primiballi

I only just now see the comments (a cruel obsession from the minor god of work and a brief escape to the mountains) and I thank everyone, even those who clearly didn't understand (in one way or another) the self-irony and irony of the text... anyway, thanks to all. @justpg: the first in-depth look at the eighties can be found on my very deserted blog, which I update every now and then (unfortunately less and less)... but in my opinion, it could deserve a nice discussion. Go here (removing any spaces): link rotto

because the editors, probably to discourage personal ads, add spaces where there aren’t any (see b logspot...it lights everything up and it shows up...)

Damn, Tom. I adore you, I think you are one of the very few who has read it and, I deduce, shared... I believe that the "summa revisio" of the eighties is a due and sacred work, something good and right. Of course, trying to avoid the usual clichés... I mean, as I’ve always thought, the years of "extreme development" and "the end"... let’s delve deeper... Thanks link rotto

@poletti: that Fellini was left snubbed by most is a fact. That he first won an Oscar and brought Italians to the cinema with films that were objectively neither easy nor trivial is another established fact (Nights of Cabiria, La Strada, La Dolce Vita, I Vitelloni, all commercial successes...). What I’m saying, convinced I’m right but as always very open to discussion, is that today Moretti, with his way of making cinema, is absolutely isolated, with the "modus americanus" on one side, the generational idiocy and idiotic locks-and-kisses on the other, and - you are completely right - the death of Italian comedy at the hands of the aforementioned is beyond any reasoning (if there isn't a good comedy, it's hard to have a "good seriousness"... a bit like on a school trip once... we behaved worse if the headmaster was strict... right?). @easy: Ferreri is a giant that, alas, I need to revisit. I will do it and we’ll talk about it properly. But your judgment on this Moretti is too harsh and "distracted," in my opinion (this film, behind the seemingly flat facade, is anything but soft... and then he shouldn't criticize Ferreri's Italy... but this one...). I recommend a re-viewing, of course if you want... Kisses. link rotto

@tom: as always, you beat me to it by saying the things I want to say... I would add that last year's semi-unknown album is beautiful (of course, if we immerse ourselves in "righeira-thought")... link rotto

@tom: I agree with you, as usual, but Claudio's experimentation stops at the previous "viaggiatore," for me a great album. Here begins the recession phase that, alas, we see renewed annually, both from the new things and from the thousand useless live performances... link rotto

naturally, I respectfully disagree: the apparent "fraying" I perceived, as I mentioned in the review, as a characteristic of a "film without a center" (understood as the center of the story and the center of the characters...). There are so many things in this work, so many visions and so many doubts... I get the impression that we, now completely blinded by the - nonetheless excellent - "American" way of making cinema, find strange (so much so that we have to reject it) everything else... Would Fellini today have the backing of the Italian public...? Would a film like "eight and a half" be understood and appreciated...? I have my doubts... Moretti's courage lies precisely in not bowing, in my opinion, to the prevailing stereotypes (those indeed!). But, I repeat, the disagreement is absolutely respectful (essentially this is what I saw in this film; it doesn't have to be someone else's vision....): Kisses link rotto

I find it an oversight—visual, historical, artistic, critical, etc.—to consider "Caimano" solely a film about the dwarf. But that's just my opinion: it's a film about what Italian society has become. It's a personal opinion, but I believe it was also stated by a certain Moretti... anyway, if it pleases you to see it as an American docu-film... whatever... link rotto

True, very true...but unfortunately it doesn't sell a damn thing (even Tears for Fears made a great album a couple of years ago...who bought it, besides me...? even Tony Hadley...coming up soon in my review...). The problem is that the eighties were the last blast of experimentation in so-called light music. After that, we only see pathetic zombies living off the market and the lack of critical sense among the kids. link rotto

historic compromise! thanks Poletti (and also to the others, of course) link rotto