Thursday, February 3, 2011 - 18:00 at the Players' Club di Torino (Palazzo Graneri of the Rock - Via Bogino 9) presentation will be held to give me court reporters. Diary of a direct witness of Carlo Coscia . Speakers, in addition to the Author: Piero Gros
, Bruno Quaranta (journalist for La Stampa) and Lanfranco Vaccari (former director of L'Europeo and "Il Secolo XIX ').
Thirty years of journalism in the pen of Charles Coscia, a veteran of print, made sport - and not only - the Stampa of Turin. The career of the author is an inexhaustible mine of anecdotes, data clean, memoirs, interviews and, most importantly, people. Giovanni Arpino austerity langarola the crest of Agassi, through the poets of the Beat Generation, the Bull of Pulici, the entr'actes Alberto Tomba. The common thread of all these stories is a man of extreme dedication to his profession: the relentless race towards the news, the war against the dictatorship of the hands and presses, time travel of a type of journalism that is passed.
Before annotation to be done for this movie is the worst Italian title. What does the wind of Spring with the "Rafla", or the raid, no one knows. Above is a type of security that might give the idea of \u200b\u200ba romantic, melancholy, maybe a comedy about a family. Instead, "The Rafla" is that painful part of the European and world history which is the persecution of Jews during the Second World War. The film, French, focusing on a particular episode: the barbaric "collection" of entire Jewish families in Paris, sent before the national velodrome (great visual impact) then in the intermediate ranges, and finally in the various notorious concentration camps in Eastern Europe. Hitler peeps in certain scenes, the figure is the worst of politics - French police dominated and subjugated to the will of the Nazi regime. The big story
chases and intersects with the stories of children, fathers, mothers, sisters, doctors, nurses. Jean Reno does his. Ditto the Laurent. But the film is small.
earned astonishing figures. Partly be explained, in part no. On one side is a popular and beloved television personality (even by me). The other a film "Bad," poorly written, shot worse.
The film debut of Checco Zalone had surprised a bit 'all: the transition from mega cabaret Zelig to the big screen is not granted. In many, see my countryman Alessandro Siani, bog down. In short, Massimo Troisi, give a piece of history of comedy. If "Falling from the clouds" was the challenge, novelty, a way to build, in "What a beautiful day, development is lacking and easily search and moneyed confirmation. The second film Zalone is rather a disappointment. Laughter "little" curtain some work, but everything else falters. The verve of Zalone seems a bit 'tired. He dare not go and be safe, though at times "comes out" dignity. The film does not "flow" and is greatly helped by the presence of the excellent Rocco Papaleo. Alberobello Caparezza enchants and gives a nice cameo. But not enough.
duty ps.
Checco Zalone is a great "mask", in step with the times. Sums up, as indeed should make the "masks", vices and virtues of an era, a "people" of a country. Luca Medici is a smart guy and smart. It should, hopefully, have all the skills to be able to maintain a good standard of smiles, maybe learning to build higher level of comedy. I am looking forward.
Bari do not know well, but one thing in particular is causing me more than a curiosity. Theatres on the sea. Bari is a city of theaters over the sea. The Petruzzelli, Kursaal Santalucia, Teatro Margherita (closed for restoration). All are addressed, romantically, to the Adriatic. The culture that welcomes and embraces. A link between land and sea, known and unknown, arrivals and departures. Extensive !
be and do the king and not have a voice. Must not have been easy the beginning of the reign of King George VI, father of Queen Elizabeth II, who after renouncing the throne of his brother David, he found himself, at a time not so easy to take the reins of the illustrious British Empire. We are in the years between the two great wars. Few certainties, be very afraid. In Europe, as the walls of the daily life of the young Duke of York, director Tom Hooper, designed as a responsible man, but insecure, reasonable, but frustrated, son, brother and loving father. The drama that lives under the eyes of his family, his wife and the nation, is "not having a voice," quell'incapacità to flow smoothly with words and thoughts for a man that is the public face of far more significant than the private sector, represents an obstacle to be avoided cumbersome complexity. Stuttering is just outside the shaping of a more uncomfortable, a collection of insecurities, inaffettività, complex of inferiority experienced by "Bernie", the nickname coined the irreverent speech therapist Logue for his illustrious patient. "The speech of the King" is in fact a film about fear, really unknown, unknown, shadow of life, but "friend" rather than luminary, will succeed Geoffrey Rush, gradually dismantled. The private sector pursues the public on the screen. The fears in Europe about to tear around the exemplary speech of Hitler merge with those of the new king, the word variable. The pain disability invades the country, with that new instrument was the radio, making weight and force policy. Just as the king, brave, try to jump the obstacle of those fears away and that this difficulty in expressing themselves, so the empire must face their fears and fight monsters.
