Reviews written by registered user
|57 reviews in total|
The promises were all pretty good, same producer as "Fucking Amal" and
Together: Lukas Modysson, the one who is part of the newest Swedish
generation of innovative of directors in Sweden; but I am afraid the final
result was well far from the expectations...
Josef Fares is a young director from Lebanon who wanted to develop in a funny way the already too much seen cross fertilization between different religions in Western Europe, same topic of East is East or Dreaming Beckam; this time the plot is shot in a Swedish town with two main male characters whose lives are linked by a common job. One of them, acted by Fares Fares in the role of "Roro", is the typical young man who was born in Sweden, so well adapted and completely almost "swedish" but his family is still attached to their tradition and religion, so they do not accept easily a non arrange wedding. Beside this, the film develops also a normal Swedish couple which has become in crisis, and this is shown by the impotence of the guy.
There are some funny situations but the final results is poor and most of the situations are well superficial and not specifically well defined.
The results is a very commercial film, poor of content and not original at all, a positive point is that is free of violence.
Roberto Faenza has shot a very brave film, brave because shows an argument
like this in the today's film panorama should be considered very brave.
Nowadays, any film that enters into the psychoanalysis field and its world
should be at least seen.
In this case, Faenza shot a non Italian film, with a multi national coproduction about a sort of small biography of Carl Jung the famous psychologist who has funded a personal current beside the one developed by Siegmund Freud. The film has some very good moments, specially when Jung is at his very beginning of his career in a house hospital in Zurich and meet Caroline Ducey as his very first patient. The developing of her illness and Jung's very modern approach compared to the rest of his colleagues in the hospital is really the best part of the film, this together with the start of their love "affair" worth the whole film. Unfortunately the rest of the film is not well driven, a sort of general and confused flashback brings the old scenes to a "today" situation through a "path" that a relative of Caroline is following in Russia with the help of some old books.
Many years have passed since last time that Roman Polanski shotted a film in
Eastern Europe and specifically in Poland and its Warsaw.
I remember one of his really first sixties films: A knife in the water or Repulsion where the characters were already psychologically deeply analysed with his matchlessly "Polansky's style" that later on will be spreaded to all cinema audiences with Rosemary's Baby an The Lodger.
This film welcomes him back to his land, his people, his ghetto.
It is rather difficult to express with words the bad feeling of the horror of the Holocaust got it from this masterpiece. The consequences of the Holocaust seen through a Jewish family in Warsaw obliged to move to the "Jewish ghetto" during the German occupation in Poland in the Second World War. The main character is an excellent pianist -Wladislaw- who plays for Warsaw Radio. The images in the ghetto are already seen but never were enoughly metobolized as in this film.
No "Schindler's List" nor The Holocaust -the TV serie- had such a deep impact as this one. Touchful scenes of People treated as flesh in a slaughter, senseless faces without identity and future are flashed in the screen, walking as robots or zombies. Child screams and weeping heard as backnoise that penetrates in your head as well as the bombs that are exploding outside; pricking and cruel images that will not be easily forgotten. Some scenes are particularly touchful as the one of the father that shares for the whole family in six small pieces a sugar tablet and the one where Adrien is hiding himself, seeking desperately for food and water; rarely in a film thirst and hunger were described so perfectly. Also the way how Wladislaw plays piano in front of a general nazi after longer days of fasting is supreme, initially seems to be rather static but then comes music and Wladislaw starts to dream again with it. Also the locations of a destroyed Warsaw give desolation and a strange peaceful message like peace after the battle. Superbly acted by Adrien Brody as The Pianist this is not only a must film is The film of The Holocaust.
Could you imagine Michele Placido -the famous actor of "LA PIOVRA", a
succesfull mafia TV serie- shooting a film about a poet's life, well this is
the case and the result is remarkable.
Placido decided bravely to use a non commercial theme and describe deeply the life of an early 20th century poet, considered as a genius by all his colleagues. He is well acted by Stefano Accorsi, one of the latest generation Italian actors, well known after the succesfull blockbuster: L'Ultimo Bacio; he has a discontinuous and peaceless love story with Laura Morante, who in the film is a "well" known high class lady in the poetry male circles. The relation is well far to be a quiet one also because he starts to have more and more internal conflicts with himself. Laura Morante is splendid in her role, a nice middle age lady who has an unforgettable past with a family that finally she leaves to follow inconditionally his Poet friend. The film is well located in the Italy of those years and the atmosphere is perfect. The story can not finish in a different way than in a mental hospital.
