Hal

When you say that Dylan's contribution is not "a simple and friendly big contribution like the others," it's clearly stated that you measure the contribution and, by extension, Scorsese's approach differently. The sentence assumes that the contributions of others are merely "a simple and friendly big contribution." It's Italian. Well, I disagree with this interpretation, that's all; I think it's clear. If you didn't mean to say exactly what you wrote due to communication difficulties, I acknowledge that and that's fine. But the difference between guest and friend is illustrated by the images and the interviews, and (for me) the 'role' is not a concept devoid of value (opinions). The fact remains that I think differently than you. I find myself more aligned with Mangoni's reading, to put it that way. "The heart of the film is the story-song pairing," and this is where I see the strength of the narrative rhythm and the culmination of the story in the farewell at the end, loaded with metaphors. All this (in my house) does not mean having approached the subject superficially (your words), excuse me if I weigh my words, but everyone is made the way they are. So all this simply means having a different perception, a different idea. Whether or not you like it... well... those are just opinions, more or less reasoned, not facts. Bye.

Well, all in all, you only confirm what I already thought... the importance of Dylan already... the famous peak stated and then downplayed and now reaffirmed. Well... I never said that Dylan's contribution is "a simple and friendly great contribution like the others," just to clarify. Great Dylan, but - I repeat - you underestimate the rest of the concert. In my opinion, yours is a partial and even approximate view (I didn’t define the musicians... guests, listen again to Robbie Robertson's interview when he talks about it) and at this point, I reaffirm it with greater certainty. And thank goodness I had misunderstood. No point in repeating myself. I see that "something more" in Scorsese's direction, for example, in the splendid finale, already mentioned, full of symbolism. In the interviews, in Robbie Robertson's thoughtful gaze. Opinions, of course, very personal, all completely respectable and, as always, debatable. But personally, I believe the description is exhaustive. It talks, like in the film, about "The Band" and not about Dylan as it should be. It was also much longer, but I thought it might be wiser to use the comment space to integrate it, which I believe has been done abundantly. This could also be done by other users if they wish. Bye.

Yes, of course Brassens is a reference for the early years of Faber's career, but that doesn't mean we can talk about a "natural colonial vocation"; just look at what came after, that was the point I didn't agree with. As for Dalla, from what little I know of him, he could be as you say, but even in the absence of a specific reference name, I’m not sure he is completely free from other musical influences, which I see as a positive value, not a limitation. Certainly, a lot depends on the musician's approach. But all the names you mentioned seem to have never had a passive attitude towards their references, that's all. Bye :)

Well ... Stravinsky wasn't completely wrong for me;) anyway, I’m also looking forward to "land of the sun," may inspiration be with you, Frantz :) as for Bach, we could use a nice review of the harpsichord concertos or the English suites. I know a lovely version of the latter by Ivo Pogorelich, which would be a way to talk about this extraordinary interpreter and his very particular story, right? Bye :)

Well, I have no problem saying that I might have misunderstood (even though misunderstandings usually arise from the explanations), but at this point, since it seems that we agree on everything, I would really be curious to know what you disagree with regarding what I wrote or how I wrote it, since it seems just like that. Bye. Ps ajò Josi_ ;))

Yes, but if you take away Fellini, you're not subtracting little... then I don't believe that having references, appropriating them, and giving them a new recognizable imprint can be considered an attitude that can be branded as "colonial." Even Mahler filled his symphonies with popular themes, even "Fra Martino." But... I'm not in agreement on the exceptions. The idea that De Andrè might have had an attitude or a "natural vocation of the colony" leaves me perplexed.

"Land of the sun" is a great album that deserves a review, and now there are many who can do it ;) frantz?

sure ... and the video with Kate Bush - don't give up - does anyone remember it?

Grasshopper, I too am part of the "club of fools" from "Sledgehammer" ;) I also remember a beautiful, very colorful video. Great album, great memories.

Even Antonio Marangolo and Mimmo Turone have changed with the times.