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You've mentioned big groups, Bubi! But I assure you that in the music section, unlike in the cinema one, there are several talented guys who have already reviewed them or can do so without any problem.
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@senmayan is right, give this a 3 because you compare it to other works by Bergman or because in relation to global cinema it deserves a 3? In the second case, your reasoning is perfectly valid; in the first, however, it is foolish. In 1989, some of you probably weren't even born, but I remember that the Entertainment Agency held a contest where both critics and the public could vote for the top 10 films in the history of cinema. Among the top 10, the public voted for Gone with the Wind and the critics voted for Citizen Kane. Then, all the nominated films were screened in Rome for further voting after viewing... Now, whoever guesses the winning film will receive the choice of a signed photo of Poletti embracing Mereghetti or Sanjuro embracing the toilet....
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but the killing floor were English and they seem more bluesy to me, an adjective that doesn't quite fit in this album by the Litter
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But what does Freudian oil have to do with it? Bergman in this film doesn't use the dream in the Freudian sense; he uses it because it gives him the narrative freedom that reality cannot provide.
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Bergman is a director that you appreciate more when you've got a good number of years behind you; he’s not Kubrick. The theme of this film is not so much life or death, but change. Watching it at twenty may fascinate you (and I was especially taken by "The Seventh Seal"), but when you have a certain life journey behind you, you fully understand its greatness. And many would do well to revisit it around forty, as it might help to peel off that mask that one often wears in everyday life. I agree with purpulan on the "lightening" and on the importance of the old Swedish director Victor Sjostrom for the performances. I believe I didn't grasp the reviewer's phrase: "a personal 'Via Crucis' that has as its final destination the emblematic academic honor."
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Say what you want, that it's artificial, not spontaneous, cold, but this remains for me a memorable album and I repeat memorable from an artist ahead of everyone in rock, jazz, and even in pizzica and taranta if he ever had tried his hand at it. And, given the five generously granted to dogs & pigs on this site, a three of mere sufficiency makes me feel sick...
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the weakest track of the airship, the cover of the Hipgnosis studio is the most beautiful thing about the album, it is worth noting that the black monolith is the only one without a shadow.
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OK contemplation, just like Björk has hers, you have your vision. But I insist that Ridley Scott keeps himself above and leaves the judgment and preference to the viewer, because it would have been easy to trivialize Feraud's madness, while the director wants to make a statement about dual personality. Armand is fascinated by Feraud's frenzy; he saves him because he wants to save a part of himself, that which he is not. In the end, he fights not because he is brave (and we’ve seen how he panics in duels) but because if he didn't, he would lose that little bit of self-esteem he has and because he knows he owes a debt to that other part.
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...and since you've read it and, as I can see, you have an opinion, feel free to leave us a comment, positive, negative, or whatever you like. Debaser is made for this, to discuss.
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I agree, that's an act of love... but I won't reveal the ending, this time it wasn't necessary to express the four nonsense things I wanted to convey.