Pietro Minchiadura

DeRank ™: 1,90

DeAge™ : 7678 days • Here since 2 june 2005

Pier Paolo Pasolini Salò o le 120 giornate di Sodoma

2 mar 07

Voto:

Great, Vic, you’ve convinced me. What strikes me the most is the coherence of your argument, even though I didn't think you were a discreet admirer of anarchoid culture: your observations are spot on. Personally, I still believe that Marxist culture looms quite a bit over this Pasolini, and above all that this kind of anarchy finds its raison d'être in a communist substrate, an anarchy that borrows the gesture of the fist from one of the dissidents in the last episode that is now close to imminent execution. In that imagery, Pasolini still moves, in my opinion, even though I agree that the primary needs of the director were anti-capitalistic. In any case, the important thing is the coherence of the argument, and in this sense, your way of considering things is correct. Until next time.

Bernardo Bertolucci Ultimo tango a Parigi

2 mar 07

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There is a cultural thickness, and that, in my opinion, means something: the fact that Muccino, more or less intentionally, describes the culture of today's reactionary kids as one of the emptiest possible. Listen to the nonsense that Muccino Jr. says when asked about the reason for his protest. Absurd words, a complete vacuity too evident not to have been deliberately highlighted by Muccino senior. As a counterpoint, there's '68, which perhaps made more sense. In this sense, the film has substance, it has strength, despite the usual pathetic minimalism of Silvio.

Alfred Hitchcock Psycho

2 mar 07

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...the pursuit of quality, which I am talking about, is the one in the car. Tiresome instead is the final one on the rooftops.

Alfred Hitchcock Psycho

2 mar 07

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Yes, but the love story between the two has an immortal charm. Especially thanks to her (well, the nostalgic ones will say thanks to Grant instead). The movie is good, the chase scene shows it. The final chase is rather weak, though. In my opinion, it earns slightly more approval than Delitto Perfetto.

Pier Paolo Pasolini Salò o le 120 giornate di Sodoma

2 mar 07

Voto:

Excellent view of the problem. I approve, but I provoke, because there are some points to clarify. First of all, do you renounce the pre-'68 Pasolini then? I don't believe it. And what about the others? Rossellini? Antonioni? I saw you spend words of praise. At this point, I ask you: although leftist culture and politics have always been split, does it not reasonably disturb you that Marxist ideology and its substitutes are presented in this production? It's fine that Pasolini distanced himself from '68, but he still speaks of communism, whether he was led astray or not.

Alfred Hitchcock Psycho

2 mar 07

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That's exactly why it's surrealistic, not surreal! :)

Alfred Hitchcock Psycho

2 mar 07

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...Of course I meant to say "catch the thief."

Alfred Hitchcock Psycho

2 mar 07

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One of Hitchcock's best, for me on par with "The Birds" and "Dial M for Murder"; I would place "I’ll Save You" just a notch below (but what a splendid surreal dream), along with Vertigo. "Dial M for Murder" is brilliant, but not of the same significance. After all, alias, if you want to enjoy Kelly, why watch Dial M for Murder when she's much more present and enjoyable in "To Catch a Thief"? What a wonderful woman, what a divine epiphany.

Pier Paolo Pasolini Salò o le 120 giornate di Sodoma

2 mar 07

Voto:

I can't keep up with you anymore. Let's tie up the discussion: the film is a perpetual disgust. Enjoyable, though, fascinating, on multiple levels of interpretation. It's a disgust that it evokes, more emotional than intellectual, towards humanity and its faithful followers. You can certainly choose not to watch it anymore, but its value remains nonetheless. I don’t see the ending as bleak: the dance is indifference, but not the content of those "everyday" words. To Tabba (and his brothers) I ask: of course, your political and cultural ideas are well understood; how do you reconcile them with the positive judgments you give to a good part of the left intelligentsia?

Blake Edwards Hollywood Party

2 mar 07

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But not modern. I'll give you an example: censorship has evolved, and today it’s almost impossible to laugh in a clean show free of vulgarities like Hollywood Party. The same version of Broncoviz, which here and there had phases of boredom, gave its best when a curse slipped out. Or when there were some daring metaphors. In this sense, Hollywood is part of that culture. How else would have Frankenstein Jr been without the allusions to Schwanzstück?