supersoul

Why waste shining? Just mention "what happened to Totò baby"!!!! Poletti, I brought up Easy Rider not to compare it with Gone with the Wind but to try to make you understand that with that review you're on the same level as ilpazzo, but I see it's all in vain; I’ve been saying for half a day that you’re missing a few neurons and I don’t feel like arguing with you anymore. I’m 3-4 notches above you mentally. (... so what do you say, am I still in trouble?)

"Dennis Hopper dreams of the technique of Victor Fleming," if you were to make a statement like that in Debaser's music sector, you would be regarded as someone not to be taken seriously... it's like saying the Stooges dream of the technique of Yes, and therefore the records of the latter are 3-4 notches above.

here's why you're lacking a few neurons, Poletti, because you want to compare Gone with the Wind and Easy Rider, which are at opposite ends in terms of story, budget, direction, purpose, etc.! This one is better than that one, this one gets a 5 and that one a 1, and vice versa! If someone is passionate about cinema, they are passionate about it 360 degrees—you understand that, right? I would never dream of saying "it is historically proven" that one film is miles above another. As a cinephile, I appreciate the good aspects of both Gone with the Wind and Easy Rider, without fear of being contradictory or ridiculed, because cinema is EMOTION, and I tell you that both the scene where Rhett saves Scarlett, Melanie, and the child from the flames and the scene with Billy and Wyatt riding choppers down the road with Steppenwolf playing move me... this is cinema, and I pity you for checking which book says Gone with the Wind is superior to Easy Rider or vice versa.

Poletti, the one who needs to close up is you, don’t you get it? I'm coming back to this topic because it drives me crazy. You presume to have the right to give 2 and to piss around saying four ridiculous things in the style of Monsieur Travet about a "historical" film, a cultural phenomenon, a myth, a cult for generations like Easy Rider, which instead should be analyzed with critical tools that you evidently lack due to genetic issues and not due to lack of philological application. AND INSTEAD, you lash out at those who give 1 to Gone with the Wind, reproaching them for not having the “tools” to do so. In my opinion, you’re missing a few neurons.

...according to Poletti's logic, then even "Furore" by John Ford has aged terribly in its content.......but give me a break!

...good, I'll write one on Easy Rider, so your culture gets elevated...

It seems to me that Poletti is the only one who hasn’t realized that he has become the laughingstock of this site; reviews are now written to provoke him and trigger his reactions for a good laugh. I take note of his outbursts, it’s true, on Debaser there are many who can talk about music but few, really few can do it about cinema not only with enthusiasm but also with competence. Let it be clear that it’s not the competence invoked by Poletti, based on studying books (we're not in school, it’s a hobby, we should have fun) but rather the ability to understand the cinematic discourse through sensitivity and experience. That said, and acknowledging that there are memorable sequences in "Gone with the Wind" such as the burning of Atlanta, it must also be said that Poletti is INDEFENSIBLE. As a newcomer to Debaser and a bit naïve, I tried to give him the benefit of the doubt but I realize I’m dealing with a character that is truly unbelievable; he defends the HISTORICAL importance of this film when then, in the case of a "historical" film like Easy Rider, he gives it a 2 with his arrogant, superficial, and black-and-white review from a bookworm, calling it an OUTDATED film... what can I say, dear Poletti, find a permanent center of gravity; you say you promote culture but even your hated incompetent critic Bertarelli believes he is promoting culture and you’ll be disappointed to find that this time you’re in perfect agreement with him regarding "Gone with the Wind"... just look at what he wrote in Il Giornale in 2001... "Inimitable (also for its length) and incredibly evergreen film-monument, the most famous and beloved melodrama of all time, where underlying romanticism blends with a grand fresco of American history, with costumes, music, and sets worth framing. Not to mention the actors. The cascade of eight Oscars left unjustly dry only that charming rascal Clark Gable." Take my advice, watch more films, because I think you’ve seen very few, and read fewer books.

I chuckle under my nonexistent mustache at the mention of the usual old and worn-out triad, plus the other dogs and pigs of the Italian prog (a genre I detest) while the Osannas of "L'uomo" and "Palepoli" by my friend Vairetti are left to fade into oblivion, the only one singing progressive with phrases in DIALECT (...“fuje 'a chistu paese”), among the first to wear makeup on stage and COPIED by Peter Gabriel the year after he saw them decked out with face paint and friar robes.

And there lies the heart of the matter, as Totò would say, dear Poletti, these are inflated names but I bet you’ve never seen "Emperor of the North" or "The Nameless Ones" or "Messenger of Love," just to name a few titles from the inflated directors.

By chance, I know Poletti... The problem is that YOU don’t know people like Boorman, Lumet, J.P. Melville, Corman, Aldrich, Losey, people with guts who have always made films, as you say, WELL DONE, and who you rarely see in books on cinema that endlessly analyze Bergman or Dreyer. The fact is that cinema isn't studied in books, dear Poletti, but from the third-row seat, and it takes years and years; otherwise, you risk making a fool of yourself by giving Deliverance a 3 and Die Hard a 4, which is quite a shining example of a film with real grit full of shootouts...