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Harry Potter e i Doni della Morte - Parte I

David Yates

The cards are on the table, blood flows, the time for ambiguity is over: Voldemort has taken power, and every magician must make his choice. "Now everything will change, is not it?" Said Hermione at the end of "Harry Potter and the Goblet of Fire" as sometimes happens in the flow of history, for the protagonists of the series by JK Rowling join now the late teens and one in which the world knows is overthrown from the foundations. 'S why the tragic "Harry Potter and the Deathly Hallows - Part I" by David Yates opens with a harrowing sequence, and subtly baroque: Hermione casts the spell of memory loss on his Muggle parents, who for their own good be sure to have a daughter, and her image disappears from their framed pictures. At the same time Harry's uncles leave Privet Drive (hurts the film to remove, for obvious reasons of time, one of the most touching episodes of the novel, the departure of Dudley). This puts the beginning of a beautiful and desperate tone of the movie: not great disaster movie scenes (Like the attack on the Millennium Bridge in "Harry Potter and the Half-Blood Prince"), but a cataclysm of the soul.
All this is in the colors of photography Eduardo Serra, gray, sad, depicting a world of ice cream even when Harry and Hermione find themselves safe after escaping from the house-trap Bathilda Bagshot, at the end, the sand, after another lucky escape, while the pain of the death of a friend, the light will be warmer.
The humor of the collective transformation using the Polyjuice Potion in Harry at the beginning of the film, it serves to highlight by contrast the darkness of the atmosphere, ditto for the solemnity of the departure, immediately followed by the battle in the sky. There is a kind of profound fatigue in the movie, not a weakness in the sense of fiction but a melancholy end of the world, in the clashes, which are a brutal matter of survival, it lacks the epic exaltation. Can be expected to return in the grand finale of this Part II, where the beloved Hogwarts becomes the battlefield in flames (there might be an influence on the concept of JK Rowling of Germanic and Götterdämmerung Wagner: Hogwarts as Valhalla). But in this first part there is nothing but doubt, sadness and despair. Hogwarts is not visible (and precisely because of this lack - both in terms of staging and symbolic - there realize less than the age gap between the characters and the actors). The film takes place mostly around (in flight) for an England empty and deserted as a zombie movie.
seems incredible that once the Harry Potter film saga has been a hot children's film where the horror and the danger existed but where, after defeating them, they came back in the cozy family bed of the Great Hall of Hogwarts to take the laurels and gorging on food. At the beginning of "The Deathly Hallows," when the snake Nagini rushes forward to swallow a corpse, pounced to open the jaws against the camera. It 's a sign: a statement that it will discount the audience on the floor of the black story. The page that follows Harry into his house the suit, vacillating Bathilda Bagshot is pure horror film: the living dead, the buzzing of flies (classic sign of the massacre film), the shocking discovery sketches of dried blood on the walls.
Some problems of visual rendering of the pages of the novel are resolved with extreme sharpness in the film by Yates. In the scene of the temptation to Ron, when the Horcrux talk to leverage his sense of inferiority against Harry and his jealousy (including sexual) about Hermione, you see a hallucinatory vision of Harry and Hermione as waxy perfect creatures inhuman and rebuilt the computer here is that the CGI becomes conscious of the narrative form, no longer simple source of special effects (and note the audacity to show naked kissing). Or see the proud and delirious sequence of reading the fable of the Deathly Hallows, made visually through graphic figures unreal, almost in silhouette, of which you can see the skeletal limbs: we are halfway between Lotte Reiniger and Tim Burton.
As in the novel, the domain of the Death Eaters, who took over the Ministry of Magic and start a campaign to eliminate the wizards of Muggle blood, is emerging as a fantasy parallel of Nazism. The film is impressive in this respect thanks to the properties of the film to show their faces. Let me explain: the wizards and witches who come to see Ministry "nazificato" not hanno un aspetto diverso dai film precedenti, e infatti sono gli stessi: per paura o per conformismo sono divenuti collaborazionisti (è la banalità del male di cui ci ha parlato Hannah Arendt). Detto per inciso, e in particolare riguardo a Mrs. Umbridge, più che mai si rimpiange qui che il pacifismo di J.K. Rowling abbia impedito ai suoi eroi positivi di usare la maledizione letale, “Avada Kedavra”; ed è il solito problema della liceità dei mezzi che sorge ogni volta che il bene si confronta contro il male assoluto.
Le carte sono in tavola e ognuno deve fare la sua scelta. Si avvicina la ciclopica battaglia che concluderà il ciclo, e in questo rogo si consumerà - per poi rinascere mostrandoci un mondo purificato - The great saga.