Michele Placido seems to debate with us about the real meaning of poetry (or more in general arts) and the difficulties for a Poet (or an art man) to see life as everybody does in a standard way. However the film has certain moments where you can notice a lack of continuity in the story but the overall result is good.
It so rare to see nowadays films that will not easily be forgotten and
definitely this one is one of those.
An excellent cast, giantly headed by Maggie Smith and Kristin Scott Thomas, drives us in this old manor house in the middle of the British country side with several characters: the upper social class and the lower class. The first one are the owners of the house and the guests of a shooting party organised in "Gosford Park". The lower class is represented by maids, cooks and pages. This clear split has reminded me a 1970th British TV-series. Two actions in parallel are described and one character, a false page, builds up a bridge between the two classes. He is in reality an actor who wants to learn about that world.
Nothing is missed, everything is there with a precise and maniacal description. Even a murder gives the leit motiv and the thrilling effect to dig out the personality of the characters. Robert Altman, the excellent director, has never disappointed but films as this one improve certainly his already famous career.
This film was called in Italy "Hollywood Vermont", normally Italian do not
translate properly foreign films but I think in this case, the non original
title is better than the original one: The State and Main.
A Hollywood crew go to Vermont (a small American town) in order to shot a film about an "old mill" which was supposed to be there but they realised that is completely ruined. This changes dramatically the original shot scheduling and obliges everyone to spend much more time in town and to modify the story accordingly. Modifying the story time passes and people town lives are modified as well by the "giant-state" represented by Hollywood and its array. A film in a film, starting from Francois Truffaut up to know, this is a very brilliant film with characters exchanging their life and giving a "breathe" and a reason to live to the "nothing happens" town: Vermont. Different stories link to each other in a perfect and funny puzzle, as some Robert Altman's films. At the end the lesson is quite simple but realistic: is something has to happen will certainly happens, film will be shot and all obstacles will be overcome and at the end there is a real "happy ending".
I was very pleased to go and see a "Milanese" film shot in
Alessandro Alatri is a Roman director who has understood properly and
fortunately printed in a film the Milanese philosophy.
Film tells the story of a standard -in career- Milanese couple, starting from "the birth" to the death. The birth-wedding is so typical out of any scheme that becomes original and involves all the wedding guests in a flash back story of how the couple came to each other and felt in love. Life is hard in the "urbe" of Milan and after the sweeties old days became tougher and tougher, then finally the product: a child, who instead of strengthen further the couple relationship it weaken because "the selfish effect" typical of a nowadays "metropolis" personality. The advertising environment with all the "creative" under stress atmosphere helps to get well involved in the plot. We are losing the life values and this is well and deeply reflected in this nice and sharp movie from the Senza Pelle's director.
The actors are well chosen, Stefania Rocca nice and well characterised, and a positive surprise, an unexpected good Fabio Volo, well known by the "trash" TV serie: Le Iene.
I want to stress the fact that I have never been a big fan of Pedro
Almodovar, even recognising that his films have a lot of artistic
This is for me a big exception, since the first scene, where a play of "Cafè Mueller" is shown in a theatre you start to breath this magic atmosphere which follows you in the whole film, is like an existential path to your mind. A "cult" and very intellectual movie, shot in a sort of "sweet" flashback, with lives that get -by chance- together and some clear characters with a "torera" side story that gives the leitmotiv to the whole film. A nice story about lives that want to find an outburst. Almodovar has some personal touch like the black & white scene of the film seen by Benigno (the male nurse), full of symbols, which hardly will be forgotten. A "must see" film
I can only say that in the poor Italian cinema scenario, a film like this
one from Marco Bellocchio definitely has an important role.
Nothing to do with the best Bellocchio's filmography but considering how difficult is to treat this argument in a very politicized Vatican environment, this film gives you at least some good arguments to think about.
Sergio Castellitto gives his best, his acting is well according to what you would have expected from his character. The film at the end is a bit unconcluded but worth surely its view.
I was so excited when I saw this film that I do not think will be able to
find the right words to comment on it.
Understanding that is the same good director of Delicatessen, you can easily follow the style and the speed of the film. Initially, it took me a small while to follow the description of all the characters but then, as a film "leit-motiv", I was deeply involved in the Amelie's hyperrealistic world. She is so detached form the nowadays reality that convince even more, specially because the film starts in a lovely "Parisienne" sixties years and ends up nowadays. The film, as Coen brother's films, is full of well defined characters, each of them has a special meaning in Amelie's life.
It is necessary sometimes to see "fresh" films as this one, perhaps the best film of the whole season.
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