tag:blogger.com,1999:blog-68965896072270571742024-03-05T05:01:01.139-07:00Up Till Dawn FilmsBlog, podcast, production studioBurning Empire Mediahttp://www.blogger.com/profile/11639287497744064635noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-6896589607227057174.post-38397245094394024552024-01-26T07:06:00.000-07:002024-01-26T07:06:14.214-07:00The Imperials (2016) <p> In association with Up Till Dawn Films:</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/iSRvWSomrTk" width="320" youtube-src-id="iSRvWSomrTk"></iframe></div><br /><p><br /></p>Burning Empire Mediahttp://www.blogger.com/profile/11639287497744064635noreply@blogger.comtag:blogger.com,1999:blog-6896589607227057174.post-38068306975769136132024-01-13T13:44:00.005-07:002024-01-13T13:54:17.533-07:00The Glass Castle (2017)<p><span style="font-size: 15px;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir-3GDVzHk6GtY2eWc7hzK8t467ZIoJp3oOxki4k11RMlq5npqwXj_GTxOeXWtdDquwiomX_dDgvnjZdoZh08SkF_Btz9m85L-GjsxuuHWUbmKECAuoHfdosIBaKMT4z9lHLBA8Q44MFADhMO_EPt4I4kuSKF9KR4d-tBXMVwIp3NOJ6CMOIyZrmkYOmE/s2048/MV5BMTY2Nzk0MDE3Nl5BMl5BanBnXkFtZTgwOTI0ODc0MjI@._V1_.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1328" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir-3GDVzHk6GtY2eWc7hzK8t467ZIoJp3oOxki4k11RMlq5npqwXj_GTxOeXWtdDquwiomX_dDgvnjZdoZh08SkF_Btz9m85L-GjsxuuHWUbmKECAuoHfdosIBaKMT4z9lHLBA8Q44MFADhMO_EPt4I4kuSKF9KR4d-tBXMVwIp3NOJ6CMOIyZrmkYOmE/s320/MV5BMTY2Nzk0MDE3Nl5BMl5BanBnXkFtZTgwOTI0ODc0MjI@._V1_.jpg" width="208" /></a></div>The Glass Castle portrays decades-long physical, emotional, and sexual child abuse that is whitewashed, sanitized, and oddly made acceptable, leaving the viewer questioning motives.<p></p><span style="font-size: 15px;">While appreciating various elements of the movie and being captivated by most performances, especially Woody Harrelson's, the film fails to gain my appreciation in the end. Instead, it evokes a sense of awakening and anger. Harrelson, often seen as an American darling, is portrayed in a contrasting light, raising uncomfortable questions about societal perceptions.</span>
<br /><br /><span style="font-size: 15px;">The Glass Castle, symbolizing broken promises and an abusive father's failures, is condemned as a metaphorical landfill, echoing the film's fantastical broken promises. Larson's character attempts to justify it all in the end, turning the journey versus destination concept into Hollywood nonsense.</span><br /><br /><span style="font-size: 15px;">While I used to dislike writing negative reviews, this film, in my perspective, becomes a symbol of abuse. Black characters face tragic fates and adomonishment and prison, while the white abuser is oddly redeemed, perpetuating concerning stereotypes and social norms. </span><br /><br /><span style="font-size: 15px;">The film depicts instances of disturbing abuse but falls short in holding characters accountable, to the point of making the movie unethical. The troubling portrayal of a white woman's sexual abuse of a child is downplayed, emphasizing more remorse over her death than her perverse abuse against children. </span>
<br /><br /><span style="font-size: 15px;">In the end, the film showcases numerous pictures of the deceased white abuser, seemingly glorifying him despite his horrifying real-life actions.</span><span style="font-size: 15px;"> 30 years dead as though he was something more than a piece of trash because a white woman wrote a book. </span>
<br /><br /><span style="font-size: 15px;">In real life, Woody's character burned a child's entire torso, kidnapped her from the hospital, and let her scar up around a campfire running around with a knife shortly after, talking about hunting demons that are only in the soul of her whiteman "father."</span>
<br /><br /><span style="font-size: 15px;">I've never seen a movie with such a high level of abuse presented in a seemingly cleansed manner. In film school, it would serve as a prime example of an unethical portrayal that neglects accountability for characters involved.</span>
<br /><br /><span style="font-size: 15px;">This raises questions about filmmakers' responsibility and the potential real-life impact of such portrayals, emphasizing the need for ethical considerations in cinematic storytelling. </span>
