rooms with the fury of a storm, taking with him the face of 'new man ', the 'comic right time'. What a beautiful day not be comparable to a film by Billy Wilder (to quote a joke of a dear friend of mine), but laughing is laughing, and even a lot. Of course, it is absolutely true that this is comedy 'biting', 'alternative', 'belly', as I read in many reviews ... I would say that is just the opposite: Zalone draws heavily from Benigni and do not invent anything: it takes good-natured around terrorism, racial prejudice, the eternal conflict between North and South (which also had the good fortune to Bisio) and does so in a simple, direct, effective but not vulgar. It is also fairly conventional, if we are honest. But maybe he's right Gianni Canova when he says that ' Zalone stages the' prevalence of idiot ': we all sometimes tend to feel stupid Zalone, staging more than a fool of us, makes us self- fulfill our stupidity '. But beyond this, the main merit of What a beautiful day is to be a movie 'true', built and designed with all the trappings, with a screenplay very simple but not pulled away, and able to support the timing and pace of the film. And this we must recognize this.

What does that instead Antonio Albanian in Any . Of course, here we are on other tracks of comedy. Albanian film leads to one of his most successful characters, blatantly kissed by good fortune: the facts (tragici. ..) these days far exceeds the imagination, making it sound like the film an instant-movie on the 'painful' vicissitudes of sexual Our premier. There could be no better for towing Any : people pour in the room to be loved laughter, looking fierce complicity the comic-Sicilian Monza on the degeneration of morals and the barbarism of our ex-belpaese. It 'a comedy' bad ', acid, masturbation to Tafazzi if we could say that you go to room to get confirmation of what we are stupid and scoundrels, and what really resemble the character of Cetto, which as the same Albanian' comparison of certain politicians of today can be considered a moderate '. So far so good. But Any pateale collapses in a film in its structure: the film is nothing but a succession of sketches, hilarious gags as fierce but held together without head or tail. And in the end the viewer instead get tired fun to do. Laughter in the first twenty minutes, but then the repetition of certain scenes brings out the boredom, and eventually the Oretta projection seems far-fetched and a half longer than usual ... Albanian Fazio worked right or Zelig, where a quarter of an hour scompisciare makes you laugh. But once again (as in Man freshwater and hunger and thirst ) shows it has not yet taken the steps of the film itself.
From this point of view better, much better Checco Zalone .

RATE 'What a beautiful day': * * *

RATE 'Any' * *