Bubi

IAmJustTalk

As usual, it's well-written, and, as usual, I haven't seen it. (Unfortunately)

Poletti, do you know Wittgenstein? Do you think he is innovative and original? This is not a joke.

Very beautiful.

I'm not a fan of Italian thrillers; in this film, the only somewhat plausible idea, despite having no relationship with scientific reality, is that on the retina, one gets the impression of seeing four flies. (Sorry if I said something silly, but I watched the film about thirty years ago.) I don’t rate the film for the same reason.

Why isn't Ratzinger likable to you? Anyway, you still haven't answered the question I asked you, in your opinion is America Oggi better or Nashville? Or do you not like Altman? I'm insisting on the Decalogue, in my opinion it's the best series produced for television in the last 20 years. I have it somewhere, but I can't find it. It would definitely be worth a review.

It's true that at the end of the film, (not the plot) even the scene with the two bumbling robbers connects to the overall context, but among all the characters, they are the only ones who have nothing to do with Marcellus. (aside from the two depraved men who sodomize him) What distinguishes the two films more than anything else is the narrative density, (I've even written it) Pulp Fiction is more intricate, and the plot is more stretched out, while Reservoir Dogs, as I've also written, is more homogeneous; in form, it is a gangster story, and in substance, a classic tragedy, renewed by the director with strong doses of irony, and staged with actors who express themselves in a language that doesn’t conform to the distinctive traits of drama, but retains its central theme: death as a concluding, purifying phase. That's why I prefer it.

$face$ can also be understood, as you say, it's a matter of perspective. For example, the scene with the two bumbling robbers that opens the film seems rather disconnected from the others to me, but I don't think it's worth making it an issue. I agree with you when you write that in Reservoir Dogs, Pulp Fiction, Jackie Brown, etc., the main plot revolves around the object of desire (diamonds, briefcase, money, or weed, whichever it may be) for the characters. (Of course, regarding Reservoir Dogs, with the themes I mentioned in the review) Bye.

Sanjuro, I agree, Buscemi is great, but they all are. Unfortunately, once again (I had already written it in Pulp Fiction), it’s Keitel who doesn’t fully convince me, but I’m not biased against him because I appreciated him a lot in Taxi Driver, and in Bad Lieutenant.

I just finished watching Le Samourai on ARTE; it seemed to me a film noir that does not forget the lessons of the nouvelle vague, a film of images, poetic and pessimistic, with Delon (deliberately) devoid of passions and any feelings that could be defined as human. I have already given my rating to the review.