supersoul

Well done, let's give Roky the place he deserves in the history of rock. The 13th Floor album without him (or rather, with him only on a couple of tracks) has always given me the same impression as that of the Doors without Jim Morrison. It was said that the cornerstones of the Elevators' music were Stacy Sutherland/Tommy Hall just as Krieger/Manzarek were for the Doors, but then it became clear how poor the records of both bands were without their frontmen. This album is an absolute joy to listen to; clearly, after everything he’s been through, it’s hard to return to his former levels—in fact, it’s a miracle he’s still able to record the monsters that crowded his mind. For those who enjoy psychedelic garage, this is a highly recommended album with titles reminiscent of B-movie horror films.

If anyone on Debaser is to crown the heir of the late Poletti, no one would deserve the appointment more than sto enbar77, the depressed communist (Poletti was one too) who can manage to give a reluctant four to masterpieces like The Doors' first album or "Pearl" by Janis Joplin, only to then award five to Guccini, De André, and the Supertramp album. Maybe the presumption is all yours, enbar; I, modestly, am content reviewing lesser-known artists like the Deviants, Electric Eels, Gallon Drunk, Three Johns, to name a few. However, Poletti was volcanic; you bring the uallera down to basement level, and besides, Poletti didn’t send insults via private messages like you do. Listen to me, remove the great Enrico from your profile; you are one of those communists who have led the current left to ruin.

Friend primiballi, why do you let yourself get carried away by agitation? Just because someone doesn’t like one, two, or three reviews doesn’t mean they have to write one! Do I need to explain to you that the writing seemed haphazard to me? Don’t you see the absurdity? Pomicino's character is entirely based on his ridicule. Don't you see Elio Petri? I certainly do, and I suspect Sorrentino sees it too, given that he himself has stated he took the close-ups from "Todo Modo" to symbolize the same invasiveness of power that occupies every space. He even says he was influenced by that allegory of power that perpetuates itself in the immobility of its rituals, turning it into a kind of gilded cage but also a claustrophobic trap, just like it was for Moro-Volontè and now for Andreotti-Servillo. He went further, saying that Petri himself was influenced by films like Bunuel's "The Exterminating Angel" and Resnais' "Last Year at Marienbad." I acknowledge that you see Elio Petri only from a superficial perspective, and I'm sorry if I gave you the impression of being a professor, but you’ll excuse me, I agree with Sorrentino who declares "Todo Modo" to be the spiritual father of "Il divo." P.S.: Do you know that scene from "Annie Hall" with Woody Allen waiting in line at the cinema with Diane Keaton?

@nes ...did you lose Poletti? A legend, he was the one who reviewed the Velvet Underground believing that Nico was a man...

Well, my cousin, if you're interested in his opinion, I'll go ask him later and then I'll write it down here :))))))

I’ve read well and I repeat: "But why do you talk about things you haven't seen?"

The most ridiculous one remains that of Poletti, who sees it more as an American movie than an Italian one, like a synthesis between "The Godfather" by Coppola, "The Silence of the Lambs" by Demme, and "Faces" by John Cassavetes... but I mean, can one be more idiotic?

But what does "Il giorno della civetta" have to do with it, since it's a completely different genre of film? Why talk about things you haven't seen? Three reviews of this film and none that I liked ... and this one even mentions Fellini, Tarantino, Moretti, which is as fitting as cabbage at a picnic. As I've already mentioned in some past comments, Sorrentino must have drawn from Petri's well; here you can find all the grotesque elements of "Todo Modo" and "Un cittadino al di sopra di ogni sospetto." It's not a bad thing to refer back to Petri's magical work from forty years ago in an Italy of lackluster directors, and Sorrentino is not lackluster.

@kosmo I knew that the one on the right was Karoli's cousin while the one on the left was poor Michael's wife. It's funny to wonder if she was a transgender or not when, in those glam years, everyone was :)))

If De Lorenzo is also IlPaolo, I would be very sad because IlPaolo was still likable to me, while De Lorenzo is a fourth-level provocateur who masks nonsense with a cultural veneer that only appeals to those lobotomized by Berlusconi's television. It’s inexplicable why he considers someone like Carfagna to be intelligent, who first tries to scrape together some pocket change by selling her tits and ass in calendars and then, once a minister, states literally: "I do not understand those who sell their bodies." The other heroine of our times, Gelmini, is someone who wants to affirm meritocracy but then, to take the state exam to become a lawyer, she goes to do it in Reggio Calabria, where they pass everyone, instead of staying in Milan where it’s more difficult; maybe now she’ll ask for more strictness even in Reggio. Well, this De Lorenzo promotes these half-wits with their ass-face as stars of the Italian political scene, placing them alongside a woman who is politically, culturally, and ethically irreproachable like Iotti. If he does it as a hobby just to annoy everyone, that’s somewhat understandable; if he does it because he’s convinced (though I hardly believe that), all we can do is pull our hair out...