supersoul

The point is that Weir is Australian, and in that continent the difference between nature and the unknown is very thin. Take the case of America, where this boundary has been defined by the so-called "frontier," that is, by man's ability to delineate the unknown with a continuously evolving understanding that manages to encompass it, so that for Americans, nature is not frightening for reasons that could be described as "unnatural," but due to its wild yet "explainable" essence. For Australians, it is not so; they have not experienced this conquest of the advancing frontier that "levels" the unknown. Thus, this film lacks an explanation. Weir himself will make another film, "The Last Wave," where the protagonist lawyer, while managing to foresee natural and unnatural disasters (huge hailstorms, rain of frogs), at the same time causes them to happen; in wanting to understand through the lens of "civil rationality," he brings about disaster. He was wrong; he shouldn’t have tried to understand. Not by chance, there’s another film, this time by Jerzy Skolimowski, called "The Shout," which emphasizes the unnaturalness of the effect of something natural, like the shout of a man (Australian, indeed).

I would have swapped her with Ali MacGraw from Getaway...

Haha... it's not the keyboard bjorkyhoney, it's just that when you talk about me you get emotional... hehehe anyway, I don't see you in the shoes of Mrs. Robinson...

Well, I'll try to give my opinion. I've happened to see other reviews in Julius's group—positive reviews—that don't have the solemn and heavy air of these from mementomori. On the contrary, they are quite "light," if I may use that term, in the sense of treating the topic as if it were any other album without falling into either apologetic analysis or ridicule. And then I find this analysis ideologically not very clear, appreciating the introductory track as the best moment, evoked "by irreducible nostalgics, former hierarchs of the Nazi party gathered in the confines of a gloomy little room adorned with swastikas and artifacts of the Third Reich carefully preserved and reverently polished," while condemning as the worst "...a silly little German song in the vein of 'Faccetta Nera,' a not new solution in the Blutharsch camp."

At school, I was made to watch "Bronte, cronaca di un massacro" by Florestano Vancini about the massacre of Calabrian peasants who wanted their land, carried out by the freedom bearers Garibaldi and Bixio during the Thousand's expedition. I'm still thanking that school; with horror, I think that if they had made me watch Yuppi Du, I might have ended up like cole ilpazzo.

Here comes Poletti from the acoustic section... who reads Scaruffi and Fegiz like that other one reads Morandini and Mereghetti, and then comes to this site to explain to us the musical knowledge in demotic terms.

Vedder's monochord soundtrack fits well, but when the notes of "Going up the country" by Canned Heat came in, I jumped… what class, guys, what music!

The closing is memorable, but it’s a blow dealt to the head of all the supertramp.

"Can a person with a solitary spirit and such a wonderfully simple way of living be confined to 10 hours a day in an office?" I know quite a few. This film is beautifully directed by Penn but very ambiguous in its message. Because the protagonist is undoubtedly a "misfit," but in the end, his place is neither in so-called civil society nor "Into the Wild," where he himself will realize he is a stranger (much like Billy and Captain America in "Easy Rider," see the review, where not even on the road can they survive). The very fact that the more he flees from people, the more he understands he can build a bond of "sharing" is misleading. It is reality that is misleading; watching a magnificent film like this, amidst people who at some point start talking about their own business, makes a huge mess rummaging through popcorn bags while the protagonist searches for berries to survive, who calmly leaves his phones on and ringing... it makes you understand there’s no escape.

Honestly, I didn't like this review at all; it seems to me the optical equivalent of those acoustic ones by enbar77: searching for an onanistic effect with little substance. The fundamental point is that nature couldn't care less about our logics, as can also be seen in Sean Penn's recent film "Into the Wild," where there’s a certain ambiguity in the message, and indeed, in that film too, we end up worrying about the protagonist who moves away from the norms of civil society, just as we worry about the girls who gradually distance themselves from the conformity of school. I find the comparison with Sofia Coppola's film quite far-fetched; if there were a comparison to make, it would be with "Deliverance" by John Boorman.