supersoul

...leave the scaruffini alone and damn it, you can't even see a 5 here, everyone giving a max of 4 out of fear of the scaruffino of the moment who comes along saying "how can you give a 5 to these little songs, and then to the orchestral Zappa when we should be giving a 10?" Now I say: 1) here we have one of the most exciting line-ups put together by Zappa (who here, as the perfect despot, doesn't exploit it to its full potential, which will then be revealed live): Jean-Luc (not Luke, he’s French) Ponty, George Duke, Bruce Fowler, the two Underwoods, all three Ikettes on backing vocals. 2) Zappa RETURNS to being as corrosive as ever towards American puritanical society with pieces that drew cries of scandal, and he did it on purpose to up the ante ("Dirty Love" ends with the groupie having sex with the poodle and "Dinah-Moe Humm" with a woman betting 40 dollars with Frankie that he won't be able to make her orgasm, and he realizes she only enjoys it when she sees her sister fucking Frankie) 3) here are classic Zappa tunes that he will rework in every way live and for the rest of his career 4) it’s an absolutely enjoyable album for Zappa fans who kept buying it despite the critics who might have turned up their noses after praising Grand Wazoo. That said, I don't turn up my nose and consider it a great Zappa album and I give it a five because even today it runs through my head and I find myself humming any tune from this album, whether it’s Montana, Camarillo Brillo or Dirty Love.

I just want to take a moment to thank you for the compliments and to say that it’s true (as stated) that objectively it’s not an essential album, and in fact I didn't give it a rating, which objectively wouldn’t have been five, but subjectively I find it too fundamental for someone like me who has loved JLP and the Gun Club (especially their first two albums, and more the second than the first). Therefore, anyone who loves a legendary figure like JLP and has never listened to Ramblin' Jeffrey Lee, make sure to do so because it will renew that thrilling sensation down your spine. Trust me.

In discussing the connection between "Into the Wild" and this film, I would say that while the wilderness clearly represents a bond, the "treatment" it gives to our two heroes is different, in line with what Omahaceleb mentioned. In other words, Chris, who comes from consumerism, is now a foreign body (even though he shuns this consumerism) to nature, and he is killed by it; there is no place for him. Dersu is a primitive; he has never had an identity card or credit card to burn. He is not killed by nature, with which he coexists peacefully (see the beautiful scene of the tiger following him), but by the rapacity of human beings.

Oh no, bubi, Kurosawa wants to tell you the opposite: progress has already devastated everything, having Dersu killed by someone who wants his rifle. The "noble savage" is slain by the rapacity of consumerism. It’s a great adventure and friendship film. Too bad it’s considered heavy (as Mike says) by those who should be teaching these principles of loyalty and friendship to kids. More than "Into the Wild," another wonderful earlier USA film comes to mind, "Jeremiah Johnson," with Robert Redford, who abandons civilization and finds his ruin when that civilization (the army) comes back to ask him the favor of serving as a guide in the wilderness.

...remove the space between c om

aritanga...would have!!!

Tobby, you're right, Moretti would have slapped me, ahahaha.

But indeed Moretti wasn't saying that Italian is important, he was saying that WORDS are important; he was also critical of those who use expressions like "alle prime armi" or "pane per i loro denti."

For me, Leis is right; it's much more than it seems. It's just that on Debaser, a good director like Jewison is seen as a mainstream director, while maybe Umberto Lenzi, who copied here and there, capturing the taste of the reactionary bourgeois who bought magazines like "Il Borghese," has now become a cult author even among the leftists.