Tabba In D-Shirt

This self-recitation makes the film even more distressing; perhaps even in limitless pleasure they didn't find the emotion they were seeking, but only more existential boredom. Ferreri is the grandfather I've always wished for.

Every scene shot by Muccino and many other mediocre figures of contemporary Italian cinema always hides a social intent behind every phrase, behind every word or action. This is why we are in crisis: mediocre directors hiding a social "why" behind every event, as if they were doing politics instead of art. In doing so, they lose spontaneity, carnalness, substance, delegating anger and suffering to pre-established and pre-packaged canons, in a word, common and impersonal.

Sorry, the rating of 1 was for the movie.

it's industry, commercialization, it's not art, it's worldly, the continuous ringing of cell phones, one every 4 minutes in this film, this is Muccino, the most faithful expression of the cultural genocide that is happening in Italy. I wonder why you gave it 2 stars, this film doesn't even deserve one star, no joking around, in the face of shit like this we need to be as harsh as possible, otherwise there's a risk that something in this disgusting garbage actually appeals to you and you're ashamed to admit it.

You start with Castellari happy, I don't have much time these days to write reviews, by the way great Margheriti, Contronatura is another title to rediscover.

The eclipse is stratospheric, yes, do we think about the last 4 minutes of the film? Without even a dialogue, with a succession of shots of empty streets and desolate cityscapes in the most atrocious silence (almost post-bomb), and with the shot of the space where Vitti and Delon had arranged to meet, to which obviously neither of them went. In those 4 minutes of film lies everything Antonioni wanted to communicate with his hermetic cinema of incommunicability. It may not be to everyone's taste, of course, but to criticize Antonioni just because it’s slow, or because nothing happens, when 70% of it is all implied in the movements of the camera, is unfair.

Happy, it would be interesting to see some reviews here about Castellari, him and other directors of this low-budget film genre. These people are still underrated, and I think it is time to give the right recognition to these true godfathers of a genre — I’m talking about Italy, of course, since in the States, people like Castellari, Fulci, Di Leo, and Bava are highly appreciated. Sure, these directors have made their fair share of crap; just think of Fulci. Fulci made good films when there was money and creative freedom, and bad films when there was neither money nor the right conditions. As for Keoma: it’s one of his best. Sure, you can smell the cow dung used to fertilize the fields in the countryside; you could even sense it in the cardboard monsters made for two lire by Fulci, and that gives a naive flavor to this type of cinema. Well, I’m glad, at least, that Keoma engaged you. It’s not at the level of the great Westerns by Leone or Peckinpah, obviously, yet despite everything, I feel a sincere epic in it...

Bertolucci the best??? No no no, God save me, in Italy at least 30 directors have been greater than Bertolucci.

Look, the amateur comment wasn't directed at you (it was for the general), and I don't think you're a revisionist; in fact, I haven't written that anywhere. I just thought to myself, with a little smirk, the day when, just to pick a random name, Poletti will review Ferreri or Pasolini or Visconti, to say the least. It just makes me laugh to think about it... don't feel persecuted by me and my comments; it's not worth it, just relax! If you want, I won't even vote for you anymore, but you don't really care about votes, right? I just have to comment, and it’s stronger than me; when it comes to certain absurdities, I instinctively feel the urge to launch into little rants.

Well, Ferreri and Pasolini were on another planet; when they had to represent horror, they didn't beat around the bush and didn't use any rhetoric, everything contrary to Bertolucci, two irreconcilable planets. But surely the time will come when someone will review "La Grande Abbuffata" or "Salò" and maybe they'll tear them apart for being too obscene or other such nonsense; it'll be amusing with certain amateur reviewers, LOL.