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La solitudine dei numeri primi

Saverio Costanzo

"The Solitude of Prime Numbers" is frankly a film failed, but it is a noble failure. That is to say that in bringing this ambitious writer-director Saverio Costanzo has come a long way, with courage and ability, even if the end result is not convincing, it does not deface Costanzo as one of the best young Italian.
Based on the novel by Paul Jordan, who also contributed to the screenplay, the film explores the painful world of two young people traumatized as children. Matthew as a child abandoned on a bench mental handicapped sister, ashamed to take her to a party, and then he never found again; Alice as a child was forced by his father stupid and ambitious skiing on a dangerous track and had an accident remained lame. Wounds of the soul and body wounds that exchange: Matt moved his pain in the body by means of self-injury, Alice has developed his physical injury as a wound interior; both live a life of loneliness and maladjustment. Costanzo does not shy away from naturalism: the anorexic thinness of the body of Alba Rohrwacher (Alice), the snot dripping from her nose (in the film is a strange double register of body fluids: the snot shows, no blood, and the scene of his injured hand hides it off, that - very disturbing - the cutting of the tattooed skin is now in ellipses).
The plot consists of four time lines: a "story first" in 2001, interlinear with a double series of flashbacks of the protagonists Children (1984) and adolescents (1991), plus an epilogue in 2008. The editor of heaven: and indeed the editing of the film is effective in jump from one time to another, with rhymes, joints of time, false connections.
There is much beauty in "The Solitude of Prime Numbers." Directed by Costanzo is refined, well-supported by the picture of Fabio Cianchetti (photo elegant and compelling, excellent construction of frame) and just by installing the "bellocchiana" Francesca Calvelli. Perhaps less of a music sometimes too present. Several pages are vigorous and persuasive. See the opening with the recitation of the children in costume, and camera processing, intent, and reveals the expression wildly afraid of the child-tree, and then ruin the show when she starts screaming, and her brother takes her hand, we lost both eyes in front of the crowd of spectators. Or, later, the gloomy scenes of the disaster that is about to fall on the lives of two children - of course in parallel montage, with a dramatic use of hand-held camera - produce an atmosphere of horror that is impressive and engaging. A notable specialties Saverio Costanzo is the intensity of the faces. Sequence in the beautiful marriage of Viola, and hear a mournful waltz (Costanzo appropriately chose the "Valse triste" of Sibelius), we observe the stars and guests: it is the days of Fellini, I dare say, not seen in our cinema such work faces. Memorabilia here Mattia and Alice, adults, who - after the confession of the first and the second the kiss - they enter the room holding hands and appear to be the bride and groom (not for nothing, that they are photographers, are photographed!).
These scenes, or other equally successful, undoubtedly make a remarkable work. Unfortunately this does not mean consistent. In contrast with other very compelling pages below for successful aesthetic and narrative power. Just mention the awkward dialogue between Alice and her former husband Fabio voice on the answering machine (where it falls in the worst of Italian cinema) or the nonsense immediately following the entry of Fabio home with her, hidden under the table. A strange thing in the film is its gradual decline: getting worse according to the narrative time is close to ours: the portion 1984 is better than that 1991 is better than 2001 that is better than 2008. In general, the third section, in chronological order seems less substantial than the other two, while the 2008 is downright ugly.
Why does this happen? It should be emphasized in the film, the opposition between the good job of directing and sometimes mediocre level of the script (it's an Italian tradition, unfortunately). The psychology of the secondary characters in the film are not clear (the friend-enemy Viola) or they are caricatures (the Alice's father), also an important figure as the doctor Fabio, then husband of Alice, a character remains anodyne. The dialogue sometimes seems contrived, implausible, too obviously functional development of the plot. For example, a good scene in which the surgeon Mattia child plays with a toy fashion in those years, and her sister arrives, is damaged by invading mother described as too didactic. It happens so often in our cinema a character look like an idiot or a fool not because they both diegetic but because the script has not been able to give veracity to his act or his say. In some cases
Costanzo Costanzo director lifts the work of writers and Jordan: the scene of bullying Alice against women is commonplace, but it is ennobled by the effective play of expressions and glances. The fact is, this spiral dialectic implies a further tightening, as the limits of the screenplay and directed to take at times overindulgent solutions, such as the clown played by Filippo Timi: the idea of \u200b\u200bputting in a sequence of child anxiety (which stands up well alone) an evil clown Squaderno on the screen with the most banal choices of framing and lighting is an innocence that you would expect from Costanzo, a moment of loss of artistic self-control. So
"The Solitude of Prime Numbers" is a film alternates. But in a film that you consider important robetta di infimo ordine come “La Passione” di Mazzacurati, avercene di film così.

