romeo1985

But praising Giusy Ferreri is something absurd? I praise her because I like her, I have no problem saying it, this is what I mean by looking at things for what they are.

Well, I don’t know, I wouldn’t call myself a critic, but I love cinema and I also love b-movies. Wool is one thing, silk is another; a smart person knows how to distinguish between the two, and by separating them, one can view what you call "silk" from different perspectives, just like in the music I reviewed. I don’t really know your cinematic levels, but I can tell you that I have a fair amount of knowledge after spending entire days watching films of all genres. Dear friend, the two hours to watch a sexy comedy are certainly worth it for a few laughs. To deny the authenticity of the proposal in our 70s means not recognizing ourselves while dealing with a country in transformation. For the rest, I recommend looking at things for what they are, and in the end, you will agree with me that sometimes laughing is important.

Cacchione, first of all, the American version of "Profumo di donna" wasn’t something I wanted to see because the Italian one, in my opinion, is unbeatable. Returning to our topic, you probably didn’t understand what I was trying to say: a person who loves movies can also love b-movies. After all the history of cinema, I’ve seen all the b-movies (crime films, sexy comedies, tear-jerkers), and I won't hide from you that I am a big admirer of directors who are snubbed by critics like Di Leo, Martino, Stelvio Massi, Tarantini, Corbucci, who truly deserve praise. Paolo used to say that as a writer without preconceptions, I could easily review one of these “secondary” films. Starting from "Riso amaro", I wanted to embark on the path of the Italian melodrama, (passing through the b-movie).

Paolo, it's true, perhaps I have attempted a path less suited to my abilities and/or my background, which is ultimately in Italian music and cinema (including b-movies). I started with this film to gauge the impact; I fundamentally love b-movies, and this is a rare case of a socially conscious film that has managed to win me over. However, I will later review films that are more aligned with my strengths.

Supersol, I repeat, I don’t know why but I love these movies, and I can also say that cinema is extremely important to me. I’ve seen almost everything there is to see in Italian cinema: Fellini, Pasolini, Antonioni, Bertolucci, the entire comedy era with the great masters. I loved the Nouvelle Vague, Godard, Truffaut, Rohmer, expressionism, Metropolis by Lang, Greta Garbo’s films, American classics. Those three I mentioned are truly my favorite films.

In conclusion, De Santis is one of my favorite directors, and Riso amaro is among my top 3 films. I am a fan of movies in this genre; I know that this film is a secondary work of the neorealism phase, but I love it all the same. My favorite films are: 1) Profumo di donna - Dino Risi 2) Riso amaro - De Santis 3) La cicala - Lattuada.

Vortex, a film that I personally consider to be a great film, is deemed neorealist by all film critics. It’s clear that within the genre this director, due to the themes he addresses, cannot be compared to Rossellini or Visconti. But when I say that they differ, I mean this: you won’t tell me you don’t consider this film neorealist, will you? Germania anno zero has a different setup, but as a lover of cinema, I tell you they are not comparable—not because this one is any less, but simply due to the styles of the two directors. As for Supersoul, I haven't had the chance to see it yet; it's the only one I haven’t watched.

I thank everyone who commented. I wanted to clarify that the film I reviewed is considered neorealist, but in terms of story and plot, it distances itself from the films of Rossellini; the trilogy Rome, Open City, Paisà, and Germany, Year Zero is also quite far removed from Visconti, films like The Earth Trembles (which is inspired by Verga) or Ossessione. Its style is different from the early De Sica films, such as Shoe-Shine, Umberto D., and Bicycle Thieves. De Santis was an eclectic filmmaker; he carved out his path and sought to incorporate different genres within a single plot. This film is certainly not a major work in the Italian neorealist landscape, but for the peculiarities I have listed, it is a film I appreciate a lot, and I also highly regard the director, who throughout his career continued in this style. I think of films like There Is No Peace Among the Olive Trees, Men and Wolves, and Days of Love. This film was very successful; the director's aim was to create a work that represented the tastes of the people. He succeeded in this, as it is likely one of the ancestors of the melodrama genre (in my opinion), which in the following decade, with directors like Matarazzo and actors like Amedeo Nazzari, would achieve good success, such as in films like Vortex and Torment (obviously two very different genres); I cannot compare De Santis to Matarazzo. Critically speaking, I must say that neorealism was one of the highest moments of our cinema; Truffaut was a great admirer of Rossellini, and after watching Journey to Italy, he wanted to meet him.

To respond to den vlaams, I must say that there is little difference between the exam of the old system and that of the new one. This book is called "elementi di analisi," specifically for the new 3 + 2 model, but having studied from it, I can't find differences with that of the old system. A friend of mine from the old system just graduated in electronic engineering; he told me his exam was slightly more difficult, but this varies from faculty to faculty. For example, at the University of Pisa, if I'm not mistaken, the math exam is not divided into two parts but is a single one with more additional credits. As far as I know, this book is also widely used in other fields, like physics and chemistry, and a friend studying geology told me he used it for some explanations. As for the exercise volume, I haven't used it; I've used various other books. This one focuses more on theoretical aspects.

beautiful iside, anyway I will try to get myself the great successes of fausto rossi, bye