"The speech of the King" is a great film, elegant style, not obvious in the script. Colin Firth, which has always been well said, gives an interpretation of a great actor. Geoffrey Rush as usual charms. Duels, hugs, face between the two enjoy a typically British twist: simplicity and irreverence, a sense of responsibility and thin irony. The Oscar Firth would be more deserved.
Trallalero. Here is a couple of old sketches, clean, break (in the sense of "remove background") and colored to show that they are not dead but bivouac (BALLE! Maybe ...).
But let the dish. Yes, those above are just an excuse to post this squalid:
" You are a conceited bully. " " AND YOU ARE AN OLD AND A RINCOGLIONITOAAARGGH! " " HURRLWURRLBHLURRLTISEQUESTROILGIOCATTOLOVAINCAMERATUA! " (Thanks to I400calci.com )
Surely it is the prelude to the figure that I will laugh when the film of taste to see this scene. Like an idiot.
I've never been a fan of Clint Eastwood, while recognizing all the credit "objective." A master of impeccable and never sloppy filmmaking. Maybe too classic for my taste.
This time I have to change his mind (and someone who cares comment :-)).
Eastwood chooses to "Hereafter," a cumbersome and elusive subject, which you embarrassed to talk about. It is not easy to deal with the "concept" (or reality?) Of death, yet more difficult is trying to tell, in some way. The director uses three characters and three stories. Matt Damon is a young worker in San Francisco with the gift and the conviction to make contact with the dead. Cecile De France is a French journalist who survived the tsunami that struck Southeast Asia. Little George Mc Laren has instead lost the beloved twin brother in a senseless accident. The death becomes a reality in the lives of three characters, with an uncomfortable reality that is painful and complex deal with it, a reality that is confusing, but at the same time offering strange certainties. Describing the three lives, Eastwood does not "unbalanced" never. It 'a thrilling and touching film, but inexplicably simple and without excess. The theme and the choice made more markedly narrative would lead anyone to "exaggerate" to lapse into easy tears and emotion sensational. The classicism and delicacy of Eastwood, however, prevent this, giving a fair, balanced, tense and serene at the same time, for the duration of the film.
And the key choice, the taste of the story seems to be winning. Eastwood does not try to dig so cumbersome in the personalities of his creatures. The leaves emerge through the telling of their reality, making sure they are the "facts" to speak, to make sense to allow us to imagine.
The director, finally, once again a classic and impeccable. Eastwood's technique is a form of respect and love for cinema and its audience. Nothing is left to chance and every shot is accurate and meaningful piece of reality film that runs before your eyes.
ps. applaud the small Mc Laren. His story is more touching and delicate. The child actor offers an interpretation that leaves you breathless.
I saw yesterday, for the third time, "Mulholland Drive" by David Lynch. And once again, I'm here to brood, to rethink the details, passages, to the wonderful interpretation of Naomi Watts, the genius of the director.
MD is a masterpiece, one of those rare films that do not end with a vision but who continue to surprise, to launch questions. You do not "grab" easily in many dismiss the question by saying "you do not understand anything." And instead, I think you understand much. O Lynch still wants to see much in his own way, of course. But it is how he chooses to excite. The story could be trivialized in a few lines. And who knows how many movies, TV series, novels have, to some extent, already been dealt. Love and jealousy, goals and dreams, triangles and emotional loneliness, careerism and ambition, art and pseudo-art.
But Lynch decided to take the road more difficult to tell the tragic story of an aspiring young film star, and ill love reciprocated by its more illustrious (and clever?) Links. The director decides to immerse the viewer in the standard space-time dimension of the story, but the universe dreamy, sentimental, irrational, the protagonist, making infer the history of the most intimate point of view that can exist: the subconscious. The bushes are not to lose the keys and blue cubes, and access elements of transition between reality and memories, dreams and desires. The film oozes with tension and mystery, distressing and anxious atmosphere. Why not be other than the mood of the character, tortured to the point of reaching a tragic gesture.
