3. The Good News
The most productive decade in De André's career paradoxically begins with one of his best works. The Good News draws heavily from the apocryphal Gospels and adapts them to the historical context of the time. At the beginning, we find Mary, who is cast out of the temple where she grew up upon her first menstruation, and left in the care of Joseph, who shortly thereafter goes far away, and whose return would take a long time. When he returns to Mary, however, she tells him that in a dream she understood she was pregnant with the Son of God. Meanwhile, the years pass, and Mary's son is about to be crucified: she tries to consult the carpenter who is shaping the cross for her son, after which begins the procession of Jesus and the two thieves along the Via Crucis. Now close to death, the three characters are joined by their three mothers, who weep before their sons now ready to die. But one of them, Titus, shows in his last memories the repentance and the realization of what love and charity are by being beside the Son of God. And contrasting the initial song of Laudate dominem appears at the end Laudate hominem, that is, a praise to man. Man, a being like Christ, a being capable of great things and great actions, but who many times remains helpless in front of what he can see. Or a man like Titus, who repents at the point of death, who understands that his life has indeed been wicked but in a moment loses all its value. Man may also be capable of all this, but time now speaks clearly: man has forgotten the love for life. And he lives like a plant, his tiny existence. But, according to Faber, nothing is yet lost: man can still find these values. And he can do so only with a last desperate examination of conscience. To dust off his sins and return to live as God commands.
Meticulous rating: 10 and praise
The gem among gems: Il testamento di Tito
The most productive decade in De André's career paradoxically begins with one of his best works. The Good News draws heavily from the apocryphal Gospels and adapts them to the historical context of the time. At the beginning, we find Mary, who is cast out of the temple where she grew up upon her first menstruation, and left in the care of Joseph, who shortly thereafter goes far away, and whose return would take a long time. When he returns to Mary, however, she tells him that in a dream she understood she was pregnant with the Son of God. Meanwhile, the years pass, and Mary's son is about to be crucified: she tries to consult the carpenter who is shaping the cross for her son, after which begins the procession of Jesus and the two thieves along the Via Crucis. Now close to death, the three characters are joined by their three mothers, who weep before their sons now ready to die. But one of them, Titus, shows in his last memories the repentance and the realization of what love and charity are by being beside the Son of God. And contrasting the initial song of Laudate dominem appears at the end Laudate hominem, that is, a praise to man. Man, a being like Christ, a being capable of great things and great actions, but who many times remains helpless in front of what he can see. Or a man like Titus, who repents at the point of death, who understands that his life has indeed been wicked but in a moment loses all its value. Man may also be capable of all this, but time now speaks clearly: man has forgotten the love for life. And he lives like a plant, his tiny existence. But, according to Faber, nothing is yet lost: man can still find these values. And he can do so only with a last desperate examination of conscience. To dust off his sins and return to live as God commands.
Meticulous rating: 10 and praise
The gem among gems: Il testamento di Tito
Martello
16 feb 21
DeRank ™: 25,99
Loading comments slowly
