pi-airot

Beautiful page.

I saw it a few days after its release on Netflix, and it took me a while to come back here to comment (I had promised myself I would), because this Pinocchio did not satisfy me, and at times it even irritated me. In this adaptation, as you noted, the two reflections on death and the nature of fascism intertwine. Regarding the first, I think Del Toro hit the nail on the head, keeping everything within the realm of fairy tale, but speaking clearly (as he has always shown he can do). If I were him, I would have focused on this aspect, while I was deeply irritated by the umpteenth representation of fascism as a farce: if only it had been so! We may no longer grasp certain mannerisms and poses that today seem humorous, but in the 1920s they were so effective they enchanted even a certain little man with a mustache who was taking his first political steps in Bavaria; if the intention was to cast a humorous light on the regime, I would say that in this case Del Toro lacks the fabric of Chaplin, or that of Miyazaki. I also believe that the "comic relief" that the director wanted to include in the film (for example, the Talking Cricket) was really ineffective. Hats off, however, to the technical side.

Protected by anonymity, I confess: I've only listened to a bit on YouTube, and I still haven't formed an idea about the work, even though certain sounds haven't convinced me (namely: the keyboards and at times even the drums sound a bit MIDI to me). There's a lot of good work in the composition phase. Your description conveys it well and makes me want to maybe make a small investment...

How much, how much, how much nostalgia! I really love Elio's... reckless use of sounds (a characteristic that over time seems to have somewhat limited them). I don't know how many times I've looped the chorus of gurgling from Pork & Cindy in my head.

Beautiful! Despite the theme, it made me spend a few carefree minutes. And it reminds me of my beloved Kate Bush, who in her "Blow Away" - certainly more serious - evoked her army of now-vanished myths, dedicating it to a lighting technician who died in a work accident.

Modification to the review: "And instead no, I'm modifying (I'm too ashamed)." See the old version 2023 - Baris Manço - recensione Versione 1

As already pointed out, when talking about "Io Ti Salverò," it's necessary to mention the dream sequences created with the collaboration of Dalì; however, it's a beautiful review for a stunning film, which many other directors have referenced. Nitpicker's corner: it's true that Freud and psychoanalysis caused a revolution in the literary field, but the rug under the credibility of the narrator was already pulled by Henry James at the end of the 1800s with his magnificent "The Turn of the Screw."

I agree with you: too much Harry Potter, too much Agatha Christie, solutions that are too "telegraphed" (I can't stand stories that try to be mysterious but are clear from the start). However, I do commend the cast, especially the very tall principal and Gomez, who are much more in line with the original comics.

A key to interpretation? The illustrations. They are essential, indeed: they are the very foundation on which Eco has built a magnificent architecture.

The story you tell has also moved me a bit. This song has always been perfect for me. The only flaw: in the attached video, as the lyrics scroll by, I spot an "e io lo sò"... how that accent gets on my nerves...