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Mordimi

Jason Friedberg e Aaron Seltzer

Alcuni recensori dei quotidiani – di quelli che disprezzano i film di vampiri, e non distinguerebbero un vampiro dall'altro nemmeno se spuntasse in camera loro e gli mordesse il sedere – hanno scritto che “Mordimi” è una parodia dei film vampireschi recenti. Per niente: non dico che non sarebbe affascinante mescolare nel calderone “Twilight” e “Lasciami entrare” e “30 giorni di buio” e “Blade” e “Daybreakers” eccetera per tirarne fuori uno “Scary Movie” coi sharp canines, but "Bite me" is not that. It 's a very timely parody of the saga "Twilight," which carefully builds the first film and the second part of the second (funny change of names, with Bella Swan becomes Becca Crane and Cullen, who become Sullen). Sure, he allows himself a few fleeting references to other mythologies bloodsucker (gag-a vision of Buffy, two vampires who drink Trueblood, the "Vampire Diaries" by LJ Smith used at school as a textbook), but for that also in Alice in Wonderland and Lady Gaga, based on that collection that befits a rambling parody. This narrow concept of remaking
strengthens the principle of "philology" hidden in every parody. Think of the ease with which the film narrative changed from "Twilight" at the end of "New Moon" (single measure, which is transforming the Italian Festival of the Volturi in a masked ball at the school of Becca), while the first part of "New Moon" - the silliest of the entire saga - is reduced to a gag. This has the effect to highlight an important element of the work parodied: precisely that of "Twilight" and the second part of "New Moon" there is nothing. Similarly, the parody shamelessly brings to the fore a couple of hidden truth that the original saga (with little success) under the veil of dramatic development: The first is that Bella's father, a policeman, not - as said - the brightest minds in the country and the second is that Bella is the same kind of pain in the ass nose that can find love with a handsome local history only romantic artifact, designed for a teenage audience. The beauty of the parody is not to transform the text closely parodied as to reveal the hidden meaning: it is a parody (concept metaphor!) Filter that reveals the secret of Mr. Hyde from Dr. Jekyll, which is placed the original work.
The funny thing is that the true vampires of the situation are the directors and screenwriters Jason Friedberg & Aaron Seltzer, two predators who are in lurking in Hollywood to jump on any success and bowls a demented comic version, from "Scary Movie" to "Epic Movie", from "Disaster Movie" to "Treciento. There is in "Bite me" ("Vampires Suck") the whole panoply of jokes and gags, even metacinematografiche, which previously was lucky enough to Mel Brooks and today, but at a much lower level, provide for the production of the two. Many are small, some are well thought out: Jacob shows that the contract for which is to appear naked to the waist every ten minutes (and, by good luck, has ten nipples), Becca and her friend with crowds that go to the cinema to see short-circuit the (futuro!) "Breaking Dawn" and reveal the ending to the audience, and then goes just mentioned Daro, the head of the Volturi, played by Ken Jeong, who with his facial expression seems Alvaro Vitali Asia.
The downside is that distributors, conscious of having to sell a product only moderately amusing, ably extracted from the movie almost all the best gags pile up in the trailer: so that it becomes an anthology, not so much as a preview of the film a veritable "best of". Thus the experience of seeing "Bite me" for the first time is confused with the bizarre impression of him again - and not a film so funny that it is necessary twice.

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I mercenari - The Expendables