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Porco Rosso

Hayao Miyazaki

If we in the West is exotic Japan, arched bridges over the waterways, the pagoda roofs, the torii, the bare truth of the gardens of Buddhist sand, why should not be the opposite: for the Japanese animation genius Hayao Miyazaki is a Europe of exotic dream, a land of blue skies filled with clouds as white as cotton, and nineteenth-century city of tall buildings with twisted lanes opening onto vast crazy, and Dalmatian coast is its sun, the deep blue sea that rivals that of the sky - an imaginary landscape of glorious nature, clear water and people povera.
Sulla riviera adriatica si svolge l'avventura di “Porco Rosso”, un capolavoro di Miyazaki che esce sugli schermi italiani in leggero ritardo, diciotto anni dopo la sua realizzazione nel 1992. Porco Rosso è l'aviatore Marco Pagot, eroe della Grande Guerra, cui una maledizione imprecisata (forse la guerra stessa?) ha dato il volto di un maiale. E' il 1929; Porco Rosso vive in ritiro su un'isola segreta, dalla quale esce col suo idrovolante per combattere contro i “pirati del cielo” che saccheggiano le navi da crociera e contro il loro campione, l'americano Curtis – il quale dal canto suo sogna una carriera a Hollywood e per il dopo ha ambizioni presidenziali (potrebbe essere un riferimento a Lindbergh).
Porco Rosso is fascist ("Rather than becoming a fascist is better to be a pig"), and when he goes to a Milan also imaginary in order to repair his plane from the small company damaged, it must contend with the secret police and fascist 'aviation regime (there is a great story on a canal to escape dell'idrovolante fabulous), but we will succeed, even with the help of his friend Arturo Ferrarin aviator - which is the name of an authentic Italian ace . Like the rest of the name is a tribute to Pagot Pagot brothers, fathers of animation in Italy, "Porco Rosso" is the movie "Italian" of the high Japanese cartoonist, anche visivamente costellato di cartelli e scritte italiane (con qualche buffo errore, “morto a vivo”, “non si fo credito”). Quando Porco Rosso riparte avventurosamente da Milano, la figlia adolescente dell'amico proprietario della ditta Piccolo, Fio (quindi il nome completo è Fio Piccolo), lo accompagna per lo scontro finale.
Questo film appartiene al periodo più alto dell'arte di Miyazaki, quello in cui l'incanto dello sguardo si sposa alla massima semplicità. “Il mondo è davvero stupendo!”, grida Fio in volo: il rapporto dei personaggi di Miyazaki con la struggente bellezza della natura è di di ammirato rispetto e insieme di fusione con essa (per Porco Rosso con il cielo e the clouds). Not for nothing, "Porco Rosso" is a film of aviators, it is a recurring concept in Miyazaki's love for flying, it's magical or mechanical, which is also a love for the landscape seen from above: the view from above the pilot's plane is not even the look of the designer on the page?
In addition, Miyazaki is full of passionate moviegoer. At his first appearance Porco Rosso is sleeping in the sun on your face with the magazine "Cinema". Pirates of the band Mama help them control a lookalike of Bluto, Popeye's enemy. In Milan, the protagonist goes to the cinema to watch an animated film, remade from Miyazaki from Disney and Fleischer. When you enter the Hotel Adriano Porco Rosso, where the his secret lover, Madame Gina sings a beautiful French songs of yesteryear, makes his entrance as Humphrey Bogart, and all his actions, his whole figure, the whole atmosphere that surrounds it is a nostalgic evocation of chivalric heroes Hollywood the past.
It 's a film of sun and flight of clashes in the blue (from the planes circling in the sky as brightly colored confetti), friendships and memories of adolescence, maturity of melancholy, love, remaining silent, cowardly men and waiting women. In "Porco Rosso" lyricism and humor reach a point of perfect fusion, a rare, perhaps even for Miyazaki. Just think of the sublime flashback to the great war - dove persino gli aeroplani che precipitano in fiamme hanno una loro cupa bellezza – quando il capitano Pagot , ancora col suo vero viso, viene inghiottito da una nuvola e vede salire lentamente verso il cielo gli aerei dei compagni e degli avversari caduti, che si radunano in un grande arco scintillante nell'alto del cielo... una pagina degna di Frank Borzage.
Lirismo e comicità. Impagabili questi pirati che vediamo travolti e tormentati da un'orda di bambine che hanno preso come ostaggio (alla domanda se prenderle tutte il capo risponde: “Per chi rimanesse esclusa sarebbe spiacevole, no?”) - bambine per le quali il combattimento aereo che segue è il più bello dei giocattoli. Impagabile lo scontro finale fra Porco Rosso e Curtis: siccome uno ha le mitragliatrici inceppate e l'altro ha finito i colpi, duellano nel cielo tirandosi addosso pezzi di ferro e chiavi inglesi; e poi a terra diventa un match di pugilato spinto all'estremo, come quello fra John Wayne e Victor McLagen al culmine di “Un uomo tranquillo” di Ford (ma con in più una comicità infantile e ribalda alla “Lupin III”).
E' un mondo gentile, dove basta un bonario rimprovero di Gina per far arrossire i terribili pirati e dove (allorché questi vogliono distruggere l'idrovolante di Porco Rosso) basta il grande discorso di Fio sull'onore degli aviatori per renderli convinti e plaudenti. “Porco Rosso” è, per ripescare un vecchio aggettivo desueto, rob a movie. Gradually, of course, but it changes your life.

