charley

Nice album from the genius. The guitar in "Why you wanna..." also left me speechless.

A cult classic, completed by the equally brilliant and entertaining second part. The third is the weakest one (the game of western references, first among them the shot of the town of Hill Valley à la "Once Upon a Time in the West" gets tiresome after a while).

A film whose whole is greater than the sum of its parts: the ultimate sum of the Holocaust, cinema about the Holocaust, and its topoi. In essence, "Train de vie" and "Life is Beautiful" are profoundly different films from this one: Spielberg's film aims to convey the final, almost objective word (and for this reason, the film sometimes seems a bit "cold," forgive the term) on a historical event of unimaginable proportions, and it likely succeeded. I see the two films you mentioned more as two perspectives on a historical event, where a story matters more than History itself ("Train de vie" is almost dreamlike, and perhaps the first and last images weigh more than the entire film; Benigni uses the Holocaust as a pretext to narrate a son's nostalgia for his father, constructing a comically dramatic clockwork machine).
"Schindler's List" takes a man and his story and elevates it as a metaphor for the entire Holocaust; the protagonist is just one part of the many threads that run through the film, and here a story becomes a pretext for telling History.
So I would convey this to unified networks. Then again, de gustibus...
Either way, it’s a masterpiece.

Now that you mention it, it might have been the first album I ever bought... I was about twelve years old, and it wasn't a bad record at all... I must have the cassette somewhere around here...

Religiosity and blatant sexuality, as usual more of a provocation than anything else, but the music isn't too bad (and then he duets with Prince): I prefer Like a virgin.

Well done, nice review. "A whiter shade of pale" was extremely overused in a series of films in the late '90s (like "Denti") and maybe that's why I can no longer stand it.

This is what you call a masterpiece.

In Madonna, and in her albums, there’s something sincerely ambiguous that I feel I never quite grasp, or maybe it’s just a simple sense of dissatisfaction, because all her albums seem to aim for something that never quite arrives. Bah. Leaving aside my mental gymnastics, here she relies on Bjork's crew, writes a nice bluesy soul ballad ("Secret"), with a very '90s beat but not too anachronistic, sampling the Isley Bros. and Herbie Hancock without much conviction (which isn’t necessarily a good thing, even though she uses "Watermelon man" to open up the new age discourse of "Ray of Light"), throws away some good melodic ideas in "Human nature" (perhaps she was too busy attacking the detractors of Erotica), "Love tried to welcome me" sounds like a '90s update of Benson's "This masquerade" (which isn’t necessarily bad, actually); “Bedtime stories” I understand was written by Bjork, but this is too much!
A cohesive album, in short, but just two highlights: "Survival," "Secret," and "Take a bow."

Certo! Inviami il testo che desideri tradurre e provvederò a farlo.

Great review, I own the album, but honestly, I've listened to it (and understood) too little, due to a devastating ignorance in classical music, to be able to comment on it, let alone rate it.