Sylvester Stallone

In today's film credits with the names of the actors use only appear at the end. Bad habit! In "Mercenaries - The Expendables," directed by and starring Sylvester Stallone, instead appear as a time at first. There's a reason. This film is not the actor who embodied the character but the character that provides a justification diegetic actor: "Mercenaries" performs the movie icon, and then refers to the name of the plaintiff in the securities has a value Circular stronger than they are normally.
It 's a film body expendable : body combat, body in a race against time, tortured bodies, bodies (of enemies) torn and ripped, and the very meaning of the film is to recover and re-enter the aesthetics of physical confrontation old bodies and faces of the stars marked with flowers in the eighties (Sylvester Stallone, Mickey Rourke , Eric Roberts, Dolph Lundgren, the evergreen Jet Li, plus uncredited Bruce Willis and Arnold Schwarzenegger, and were also called to attend more of the same generation of star-like). It 's a movie that spends athletic effort in the bodies of his performers, vintage men appearing tough to replicate the same numbers of stoicism, fighting and massacre of twenty-five years ago. Or are the greek chorus (Rourke), to be ambiguous representative (Willis) to unabashed villain (Roberts), but always as faces old and nostalgic, iconic faces. Thrown into a film that is a bizarre cross between eighties and contemporaneity of this powerful weapons next to a Rambo knife (or Crocodile Dundee), just as the new bodies of the Action next to the old, the first Ritchie (from Guy Ritchie) Jason Statham next to Stallone. But there is no suggestion in the form of a generational passing of the baton; Statham is still the sidekick , if Stallone is the brain, yet there is no division of tasks between the youngest and the oldest on the floor of physical force.
"I mercenaries "is a sort of time machine in another sense. It 's a nice movie to see why has that same kind of cinema as opposed to any notion of political correctness who was already mad with rage political bigots in the eighties. The basic concept of "mercenaries" is the same as "Rambo 2": the bastards must die. In fact, Stallone & C. make a slaughterhouse amusingly exaggerated the military coup of the imaginary island of Vilena: the balance of power is more or less than one percent but the body count enemy rises to infinity.
Written by Dave Callaham and Sylvester Stallone, the film is crossed by a lot of fun macho dialogue, indeed, hyper-macho with these Spaccamontagne tough as nails growling that seem to speak through the lips closed (Stallone and Statham have just escaped a seaplane flight from a flood of soldiers and Stallone suddenly reverses route. "Let's go back?" "Yes." We want to hurt him? "" So, so bad "). Heroic boasting, shameless irony, Jet Li, who calls for an increase on the grounds that "when I'm hurting the wound is larger, because they are smaller." An irony that reaches the climax with the appearance of Arnold Schwarzenegger, all played - it was unfair to expect - Metacinematografico on the register.
This mix of action and humor fracassone you easily forgive a certain degree of script (because that idiot girl, when taken hostage by the villain that takes you away while exploding around the end of the world, collaborates ran like a hare?). Indeed it must be said that the script is below the average of those of Stallone, still simple but more articulate (for the truth, particularly in the "Rocky"). On the line in this film (+ humor + machismo exaggeration) is still unsurpassed "Commando" (with Schwarzenegger) by Mark Lester.
The real problem lies elsewhere: "Mercenaries" è un film intrinsecamente contraddittorio. Il suo difetto imperdonabile è il montaggio idiota di Ken Blackwell e Paul Harb, i quali sembra che prima di entrare nella cutting room si siano tirati una pista di cocaina. E' un montaggio non da videoclip ma da parodia dei videoclip, frazionato fino all'assurdo, un'accumulazione caotica e offensiva di inquadrature di un secondo: non che delineare l'azione, la offusca (anche il bel kung fu di Jet Li viene totalmente sprecato). Certamente c'è il vantaggio che così diventa più facile inserire un po' di CGI o aiutare la performance di star non giovanissime. Ma resta il fatto che l'azione si risolve in una nebbia dalla quale emergono fissandosi per un attimo sulla retina immagini strong and explosions - as if you browse photos.
course there is some consistency here with the operation of Stallone, who is to build a bridge (it would be emphatic but not wrong to say: throw your body as a bridge) between the eighties and this extreme of the Action. However, there runs between the concept itself, and this assembly, which is a clumsy attempt to appear cool the public eye most naive adolescent - something very public that is useless because of all the less available to the star-like element and embodied by the film's nostalgic Stallone.

