Bubi

Good.

Thank you, Iside, you’re not falling short.

@iside, is Poletti a case study? In my opinion, he knows about cinema; I don't think he looks up every comment he makes in the dictionary first.

When I see your review, I turn off the music and focus on what you’re writing, this time, (like others) you did an excellent job. Congratulations! I don't know the album.

Costello, you are one of my favorites; for me, your name is synonymous with rock... I think you've been a bit underrated.

Greetings to CaptainHowdy and azzo as well. I hope fusillo contacts me; my email is rodolfo@dnet.it.

Hi, bjorchetta, I hadn't even noticed your review, which seems excellent to me, even though I don't know the album. How are you? From your comments, you seem a bit down. I only know Rescue Me by Fontella Bass. If I feel like it, I'll send you an email today with my recommendations for what I consider quality country rock. Bye. (Tomorrow I'm leaving again for Livorno)

To get back to Easy Rider, even though I find it overrated and boring, your analysis is spot on. As for Il Sorpasso, we have interpretations that are quite the opposite.

Gassman is not a misfit, but a failure, a discontented person, which is something quite different. He appears to be optimistic, a winner who thrives in the booming Italy, but in reality, he is a tragic figure. As I have already written, he channels the failures of his life, his own disappointments, into escape and a feverish rush. In my opinion, this is also the central theme of the film. The following is copied from Wikipedia: The film is indeed considered by some to be a true road movie, the first of its kind in Italy, as the relationship with the road is structurally significant in the development of the narrative. It is the road, in its active and passive relationship with the two protagonists, that marks the character's journey from a precise starting point (the deserted Rome of an ordinary Ferragosto) to the tragic curve of Calafuria shortly after the village of Quercianella on the Tuscan seafront.

In: Il Sorpasso, the road is not a secondary element, but a fundamental component of the film. It is the place where Gassmann unleashes the failures of his life, his own shortcomings, in escape and feverish racing.