Lynch delves into the depths of her heroine not playing with the transfiguration of reality that occurs in dreams and staging of all torments and desires, frustrations and jealousies. The irrational is a film space so sublime, as, perhaps, only Federico Fellini was able to do in his time.
Between the lines, then, is the world of cinema and its illusions, a context from which the powerful and decadent Lynch seems to want to distance themselves (in fact the film, set in the Mecca of Hollywood film, was produced thanks to the "auteur" French finance). It outlines, in fact, as a world of false hopes, of mirrors and power, that not everyone can bear.
Revised last night on TV. An unusual classic, due to the anomalous length, the American comedy. The signing Blake Edwards, who died recently. Dizzying cast: David Niven and Peter Sellers, Claudia Cardinale and Capucine.
Strangely, it was said, as long as comedy, probably due to the evolution of the plot of the film during its implementation. At first, the protagonist had to be the only gentleman thief played by Niven. Then it seems that the character of the then legendary Inspector Clouseau has taken over, thanks to the imprinting of Sellers, chosen at the last moment in place of Peter Ustinov.
not you laugh from beginning to end, just for an obviously cumbersome nature of film. But there are pearls of rare comedy. Above all, in my view, the near-final scene of the chase car, in a small town just outside Rome. Chimpanzees and zebbre run at the wheel of cars and small cars, coming and going in a vortex in the central square of the village, under the astonished eyes, but not that much of an old man passing by. The human folly summarized in a handful of shots. Very few words, camera movements are not too articulate, a simple gag. Rather the comic overwhelming.
Aiper Super Street Fighter Turbo Alpha Plas etc ...
Clearly I open 2011 with a drawing of 2010. Why are alternative? No, because I have no plans of 2011, clearly. So instead a drawing of a crap cheffaccagare Ryu with-the-belly-that-should-not-be-why-the-cheers-the start of 2010 because it perspective.
When you decide to make a film, you want to tell a story. It starts with an idea, maybe a special atmosphere, an original character, a character to make known, in full-time change. In the first Tron, released in 1982, this idea was, in spite, then, the film has aged badly, in contrast to other futuristic films released in those years, however, have made the history of cinema (from "Star Wars" to "ET." for instance). In Tron Legacy, the sequel to the Disney wanted to build years of zero, there is no idea of \u200b\u200blonging. When it seems that a film has been produced starting from the gadgets and toys to market to buy, and not by "other", it's getting sad. And the sequel to Steven Lisberg does just that effect. It may in fact be regarded as merely well-made version, from the standpoint of aesthetic Technologic or first Tron, a pioneer in the eighties. The second, however, disappointed by a number of ways, shaping up as yet another soulless giocattolone, ready, pass me the term "stoned" by getting strategic merchandising, the boys in pre-adolescence and beyond. Worth the film, however, but the eleven euro for the projection, the scenes of challenges, including chases and fights with technological gizmos wonderfully hellish. For everything else, "arridatece" Matrix. The screenplay is deboluccia, with characters who appear and disappear without any major problems with writing, with plot twists too illogical or phone calls, with dialogue that surface more than once a wink to other films. But what really disappoints is, as noted above, the lack of a vision, an idea, a story to tell, in the fullest sense that you can find. In the eighties was the beginning and throughout the computer into a movie set, in a nutshell, a motherboard or an operating system (not 'm not an expert about it :-)), was a brilliant idea. In 2010 the World "explodes" for Wikileaks affair. Julian Assange is the man of the year. We talk about digital natives and Underground computing (read seven of the Corriere della Sera). Everything leads to a time and a macro-history in constant change and fast. Not only technological. It was to capture a vitality, a ferment, a reflection of a world in which we all live, to be told to be better understood. And in this film is an invaluable tool. One missed cue instead Tron Legacy for that, although set in two "location" well-known age 2.0 (the reality and the network), it does not deepen ties and channels. The universe programs and bytes could be easily star a landscape or a dream environment, however little has been exploited the food for thought "necessary" on the interconnections between the two worlds. bad.
