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I wanted to point out something: I had always watched Vertigo at home dubbed and that's fine; yesterday at the Oberdan in Milan, it was re-released on film in the original with subtitles, needless to say I didn’t let the opportunity slip by. In the scene where Stewart is traumatized in the hospital after Madeleine’s fake suicide, paralyzed and with Mozart's music playing, the painter friend leans down towards him and says: "It's not over... mother's here." That "MOTHER'S HERE" is a key line that highlights a crucial psychological nuance of the character who "submissively" accepts to be a mother to Scottie (as he had called her in one of the early scenes of the film) just to be close to him. Well, in the re-dubbing, "mother's here" became a very banal "you can heal" BUT WHY THE HELL.

Seen, really beautiful. In my opinion, the plot itself is nothing special, but the filming has such a refined flair that I don't know, it's impossible to resist. Excellent.

Wonderful film, with an unquantifiable sexual energy. The remake by Sofia Coppola hahahahahahahahahahahahah

For me, it represents the pinnacle of Genesis's artistry alongside Foxtrot: while the latter is the perfect prog album (there isn't a single weak or filler point), I greatly appreciate the five's desire to explore new sounds in the former, and overall the work is capable of offering different sensations compared to the more "crystalline" compositions of the previous album [someone elsewhere even mentioned punk and new wave], despite the compositional sensitivity of Banks remaining unchanged—just look at 'The Lamia'...: there is more roughness and immediacy, which is good. Then again, it certainly lacks a bit in compactness; mostly I feel the shortfalls in the instrumental transitions of the second half, but nothing so relevant in my view. Personally, I find Selling much more unbalanced, between the concession to Collins, Battle which is a more than suggestive composition but quite verbose and, in my opinion, not entirely refined or successful, and if we want, even the synth ending of Cinema Show (which, however, I still enjoy greatly). I don't know, I attribute the weaknesses of Lamb mainly to a physiological factor of wanting to create a double album.

Great movie, with high suspense, made on a low budget and featuring very successful settings.

The Crown of the King.

Alright, revisiting it tonight, I place it on the podium of the "best film in history" alongside Bergman's 'Persona' probably.

Damn, good morning!

Wow, what a revelation! I knew Camisasca from Nomadi and the other songs from Sole della pioggia by Alice with its strong "world" vibe, so it was a double surprise to find him in a psycho-folk-prog guise. An outstanding album that deserves to be rediscovered.

It didn't thrill me, but it's definitely packaged to perfection, even if, when all is said and done, it's what I've liked the least from the director (while I consider Reality a small masterpiece).