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My Son, My Son, What Have Ye Done

Werner Herzog

The masochism of the Italian distributors with respect to securities, you can always count on. But he wanted to keep the original title "My Son, My Son, What Have Ye Done" for the last (great) film by Werner Herzog knows the true tenacity in getting hurt. Not that "My son, my son, what have you done" would be a way to attract the crowds (at least in the original archaic "Ye" announces the film's reference to Greek tragedy), in the role of distributor, the writer would have invented something on the "home of the flamingos." And 'here that matures the tragedy of the film (a matricide by a dummy) and told in flashback as the police besieged the home of the flamingos is a reason that obsessive self-inform the house of mother and child, between statues , drawings, glass, ornaments, painted the garage doors, and two live animals - it's like a version of pop / kitsch of the house of "Psycho."
"My Son, My Son ..." is Herzog's return to a fictional cinema high level after the disappointing "Invincible" and "Bad Lieutenant". Produced by David Lynch, opened the castle, "David Lynch Presents" is the marriage between the aspiration to the absolute herzoghiana e la sospensione onirica lynchana. Un matrimonio singolarmente riuscito! Invero erano già lynchani ne “Il cattivo tenente” alcuni particolari, come il coccodrillo sulla strada: parente di molte ossessioni figurative herzoghiana, come le rane rosse che invadono il terreno in più di un suo film, ma fotografato in modo “splendente” alla Lynch. Però “My Son, My Son...” è molto di più; è una trasposizione di motivi narrativi e figurativi lynchani nelle vene di Herzog, come una trasfusione di sangue rivivificante. Da un lato si possono distinguere agevolmente nel film “momenti herzoghiani” e “momenti lynchani”; dall'altro essi si amalgamano in un arricchimento mutual tempted to think of the two filmmakers as co-authors.
The frozen face of Brad (Michael Shannon in monumental interpretation) gives his delusions during the epic trip to Peru a shade - note that the film is passed through by a streak of wicked humor - and when he speaks as a visionary in the background of the mountains creates yet another figure of the mad gallery Herzog. In his scene in a Peruvian market ("Because the world is looking at me? Because the mountains are looking at me?") The camera leaves him to go back to a sort of fascination with faces wrinkled old Peruvian toothless - but also to feed their reaction to being vampire movies: here is that the story has turned into a genuine piece of documentary Herzog. Brad
Back in America, her madness grows in relationship with a castrating mother (this is not a coincidence that as the mother was chosen Grace Zabriskie), which is unable to dissuade his girlfriend (Chloë Sevigny). At the end of the episode jelly - a moment of great embarrassment to three during a family dinner - there is an absolutely lynchano: on the edge of the disturbing score Music Brad's mother and girlfriend froze in a pose classically centered as human imitation of a still image, and it is both a metaphorical comment on their situation bloccata e un tableau astratto che sembra compendiare la scena congelandola nella dimensione dell'assoluto. E' purissimo Lynch la discussione fra i due poliziotti in macchina (Willem Dafoe e Michael Peña) in apertura; lo stesso si può dire della sublime inquadratura, più tardi, degli stessi due che avanzano cautamente verso il garage dove si è barricato Brad con gli “ostaggi”, mentre la mdp passa davanti a loro in un bizzarro carrello laterale.
Ma soprattutto il delirante racconto di un nano montato sul cavallo più piccolo del mondo, sconfitti entrambi da un gallo gigante più grande di loro, esprime appieno la sua natura lynchana quando si accompagna a un'inquadratura di tre personaggi immobili, another freeze frame human here centering typical Lynch has increased tenfold dall'incongrua presence of the dwarf of the story (a dwarf is a figure also herzoghiana, just remember his masterpiece "Even dwarfs started small," but here we are in true Lynch territory). However, discuss assignments ideals of a scene or the other, although interesting, is not a desire to share the spoils: why the film is a happy conjunction of authorship whose outcome is always unity.
This dip in the flashback in the madness - priceless journey ostrich farming Uncle Ted (Brad Dourif) - includes a failed attempt to Brad as an actor in amateur staging of a Greek tragedy (the director Udo Kier): This course is a pastiche by Aeschylus ("Choephori" and "Eumenides") by the killing of Clytemnestra's son Orestes. The resonance of the classic text establishes a dialogue with the strange nature of the frenzied pop and coll'ambientazione American tragedy, when the madness of Brad meets the greek myth creates a series of resonances, in addition to extending the terms diegetic framework, strengthen its drama. Rightly
the concrete act of matricide which is celebrated in the nearby chalet California is not seen on stage "but comes from the old neighbor told us, just as the event always bloody happens offstage in Greek tragedy.
Ben served as an exceptional musical score, which has important part of the mariachi music, "My Son, My Son ..." is a tragedy of madness - and a universal and widespread pain - which unfolds on the screen with hallucinatory conviction and upset, reckless originality.

