godbowl

for Bacchus!

never heard and it intrigues me..well done..

uuuh what an exaggeration though...

very beautiful..intense and sincere like all the great new works..great discovery..and I really don't like the fugazi at all...

very beautiful album..really a personal and mature effort..certainly not innovative but of exquisite quality..if anyone had doubts about Beck as a songwriter in addition to being an established "blender," with this, his skill is beyond doubt..

Fusillo, I give up.. I appreciated your final dialectic even if I might still disagree on some small points.. and as a simple admirer and less of an investigator (for the moment), I enjoy seeing in the cameraman all those things I mentioned to you.. because Buster and the opposite side, the Marx Brothers, work for me like for Woody Allen, who once said that watching "The Blitzkrieg" made him understand the meaning of life.... so, as it might always be right to do, before getting into manuals, it's better to watch the films a hundred times and read the biographies and diaries (like those of Tarkovsky and Ozu) to understand an artist.. therefore, as someone else would say, debaserian greetings and thanks, and see you in some other "bottom-page"... (I hope..) :)

Wow, so many comments... interesting... intriguing...

I have bewitched them and found them to be classy, beautiful melodies with well-crafted arrangements, but in the end, they are a bit inconsistent, somewhat "ephemeral."

So, look, I mentioned cameraman because it seemed the closest (perhaps with Sherlock Jr.) to these words: "For Keaton, each film constituted a new and different relationship with a new and different reality. Far from a sentimental adherence to the facts of life, he takes a position of ataraxia in the face of human events; he appears in his solitary figure as an observer of the world and society. This distance allows him not to be overwhelmed by the daily routine and to maintain his final judgment faculties; however, his judgment is the conclusion of an abstraction of the essential elements of the complex structure of human and social reality..." (G. Rondolino, film historian). So the general is about the man-machine relationship, Sherlock Jr. deals with cinematic alienation, cameraman focuses on the manipulation of reality and its non-uniqueness, navigator on social inadequacy... all almost at the dawn of cinema or at least at the dawn of cinema as an art form... so this is not a "philosophical" process supported by theories from a phenomenologist like Blow Up by Antonioni, but I agree with the view of Keaton as an extraordinary comedian who did not limit himself to simple gags, in which by the way I believe he remains unsurpassed, but who tried to go beyond... one of the gags that struck me the most is the one in Sherlock Jr. where he finds himself launched through a thousand eras and different geographical zones, and the one where, while watching the film's final scene, he decides not to embrace his woman...

but what does it mean less Keatonian than Keaton.. he's the most beautiful.. you can tell that Cecil B. DeMille wrote it for him, huh...