Plastic Split Headphone

Robin Hood

Ridley Scott

General rule: it can happen to go to bed with a woman and have a defaillance , but if one enters the bedroom boasted, "Get ready, dear, here comes the new John C. Holmes, then a puff yourself wholly deserves derision. Metaphors aside, Ridley Scott has done a delight to his "Robin Hood" by stating to the right and left, none of the Robin Hood of the screen appears to be satisfactory. Inevitable consequence of any fault of his - which is not bad, but defects has - is amplified. In Scott
the story is often something lutulento. It is also for "Robin Hood", which leaves the impression of being a film of four hours be reduced to two with a hatchet and a half hours (as "Kingdom of Heaven"). Just look like a very interesting element, and completely burn, one of the masked figures who are the youth of the village fled into the forest to make the poachers, is underused throwing here and there in disconnected fragments.
There is a discrepancy between the pompous and the second part of the first part (two films seem to be badly stuck to each other), that invests throughout the discrepancy narrative point of view. Why "Robin Hood" Scott - l'antefatto della leggenda quale la conosciamo - si regge nella prima parte sulla scelta di non giocare l'avventura in chiave eroica bensì realistica, nei limiti consentiti dal genere. I Robin Hood dello schermo sono sempre stati declinati in tono eroico (anche “Robin e Marian”, questa elegia agrodolce dell'età matura) o eroicomico (non penso alla parodia di Mel Brooks ma al cartoon disneyano). In Scott, i combattimenti non mancano ma sono come tenuti sotto controllo - laddove l'eroismo implicherebbe la celebrazione. Anche nelle pagine dell'assedio al castello vige il fascino storico del warfare medievale più che il brivido dell'azione eroica.
Scott ha sempre parlato di quanto lo appassioni costruire un'ambientazione, ed effettivamente il meglio di “Robin Hood” sta qui: nell'interesse del film per l'immediatezza, i piccoli dettagli della vita quotidiana. Più d'una volta lo svolgimento si attarda ad ascoltare una ballata: c'è nel film un'attenzione vagamente folkloristica di Scott per le canzoni. E c'è attenzione alla materialità degli atti: il grazioso rimpallo quasi comedy fra Robin e Lady Marion (che devono fingere di essere marito e moglie subito dopo essersi conosciuti) si traduce nella descrizione di Robin che in camera di lei dorme per terra abbracciato per scaldarsi a uno dei suoi cani. Il film è arioso nel descrivere la festa paesana in cui i compagni di Robin corteggiano tre contadine bellocce, i poveri campi lavorati dalle donne perché gli uomini sono in guerra, la cavalcata mattutina di Robin e Marion per il paese... Il piccolo villaggio affamato di Nottingham sembra diventare quell'Eden che inutilmente si cerca in tutto il cinema di Ridley Scott. Ci sono nel film alcuni dettagli molto ben trovati: il pelo pubico rimasto sulla lingua al futuro re Giovanni sorpreso dalla madre mentre fa l'amore, il (simbolico) sangue sull'ostrica che il re francese offre al sicario dopo essersi tagliato aprendola – e quei topolini medievali senza paura che si spingono sul tavolo a mangiare il cibo nei piatti. A volte Scott raggiunge una efficace dimensione pittorica (l'arrivo trionfale della nave a Londra). E a coronare il tutto, un bel dialogo (“Non We can repay our luck with rudeness. It would be an invitation to darkness). Scott
Then you forget everything the film has a sharp turn with a second part rather messy, with huge holes in logic and conduct pulled by the hair (Robin Hood inventor and champion of the Magna Carta). Plebeian realism of this tale of false identity is passed to the action usually in costume. The page in the arrival of French forces on the beach, and the battle that follows, is delusional and disappointing at the same time so that repeated word for word the landing in Normandy in "Saving Private Ryan" is not a quote, but a remake pedantic (the same shot of the body under water, of the same shot arrows through the water instead of bullets) of the total billed.
But we must stay until the end - not only because the adventure is always an adventure, not only because the movies you watch on principle in full (if you do not have crap Italian), but because the best part of All "Robin Hood" are the closing credits. Opera by Giuseppe Toccafondo are a post-film film that takes fancy pictures with thought and reworks the classic way "explosive" the author - in the sense that the color and the deformation of the figure in Toccafondo seem to explode from the figure, like wings, warts, flare-ups. If this seems obvious when it applied to blood and jerky movements, Toccafondo goes further, reworks with his unique creativity any shape stimulates his imagination (even the great owl Eleanor of Aquitaine, a beautiful animal that is suspected to be among the killed assembly ). It even has the impression that pictures are not included in the final cut (the beheading of a dark brown). Toccafondo diabolical feature has moved to make what is already taken, to give the movement to what is already moving - to magnify the image with a film movement of the second degree.

