vellutogrigio

@Lord: congratulations on your observations, certainly my review reflects the haste with which I write it during lunch break; --- I only disagree on one point: the technique. In the '60s, some of the names you mention were already circulating in the English underground - Bonham, for instance, debuted with the Zeppelin in '68, and shortly after Bruford arrived. Then think of Moon in The Who Sell Out or the guitar technique of a Beck with the Yardbirds, not to mention Townshend. Compared to these contemporary names, you'll agree with me that the Beatles seem a bit quaint. Reading your comment, it seems as though the '70s suddenly flourished, but of course, they have their roots in the very era when the Beatles were dominating, with a lot of image and inspiration - no doubt about it - but with poor technique. Then, of course, it's a matter of personal taste...

@francescobus: you nailed two of my favorite drummers (especially the first one), even though I love Neil Peart from Rush.

always valid

@kosmo: regarding the rape/woman relationship, I won't hide that the film unsettles me: in the sense that - beyond the stupid clichés about "slutty" women and "manly" men - the story immediately presents THAT woman (Hoffmann's wife) as a superficial/provocateur, instinctively leading the audience to side with the husband BEFORE the rape occurs. Therefore, we are unconsciously tempted to perceive the rape as a "punishment" for the woman. Essentially, we find ourselves on the side of the wrong (the rapists) without even realizing it, and this makes the more sensitive viewers feel... a bit like m@rde.

i don't like reggae - oh - i love it - don't like jamaica - oh - i love her.... 5

I quote Bartle. In my opinion, even if seemingly unaware of the violence suffered by the woman, he felt it (animal instinct).

The review is great, unfortunately, I have never seen the film.

@giovanni: synchronicity

In the end, I confess that I was moved.

@bartle: in my opinion, it's a combination. When they touch the woman and the house, both understood as objects or as extensions of one's "having," the professor goes off on a tangent and reacts to the violence. It's the double injury to one's possession that triggers the wrath. I thus partially correct the content of the review.