<br /><br /><span style="font-size: 15px;">It makes use of violence and trauma yet does not hold characters accountable. </span><span style="font-size: 15px;">Thats how Fight Clubs happen. Filmmakers are not legally liable for their art but are responsible for the results. </span>
<br /><br /><span style="font-size: 15px;">The ultimate result of The Glass Castle is a lovely little homage to those that abuse children in every way possible, </span><span style="font-size: 15px;">a disconcerting tribute to those who perpetrate child abuse. Reality that rings true throughout my childhood and life. </span><div><span style="font-size: 15px;"><br /></span><!--/data/user/0/com.samsung.android.app.notes/files/clipdata/clipdata_bodytext_240113_133806_627.sdocx--><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwPFIENuH6ZcZHd6j8-FEvRye8CoDr5yP3mU96htxByzkdsAfgzBKFHIeSqazEqhot57KLFXK2jXjZ68do4lyEW7J-xOOm2_IhxJAo4_ASOxnVcd6dhn1j8ELNKPtjLtyUtXPCYxiV8bwTVXtFKXxBPQixUMP8Nqfn41NqHpj6ix8IPebMQTsEoQOvkc8/s4774/539ab272-73b3-11e7-95ec-005056b70bb8-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3183" data-original-width="4774" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwPFIENuH6ZcZHd6j8-FEvRye8CoDr5yP3mU96htxByzkdsAfgzBKFHIeSqazEqhot57KLFXK2jXjZ68do4lyEW7J-xOOm2_IhxJAo4_ASOxnVcd6dhn1j8ELNKPtjLtyUtXPCYxiV8bwTVXtFKXxBPQixUMP8Nqfn41NqHpj6ix8IPebMQTsEoQOvkc8/s320/539ab272-73b3-11e7-95ec-005056b70bb8-1.jpg" width="320" /></a></div><br /></div>Burning Empire Mediahttp://www.blogger.com/profile/11639287497744064635noreply@blogger.comtag:blogger.com,1999:blog-6896589607227057174.post-91579465957213059972024-01-10T03:34:00.005-07:002024-01-10T12:16:57.315-07:00Society of the Snow (2023)<p> <i>Best 2023 sound design.</i></p><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHQtQQUXj19jTndkC8vZMrCehCd6tdpLEEsvP9RXgCIJAdFwyDHWXQQzvJDkHC3PrlUByY153hscnbwwrn_n0cok0wNELHHjaFehHM1IvBajlu-jRmBDUejdSNUAUdyKGRpGpoPrUFdDfJMWqIRCq5U8C2zOhsDbBw-TgUzqPP42k-zuW3BwSmgYomviE/s1778/es-ES_sots_main_theatrical_vertical_27x40_cmyk_pre_1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1778" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHQtQQUXj19jTndkC8vZMrCehCd6tdpLEEsvP9RXgCIJAdFwyDHWXQQzvJDkHC3PrlUByY153hscnbwwrn_n0cok0wNELHHjaFehHM1IvBajlu-jRmBDUejdSNUAUdyKGRpGpoPrUFdDfJMWqIRCq5U8C2zOhsDbBw-TgUzqPP42k-zuW3BwSmgYomviE/s320/es-ES_sots_main_theatrical_vertical_27x40_cmyk_pre_1.jpg" width="216" /></a></div></div><p></p><p>The Society of the Snow is brutal. Its essence feels like something that could warrant censorship, yet this raw reaction has its merits. And I am merely being facetious about the raw terror the film sends to the darkest depth of my lonely soul buried in the snow. </p><p>I'm not suggesting the film oversteps, as the eating people didn't bother me much, but it may be too much for some soft and fuzzy viewers. I'm simply highlighting an indescribable depth of emotion, beyond mere descriptions of profound suffering or the kind of tragedy that casts a shadow on human existence.</p><p>Watching Society of the Snow deepened my introspection on the human condition and blunders, with only the gradual thawing of snow offering any solace.</p><p>The standout element is the film's sound design: The bone-crunching and chilling sounds of ice immerse viewers in the survivors' ordeal, their experiences narrated through these visceral sounds. </p><p>While the film adeptly portrays the desperation to consume human flesh, the cold emerges as the true terror. Suddenly, my home's heater feels like a cherished luxury. Even as it warms my face, the vicarious memories of trying to fix a radio with frostbitten fingers and the chilling reward of freezing to sleep haunt me.</p><p>Society of the Snow prompts introspection about one's response in such dire circumstances. I would not handle things better; panic would set in and a swift freezing soon after. I'd lose my wits and bury myself in the snow before the thought of eating you crossed my mindbrain.