Mustang 2007 Repairmanual

Le quattro volte

Michelangelo Frammartino

Evidence of noise in a movie built on silence (of men) the sound is fundamental, the series of four rhythmic strokes of the blade on the cover of the land of coal - which opens "The four times" by Michelangelo Frammartino - you keep the image of the Calabrian mountains following . Lack of distracting noise that which is made up of the word (distracting because it pushes everything else into the background) isolates and repeats the sound at once both the naked evidence and its meaning. Stop listening to talk shows?
Four episodes, four states of existence. An old goatherd sick (we will not forget the details of the shepherd dog that worried when the master comes back sufferer sits along the sheep track dopo il passaggio del gregge) si cura ingerendo polvere del pavimento della chiesa. Nota che a dargli la polvere, raccolta con un'immagine della Madonna, è la donna che pulisce in chiesa; l'elemento femminile come tramite implica una religiosità ancora più arcaica di quanto già vediamo? Poi il pastore perde la polvere - e muore. Uno stacco ci mostra il parto di una capra: per una morte, c'è una vita – è il flusso continuo dell'esistenza (l'umano, l'animale, il vegetale, il minerale), presente già nel titolo. Passiamo alla vita del capretto, dalla nascita fino a quando, uscito per la prima volta col gregge, si perde. Le inquadrature dal basso degli alberi mossi dal vento potrebbero essere una soggettiva animale - But if not, the image shall transmit a sense of mysterious wonder of the greatness of the world. At night, the kid falls asleep under a solemn fir. We would expect at this point a dramatic development in a negative way (death of the kid) or positive (found the flock), but is not. The subject of the film is all, not an individual story. The story moves - after a reference to the passing of the seasons - the spruce, which is slaughtered, used for a village festival, and then sawed into pieces. As the overall factory charcoal charcoal in the beginning, the coal is delivered to the village, smoke from a chimney is lost roofs.
For the truth of certain statements Frammartino seem to push the interpretation of a mystical dimension, "multiplication", referring to reincarnation. But we are not obliged to follow: the continuity of life is already present in the images without the need for more connections (even more clearly that the tree exists before the kid).
Frammartino What is an absolute eye . After the funeral, the pastor, the coffin is placed in a columbarium in the cemetery, the camera captures its closure from a point of view, impossible, in the grave. Such a "subjective empty" is when the tree sawn pieces are taken away on charcoal, and then when in the sequence of the charcoal. "Four times" but is similar to the documentary goes beyond the documentary to be lower, but not in the aesthetic sense in the sense of a deeper level and primitive: it gives the impression of real dig at the roots of existence. Frammartino purifies the immediacy in a solemn simplicity. There is something archaic, like magic, there is a resonance in these human gestures - as well as the persistent bleating of goats, but also in the quiet dignity of the wood, the silver streaks of coal. There is a meaning in things. When the snails escaping from the pot in which he held the goatherd, they threw the brick through the window that has held down the lid does not "worth" (the Friulian say: is not the bon ). Note that this brick will have an equal role when disaster will be used later as a steadfast-wheel truck. In this film, abstract objects are not interchangeable as in our world (where one could speak of the anonymous Marxist equivalent of the goods).
Life itself seems to get in the scene as a whole and therefore "Four times" is a film about the mysterious causal connections that weave the universe under the name of the event. This gives you a sense of magic - but magic is rooted in reality. In the woods, an ant wanders the face of the importunate goatherd ill. Shortly after, we lost ground in the package of powder "curative" covered with ants even come to lift a corner. And this reminds us of the ant as before: the concept of the film is not merely to photograph the real but to convey a powerful and complex flow that is life, and he does so with these, what might be called correspondances but omitting decadent-symbolist all meaning. It could be called a documentary, but it is an immersion of the camera in the mysterious dimension of the whole and lasting.

