odradek

I don't even know if I understood myself, but anyway, thank you for the response and sorry for the question. And long live the hot mice.

Well, I think I only partially understood what you meant; I was just surprised by the choice of term and that comparison. However, I don't think I entirely agree. The final part (the western one) of his career is less familiar to me, but the great variety of settings, genres, and approaches in his filmography shows a meticulous accuracy (albeit understated, never shouted) as well as an ability to work precisely on the "breaks," the contradictions that undermine the seemingly perfect mechanisms of American society that his antihero (or average hero, the everyday man) grapples with. I’m not sure what you mean by flowing smoothly: if it refers to the technique, one must certainly acknowledge that attention to formal craftsmanship is evident. If it refers to the atmosphere, to the web of tensions that sometimes arise in his films, I understand it less (well, Scarface, with Paul Muni, for instance, may also "flow smoothly," but it's a film from '32! and its "beauty" is not so obvious or simply a matter of "geometry" as the comparison with your reference to Zappa seems to suggest).

Ah, of course, I don’t swear a damn thing :)

True, a very convincing page, like the others, by the way (even Tongues’ is quite fitting for the album). But why, I ask and say, why do you never grace us with a substantial collection of samples? Perhaps even 2 or 3 from the two tracks that seem to project the album from the mediocre dimension you describe to that unmissable one that you can't classify? I can put together and post about twenty in no more than half an hour, little by little, in the spare moments. And I'm slow and clumsy. Well - Campagna samples 2006 -

I found you while reading the latest comments. Pretazzo, explain this definition of formalist and clarify the relationship with H. Hawks, please. I'm way too curious!

@Qzerty: no way, that late new age girl won’t divide us (although you could have let me have a turn) It’s just that you were talking about blogs and I didn’t read the signature… @Socrates: thank you. Good, I don't have to ask for a correction :)

@Surferk: well, the cover is really powerful, the review definitely less so. Thank you - @Sfascia: if only we had the time to explore it calmly, the jazz would be an incredibly lush and infinite maze in which to get lost. I listened to Courtney a little, and it was too long ago... - @Socrates: yes. The soundtrack is credited to Wonder, but it was overseen by both. That's what I've read on some sites (and in some film discographies of Blanchard). But it doesn't appear in his. I don't have the DVD, but I'll end up going to check :) P.S: I also really liked "The 25th Hour," reconciling me with S. Lee after some less convincing works. @Massimof, Lello, Mr. Green Genes: thank you and have a good evening.

I don't know this. Another search to do. Hi, Lello.

No. And I will never think about it.

@ Kosmo: I don't know what kind of relationship can be established, but I believe that the cut-off posts have in common a sequence of exclamation points.