Yesterday was released in French theaters "Fortapàsc, Marco Risi's film on the history and the murder of Giancarlo Siani, twenty-six journalist precarious Il Mattino, brutally murdered by the mafia because "uncomfortable." The work is scheduled in just fourteen rooms throughout France, but it is always a result. The promotion aims, ça va sans dire, the curiosity that is breathed in Europe on the phenomenon that the Neapolitan underworld, after "Gomorra," a bit 'all have come to know. In the trailer, in fact, reads: "The Camorra has murdered thousands of people. But only a journalist." Allocine that I read about the criticism he has received well. The famous magazine Positif (the "competitor" of perhaps the most famous "Cahiers du cinéma), suggests four out of five stars. Even Premiere. The average goes down, however, with Le Monde that suppresses: a star. Instead Fortapsàsc is a good movie, maybe not one of those films to be counted among the masterpieces of Italian civil commitment, but certainly well done and "necessary." As they say in those parts, courage!
tonight I am going to see "Tron Legacy", a film sequel to the 1982 "cult" to a certain slice of cineamatori fans of the genre science fiction and the like. It's "Tron", directed by Steven Lisberger, it made history with his other later works. This however, he sees a young (and cute) starring Jeff Bridges, it's definitely interesting even if it is lily-aged, with special effects and use of computer graphics, in the era of "Avatar" are undeniable tenderness.
History (from MYmovies.it ). Kevin Flynn is the author of some very successful games, but the ENCOM, the company that owns the rights, he expelled them and pretends to be his own creations. In an attempt to recover data that could prove the paternity of their intellectual works, Flynn sneaks into the palace of the company, and a terminal tries to bypass the internal protections. He realizes, however, the MCP, the central processor unit (which brings together all the brainy computer ENCOM and has developed a form of autonomous intelligence) and through an experimental laser delivers creative in the world of computers. Kevin Flynn discovers that there is a universe in which the programs have human form, in which the MCP controls as a dictator, that video games are actually deadly battles, and that creative people like him are forbidden objects of cults like religious deities. To leave the world of computers Flynn will have to fight the Central Intelligence, helped by software programmed by his two friends, one of which, Tron, will manage the end to free programs from the dictatorship of the MCP.
Despite an intriguing idea (and I can only assume, since I was born in those months, innovative for its time), the film's screenplay is weak on the plans and construction of a rhythm. The plot is too straight and without twists sacrosanct. It is true that we are not really in an action movie, but the apparent slowness and the atmosphere seem to be suspended due more to weak oiling the gears of the film, rather than a precise stylistic choice. However, "Tron" retains its charm, an aesthetic, a little 'for the avant-garde film that represents the universe (the first film set in a computer?), A little' to the symbolic power of his characters and the plot (although ... fine emulation of certain aspects of the saga "Star Wars? ask the experts.) programmers are" creative ", venerated and admired. The Master Control Program in some ways recalls a giant Big Brother, for other cumbersome Soviet bureaucracy.
With my mates home projection, we went to comb through the cast of the film. Among the names, someone will meet again tonight in the sequel, someone else instead, we have found, over time, many beloved film. Among the leaders, in fact, is reported to Tim Burton.
[...] and very effective, wonderful view, "experiences" from beginning to end are the memories beautifully (and finally!) collected by Charles Coscia in his Give me the stenographers. Diary of an eye-witness "(pangram Books, € 15). Logs cut from a real career of thirty years left La Stampa, but not limited to sports stories, talking about Agassi, Kuerten's, Taurus, and of Pulici Maradona but also of the poets of the Beat Generation, the Prague Spring and Giovanni Arpino cigarettes or Argentina's military dictatorship. Charles is a great journalist, a born storyteller, with a refined taste (and hard) for the news, especially for secondary and instead apparently able to open a door that looks out from the sport on society and history. Let the facts, faces and voices to speak, to explain everything, and disenchantment with much rigor in Piedmont, but with infinite passion for a job progresses more and more in Technology (where court reporters, who collected and transmitted dimafonisti the "hot", with such difficulty, sometimes tragicomic, the songs dictated by post?), but that is likely to lose, than in years which we relive the Roaring Coscia, accuracy, passion and ability to grip on reality.
"As soon as you take in your hand you think it's a small collection of maxims, then begin, is kidnapped by the magic of the journey. Yes, because Avrupalilar is nothing than a magical journey through Istanbul in the company of four young .[...]»