Gay Cruising Spots Charlotte

Vendicami

Johnnie To

It 'true that the beautiful "Vengeance" ("Avenge me" - but should view it in its original languages) does not reach the level of the absolute masterpieces of Johnnie To, as the recent "Election" and "Exiled", but do not worry: To a movie that is not among his masterpieces, however, has three spans over the media.
To The Film is the film of choice. The plan goes wrong, fate plays its cards to mess human projects (or ironically to help, "PTU") in front of the appropriate mechanisms cruel men have the sole option whether to stay faithful to its obligations or not, first and foremost all group solidarity ("The Mission"). The honor is as important as in Johnnie To John Woo, although it declined in a less mystical, more matter-of-fact . Written by
trust collaborator Wai Ka-fai, "Vengeance" (which takes place between Hong Kong and Macao) is the gift To a Jean-Pierre Melville. A Chinese family is massacred by a group of assassins, killed her husband and two children, survives seriously injured his wife, who is French. His father, a former gangster now restaurateur, arrives from Paris to avenge her. His name is Frank Costello, and in fact originally the film was to be played by Alain Delon. It is not that Johnny Hallyday (closed raincoat, his face gaunt with blue eyes burning, his hat down) does not make an iconic figure, but Delon would provide visual continuity and mythological - and we can only imagine what would have been great in the part, with his face and his eyes ice storm. Delon (To tell) after an initial positive opinion has been pulled back. Too bad for him, would add a pearl necklace to his great films.
Stranger in a Strange Land, Costello's more going to lose all memory because of an old bullet in the brain ("What is the revenge when you lost everything?" Being asked in the film). Stumbled by chance on a group of gangsters (as always Anthony Wong is masterful, as always Lam Suet is adorable, with his usual touch of humor) while performing a job as a killer for a mafia boss, takes them by offering them in exchange for ownership of his restaurant in Paris.
With a twist of fate of those who so love to Johnnie To, a poet of coincidence, only revenge began Costello's men discovered that the instigator of the massacre of the family had their own boss, Mr. Fung. But now they are linked to Costello, note that the name of the restaurant in Paris Costello, revealed only late in the film in order to solemnize and Les Frères. And everything will explode in a powerful sequence of shooting behind the shelter of huge bales of waste paper, punctuated by pieces of paper fluttering in the huge clearing windy - followed by a wild extension of personal vengeance, almost fantastic and dreamlike.
We find in "Vengeance" una sfilata di temi e motivi classici di Johnnie To. Dopo la cupa scena della ricostruzione dei fatti nella casa devastata, c'è una splendida sequenza in cui Costello, il gangster divenuto chef, prepara la pastasciutta e tutti mangiano insieme; una di quelle tipiche scene di To (se ne trova un esempio mirabile in “Exiled”) di sospensione festiva su cui però si proietta l'ombra della morte.
Come nel capitale “Expect the Unexpected” (che è un film di Patrick Yau, ma To l'ha prodotto e racconta di avervi molto messo mano), c'è una silenziosa pietà per quasi tutti: è il caso, più che un astratto male interiore, a muovere gli uomini come pedine; la malvagità cosciente complacent and there (here embodies Mr. Fung, a demonic Simon Yam), but is rarer than you think. Not that it matters, at the bottom of things, even if c 'humanity buried, you still kill and die. In a surprising page, the group of avengers is to kill the murderers - and finds them occupied on a picnic to the park together with their wives and children, that ignore the employment of husbands and fathers. Then stop and wait for the avengers ("Not in front of them," says Anthony Wong) and the killer, who understood, they send a child to provide food to the group ... John Ford would have done better. To
As always, this moment of mutual understanding does not negate fate. Wives and children gone, there is the inevitable showdown , in the light of the moon that comes and goes for the cloud: a succession of moments of frenzy and cold, the darkness where he holds his breath broken by flashes of light guns - and the mist of blood that oozes from the bodies hit, To the last picture frequently.
And again: a bicycle that runs from one driven by bullets, in a scene in Macao, Hong Kong continues to appear in a frisbee that has its own life. Feel inclined to conclude that now the film To objects move by themselves, this results not only from the ballistic (think of the can of Red Bull in "Exiled") but also the improvement of the sense suspension and abstraction, which he constantly sought, which was the incarnation of the mysterious child bicycle "PTU".
Beyond its characteristic narrative device, amnesia impending Costello recalls a very important theme in the film of To, for example, explored in "Running Out of Time" and in the charming and underrated "Yesterday Once More" : end-stage disease (ie here the loss of self-identity, which is like a quiet death) makes it invulnerable: it severs the bonds of life. And so let the man free and naked in front of his mission , drawn from the games of chance and the noble feelings of honor, friendship, revenge. And finally, as here, free, after that revenge has been accomplished, to embrace - no more memory or pain among the innocent, innocent - a new family of children.