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And this is what John Fante thinks. From The Brotherhood of the Grapes.

"Then it happened. One evening, while the rain tapped on the sloping roof of the kitchen, a great spirit slipped forever into my life. I held his book in my hands and trembled as he spoke to me of man and the world, of love and wisdom, of crime and punishment, and I understood that I would never be the same again. His name was Fëdor Michajlovic Dostoevskij. He knew more about fathers and sons than any man in the world, and the same goes for brothers and sisters, priests and scoundrels, guilt and innocence. Dostoevskij changed me. L'idiota, I demoni, I fratelli Karamazov, Il giocatore. He turned me inside out. I understood that I could breathe, I could see invisible horizons. The hatred for my father melted away. I loved my father, the poor wretched suffering and persecuted man. I also loved my mother, and my whole family. It was time to become a man, to leave San Elmo and set out into the world. I wanted to think and feel like Dostoevskij. I wanted to write."

I was thinking about reviewing it. Beautiful film. It hurts the eyes.

I know nothing about electronics. I think I might even be allergic to electronics, but the first record entertains me tremendously. Then there’s "Story of O," which doesn’t have much electronics but feels like a piece by Can deciding to soundtrack a journey through the desert, to kill someone, from "Come una bestia feroce." When you get it, if you get it on vinyl, we’ll find out if they are total crazies... the end of side B of the first one, the one with the all-screaming track that closes the electronic album, gets stuck. It spins endlessly, repeating the last 3/4. If they did it on purpose, they should be locked up in a lunatic asylum, and if they need to be locked up, I can do nothing but love them. We need to repeat the experiment. Come on, someone buy it on vinyl!!! :)

Great book, great son of a b*tch that Marquez is. Kosmo, if you’re a hopeless romantic, go ahead and try Love in the Time of Cholera. That one, for romantics, is even more "bastante" ;)

They are good. Who knows if the Tuscan guy will pass by here again... maybe just to play with some hooligans from the Drim Fiater.

I bought it for the introduction because I imagined the wreckage... and instead. Not bad, even though the thing about excesses... well. In the end, for the Idiot, the only excess he enjoys is love, not carnal, but total, and it’s a bit simple to justify the excess of love. Their opinion changes a lot regarding excesses, fun when they talk about the excesses invoked by the Antichrist. The excess of love is fine, but not of life... yet they are organicists by essence, evidently only when it suits them. Concerning Dostoevsky, the afterword to Crime and Punishment written by Pasolini is interesting... and well, read after Bagatelle for a Massacre, it makes you understand why a big baby like Freud had so much success when certain things had been known for millennia. Pasolini says that Dostoevsky demands Freud... it's true. But all those rants would have existed anyway, and Pasolini admits it. Dostoevsky knows everything about everyone.

No, Ugo Guanda, 6 euros and 50... better, Corbaccio is a bit pricey... but it rocks, like SST.

I have it in that edition too. I got it because it made me think about this thing about Christianity, and then, when I finished it, I concluded that they hadn’t read it or that they were particularly obtuse (like all believers). I don’t know where you’ve reached, but there’s a part where he spits on Roman Christianity quite directly. Bah, what people. The Idiot, anyway, is my favorite. A dissolute life makes you a better person, there’s little to be done... when he wrote it, once again, he had creditors up his ass. Everyone should have creditors.

True, a wreck. Everyone a bit stiff, Timi the worst... but still, the film moved me, the film itself. The rating is based on the emotion, on the possibility of making a film worthy of the events and the people it narrates. I started off biased, yet it melted me. Probably it melted me more through an insightful vision and reworking of Dostoevskij than the film... but the film itself is a reworking of Dostoevskij, so there’s no escaping it.