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I never tried to prepare a brimmed hat wide. Thanks to the advice of a dear friend, Claudia , I realized alcuni. Ve li mostro.

Questo è ottenuto con un mélange di lana bergschaf di colore bordeaux e marrone chiaro.

Questo, da donna, ha dell'antico tulle di cotone lavorato con la bergschaf ed una spilla asportabile.

Voi sapete che la mia macchina fotografica non va d'accordo con i rossi che risultano sempre più "schcattusi"(violenti) di quanto non siano nella realtà.

E' una calottina con seta inserita.

And in the end a beret with a spiral.

Ciaoooooooo!

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Excuse me, a little digression from the felt.

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them to me ... and I ask them to do.

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dry! Marjolein

I

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Dallinga - Verona Fiera

had the honor to attend a course organized by Agostina Zwilling and held by Marjolein Dallinga, the creator of the costumes of Cirque du Soleil has brought us into a magical world of colors and unusual shapes.
Tall, lean, composed, elegant, available and ... very good!
Flanked by the great Augustine and translated (thankfully!) From the nice husband Aug: Gosta, he gave us (so to say that ....) three glorious days, I'm sure, will leave a mark in our activities Feltraio.
I show you some of our work, some are not finished (the last), some still wet.
My photos, you know, are very poor, but in a few days the images will appear much better on Agostina Zwilling site that has guided us with his unparalleled skill, always attentive to our needs, caring and urges. The techniques that we Marjolein taught are quite complicated and require great care and precision, you can learn only by seeing the live proceedings, so, sorry, but this time I will not be able to respond to your requests for information, I say only that it's worth attending those courses that, among other things have been reorganized by needle and its site you can find all related information.

I just have to thank again Ago, Marjolein, Gosta and all the nice fellow and his companion who accompanied me on this extraordinary adventure.

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Skillfully - Vicenza

My space to Enable. Four unforgettable days.

Thanks to all the real and virtual friends who have come to see me, thanks to the organizers who have treated me as if we had always known, thanks to all visitors.

could not get better than this.