Pietro Minchiadura

So, the review isn't too bad after all; it at least highlights the rightful innovations introduced by Welles in the world of cinema. Let's say that Polè didn’t mention a lack of plot, but where he referred to the plot as "trivial," he should have specified the metaphorical nature of the film; he should have explored its intimate soul. This doesn’t happen, and so everything gets diminished. I still miss various Welles works, especially the Infernal Quinlan: right now, I don't believe I prefer any other from the same author. For example, I find the shabby Macbeth (done with costumes designed by that great rascal Orson) inferior, although fascinating, and I'm surprised that Ajè (who has a polemic view today!) agrees with my metaphysical tastes. Personally, it’s still in my top ten of all time. Just the "No trespassing" sign is enough to give me chills. That alone would have sufficed to cite.

But not a chance, I'm sticking to my (excellent) ideas. But you're a damn bastard, you always have excellent opinions too, and the curious thing is that although they are excellent, they are different from mine. Quite a contradiction. Hi companion ajeje, until the next slaughter!

But she’s not a whore, so she lives beyond Travis's personal thoughts. There was nothing to delve into; it was a matter of effectively justifying the explosion of violence in an individual. Through a more dramatic motivation, Travis's sense of unease would have appeared more convincingly as a projection of American discomfort, which was Scorsese's intention in the film.

We're entering the realm of arbitrary characterizations. The Shepard idea that lives in Travis's mind? Mavvacaghér! :P <<<Rendering it in a superficial way contributes to the idea of the hostile environment in which Travis finds himself>>>... I didn't get it. Don't exaggerate, there wouldn't have been a need for some drastic change in the relationship between the two. Just a motive for the end of the relationship different from a disagreement over porn.

But no, Mallò, I expressed myself poorly: I don't find the story between Travis and Cybil convincing in itself, not the film as a whole. I'm talking about aesthetics in a philosophical sense (àisthesis, okay, I'm exaggerating, hehe), the psychology of "feeling": in my opinion, the representation concerning the two is weak, that's all. But ajeje, from the standpoint of his voracious carnival-like dreaminess, makes an excellent observation, which I agree with: the film is about De Niro. And so I find myself in agreement about Foster, who in my view is anything but a heroine, anything but a co-protagonist. Ordinary. However, the film, for better or worse, becomes a peculiar analysis of the relationship between De Niro and the blonde, because it is central to the unleashing of the protagonist's violence, which means it can indeed be a film about human loneliness, but in the judgment of it, I think one cannot disregard the consideration of the weakness of the female characters.

...I was responding to ajeje, but in doing so I implicitly responded to pretaccio as well. Underlying motivations, it's true, and you are right to emphasize the cameo; but in all these cases, Travis is forced to live through what he becomes a victim of, while the mechanism behind Cybil's rejection is this time self-induced, albeit involuntary. In this sense, that doesn't convince me, and anyway, philosophical considerations aside, speaking from an aesthetic point of view, it's the representation itself that doesn't convince me.

I knew you were lurking! The drop that makes the cup overflow? Yes, there's the usual Vietnam behind, a Vietnam we can only know through history, not through Travis. Then, in a certain sense, to put it bluntly, it's Travis who asks for it. In general, however, regardless of the peculiarities of the plot, the story itself between the two is quite bland, lacking charm and psychological depth. She is an adorably beautiful statuette, that's all.

I observe what I consider a structural flaw: Travis's state of violence has, after all, matured through a weak motivation. Rejected by a receptionist, he cannot be called a “victim” of a system that tends to marginalize him. Killing Palantine for a blonde girl who refuses to watch porn? The motive is weak, the message is weak, the characterization of the story is weak. It takes away space from Foster, who might have needed more light.

Well, among the Pallottini texts you forgot "Il Bambino di fumo." This album is nice, it has several moments of quality. The romances in "Il gigante e la bambina," "4/3/1943," "La casa in riva al mare," "Strade su strade" are quite refined. I love "Lucio dove vai" (retrieval: the song was already released years before) and "Un uomo come me." I have a certain affection for the ragged choir in "Itaca," I admit.

mmmm... there you are, I don’t know you well but I’m already intrigued by you... let’s do it this way: for now, I’m signing off, because I have a very anarcho-gay film club to attend: liters of proletarian wine, Pasolini, and indiscriminate sex... see you tomorrow at the same time, same place, same parking... yours, Pietro