Pietro Minchiadura

Great album and great review, in "The Count of Tuscany" I also heard some prog-jazz à la Soft Machine. Dream Theater are among the hidden gems of post-concrete music, soon a new name will be reassessed in the international scene: Peppino di Capri.

Hey, Iside, isn't that "Promessi Topi" spectacular? Now that was a top-notch TV show...

Well, consider that the numerous movements of Mozart's Requiem average about 3 minutes each for a total of 40 minutes, while Brahms' 7 movements take at least 70 minutes, practically double. It’s true that the Dies Irae has a reputation that makes it more approachable, but this argument is just a dog chasing its tail: it’s more popular with the media because it’s more digestible, more catchy, which just reinforces the point. I don’t know the concert, maybe it allows for other considerations, who knows.

Reviewer and reviewed are overrated! I much prefer Coppino talking about Slipknot... more familiar.

Oh, oh, look at that. This is one of those that attest to the fact that you really have to be a classicomania to appreciate Brahms. This statement may sound strange to you, but in light of what you and the sensitive and delicate Josi_ Schlacks have said, Mozart's Requiem is an enlightened example, and if I may say so, more easily listenable for the ears of the laymen. I belong to the latter, and it's no coincidence that this piece by Brahms seems like a hammer blow to the so-called. Even less surprising is that the sixth movement is the one I remember best, the most evocative and impetuous. As for the old Grass, I expect him to divert his thoughts from the local football teams and come back to lend some substantial help around here. "Mental masturbation" is the best thing, aside from the "anger of the Almighty." Adone, even your comment is out of place... you're still the same old you. Beautiful pe' Grasse!

At that time it was unimaginable, somewhat like Bunuel's sexual metaphors in the '30s. Today, Fantozzi has brought him more fame (in the second episode, which by the way is excellent), perhaps also rightly so for the modern viewer's perspective... there are dozens of versions set to music by different authors; the Fantozzi version, which I have been searching for years, has the legendary "Pictures at an Exhibition" by Musorgsky as its background.

Yes, it frustrates me too, Un Chien, even though that initial analogy between the clouds and the razor is something that’s worth more than fifteen minutes of bullshit. Memorable.

I admit it: Bunuel gets on my nerves. The problem is the allegorical intent taken to the extreme; here, too many things elude me (for heaven's sake, we are not at the levels of Un Chien Andalou, but still...) and I cannot discern any "highs" that can engage me. A very detailed review.

Criticizing "The Exorcist" is too easy a task, one that has been taken on by too many people who still don’t realize they’re not alone and aren’t saying anything new. It’s a task too simple, given that there are motivations to tear it down, but to reduce the plot to two chess moves is something else entirely, and above all, it’s too childish to say “It’s not as scary as...,” because we shouldn’t evaluate one film as being better than another based on its ability to scare. Context aside, I still find it a unique experience in the history of cinema, overall well-constructed and occasionally fascinating (good luck finding a horror film with didactic intent). Today it brings a smile, sure, but denigrating it based on the plot and the lack of elements that induce a good scare is shortsighted. Argento has made us jump out of our seats in films where the plot has gone off the rails, if we're going to talk about a connection between things. And by the way, I repeat, don’t get carried away: it may not be perfect, but to completely dismiss it is too much. I can only imagine what we’d have to say about all this horror of our times then.

The alpha and omega of the author's thriller. Evergreen. Excellent note on Hedren and Taylor, conventional performers but perfect for the role of supporting characters.