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Somewhere

Sofia Coppola

There a scene at the beginning of "Somewhere" which contains the nucleus the film. Johnny Mark (Stephen Dorff), the movie star who lives at the legendary Chateau Marmont hotel in Hollywood, and currently has a broken arm, you're looking in the exhibition room of a private lap-dance of two beautiful blondes identical (for the record are the twins Karissa and Kristina Shannon): do a little 'stunned, educated appreciation, even a mild applause - and then falls asleep (two of them, upside down clinging to their poles, slide down quietly, always upside down, like a cartoon). It is not an isolated incident: the latest Johnny falls asleep during foreplay with his mouth on the crotch of a belle who towed. Sofia Coppola - director and writer - provides a factual basis showing that he blended whiskey and drugs, however, is almost a form of narcolepsy.
Like all characters in the film, Johnny has lost . In the scene very funny interview (Sofia, daughter of Francis Ford Coppola, has grown into the film and knows what he speaks), in the midst of the welter of questions simultaneously trivial and absurd, a journalist asks: "Who is Johnny Mark? "- and he embarrassed" ... Ehm ...". We remember the mysterious messages insulting that he receives in the phone. Characteristically, it leaves unspecified the script author, since what interesting is that they reflect (or reveal) the questions that makes the protagonist, who the fuck you think you are? What the fuck's your problem? If it was a Dr. Jekyll could also imagine that if he sends them alone. Verily Sofia Coppola, who always play cards on the table, already opened the film, before the credits , shows his black Ferrari goes four times in a row along the lap of the track, to tell us that Johnny lives on Marco forced binary .
In a wonderful scene of hardship and displacement, the actor is in a laboratory to be of special effects to make the mold for making a mask. With his head turned into a monstrous plastic egg with only two holes for nostrils, waiting and motionless for 40 minutes (in the story, however the director keeps the camera fixed on him much longer than they would any other American director), while the sound amplifies the heavy breathing and swallowing her. Then test the mask, and sees in the mirror a realistic expectation of him as an old man. "Shit." The condition
prince in the cinema of Sofia Coppola is one of displacement. His basic question is "Where am I?" That has a disturbing tendency to turn into "Who am I?". There are directors who are fortunate enough to shoot a film whose title contains their whole world, she did with "Lost in Translation" - where the journey of Bill Murray Japan was the great metaphor of inner displacement. The offset is not the journey, the journey, however, translates it and magnifies it, like a magnifying glass. Descending ideal of Bill Murray, Stephen Dorrf in "Somewhere" moves only occasionally (but note that has an arm cast, a fracture, we might ask, does not resemble a trip?). Moreover the existential state of the characters of Sofia Coppola, passengers or less, and real estate. Although Johnny goes to Italy (to Telegatti!, The director regards with the same amused detachment of the bizarre Japanese in "Lost in Translation"), its reality is more authentic to sit motionless on the couch to look into space, his eyes covered by a film as, in a state of mild astonishment. He finds himself in the scenes of the hotel, the slowness of the time - that puzzled suspension - which is typical of the cinema of Sofia Coppola. The various beautiful half-naked women who perform the movie star take something dell'algida mise en scène suspended photographs of Helmut Newton.
The protagonists of Sofia Coppola disoriented - the "Virgin Suicides" of the first dazzling film Lost in Translation Bill Murray to Marie Antoinette at Versailles - all a dream "Altroquando, a somewhere, unclear to them, and generally unattainable. In this film, a kind of representative and inspiring at the same time this other dimension is eleven years old daughter Cleo (Elle Fanning), the former wife of Johnny's discharge because he wants to go about his business. Cleo is the embodiment of upper class girl polite and never arrogant. His watchful eyes, politely judgmental, displace his father and put in his daily life crisis of licentiousness (sometimes narcoleptic). Thanks to the wonderful script and interpretation, and the alchemy created between Stephen Dorff and Elle Fanning, the moments of everyday life (when Cleo cooking for him and his childhood friend, when they play underwater in the pool, when she says "Twilight") sono di assoluta dolcezza e insieme di stupefacente autenticità.
La scena nella parte iniziale di “Somewhere” in cui Cleo danza sui pattini sul ghiaccio è l'“altra danza” del film, contrappeso e contraltare della precedente, la lap-dance delle gemelle; Johnny all'inizio la guarda con la stessa espressione un po' vuota e si distrae – ma poi si appassiona. Fin dal primo momento Cleo rappresenta un “principio di realtà” che agisce sullo sbalestramento del padre – vedi il suo buon senso rispetto alla paranoia di Johnny circa le auto che li seguono. Se sulla carta tutto questo può far sorgere un sospetto di sceneggiatura eccessivamente conscia (che si ritrova nella scena in cui Johnny guarda Gandhi in a documentary on TV), is the naturalness of the character to justify it artistically. On this line the film is developed with musical clarity and simplicity, to lead, after a cathartic confrontation with the daughter of the protagonist, in a final taste of Antonioni and Wenders that leaves open all roads.
Sofia Coppola is the intersection of a poet with a sociologist - or half a sociologist, because it is not designed to analyze and reconstruct the rituals, such as Martin Scorsese, and yet it has a fulminating perspicacity in grasping an environment, an atmosphere, a mood. His whole way of making a film departs from that of his father. Francis Ford Coppola is Italian opera, maximalist, minimalist, and Sofia is American. Appears in all his films a detached view which uses a staging sober, almost cold, not much based on that. His gaze is both realistic and dreamlike, and this is to give that particular vibration through, metaphorically lights, each of his films.

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