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigOlknr42d9hHOOl6F543_lT5x4g6sB-_dIvswOs5KpPPrEm1-mA0qrx53N9PqIRl0_KqyMIeCjm0Qjbii0cwRYMRo1fRfflI_YhaXTFCRvU9w3biJ6LQorWBJspTeVfgMFU6YRk7AO2c02oPPE3hJSTiDg3ZMRswl1avlvXkSnoIHYpdomF2F882R-Ss/s960/0x0.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="960" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigOlknr42d9hHOOl6F543_lT5x4g6sB-_dIvswOs5KpPPrEm1-mA0qrx53N9PqIRl0_KqyMIeCjm0Qjbii0cwRYMRo1fRfflI_YhaXTFCRvU9w3biJ6LQorWBJspTeVfgMFU6YRk7AO2c02oPPE3hJSTiDg3ZMRswl1avlvXkSnoIHYpdomF2F882R-Ss/s320/0x0.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Glad I live in the desert. </div><br /><p><br /></p>Burning Empire Mediahttp://www.blogger.com/profile/11639287497744064635noreply@blogger.comtag:blogger.com,1999:blog-6896589607227057174.post-74018448923925154382021-07-24T04:20:00.001-07:002021-07-24T20:18:54.326-07:00Bread and Chocolate/Pane e cioccolata (1974)<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
The
Hero Nino</div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 0.5in;">
<a href="http://amzn.to/2a7zRhJ" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img alt="http://amzn.to/2a7zRhJ" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK-Z-OX188k0o8m-GYDEAD-silwxw9Bh7jxkjSmsbkAGAyE-GNKNt3O1rSLEMV_11Wa3JuaDVDzzV8ZK8ki4WKX7fyHU1im5hQE6w4G9Lh-O1U2Na1lebnzdeAv_35X7AxMAmNOgCTtlw/s400/bJdkrSwNATAISxLBff0aGbZ3pJv.jpg" width="258" /></a><i style="mso-bidi-font-style: normal;">Bread and Chocolate</i> (<i style="mso-bidi-font-style: normal;">Pane e cioccolata) </i>is a delightful
comedy by Franco Brusati. The film is rooted in a social commentary and as implied
by the title, the juxtaposition of Italian and Swiss cultures. The social
commentary of <i style="mso-bidi-font-style: normal;">Bread and Chocolate </i>remains
relevant in the modern era throughout the world. The film uses humor to address
prejudice, problems within the Catholic Church, and the universal theme of a
man trying to carve out his place in the world.<br />
<br />
At the heart of <i style="mso-bidi-font-style: normal;">Bread and Chocolate </i>is the character
Nino Garofoli played by Nino Manfredi. Nino is an Italian immigrant living in
Switzerland trying to build a better life. Although the audience is continually
laughing at the trials and tribulations of Nino, Nino continually faces an
underlying tragedy. <span style="mso-spacerun: yes;"> </span>Despite Nino’s
efforts to fit in and obtain the acceptance of the Swiss people, he must
embrace the notion that some goals are never accomplished. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 0.5in;">
<a href="http://amzn.to/2a7zRhJ" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2a7zRhJ" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzIx5e0wJeVxGHhbNYLMzsn10HpwI6WEft2K0SXZqvORmpgP2L5n-PIodbRORDNrpfTxVgOzjAxtY8utWqOzl_-YKod9pPOitsfJ17_GEKCCHISqOK4IEUpaAtAnCgjxA6rsrWJ4ySHLs/s320/12683097_gal.jpg" width="320" /></a>Nino moved to
Switzerland, because he was not able to make a living wage in Italy. At the
beginning of the film, Nino is optimistic and relishes in the Swiss culture,
but the audience soon learns that Nino’s unrefined and Italian ways clash with
the sensibilities of the Swiss. Nino chain-smokes where smoking is prohibited.
He litters next to garbage cans, and he urinates in public. Even Nino’s eating
disrupts the peaceful music of the Swiss people. Nino eats a chocolate sandwich
during the opening, and the musicians playing music in the park stop while Nino
chews. They are appalled that he would chew bread in the park. Nino is allowed
to work in Switzerland, but he is not welcomed by the Swiss with open arms.
Instead, the Swiss often treat Nino like an uncultured and unwanted buffoon.
Despite the conflict of cultures, Nino remains proud to work and live in
Switzerland. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 0.5in;">
On the surface,
Switzerland appears to be a place where nothing can go wrong. It seems as
though everyone is highly sophisticated and morally superior. During the
opening of the film, the Swiss ride horses, listen to violins in the park, and
everything they do seems picturesque. At one point, a dog runs with two
children elegantly carrying a basket of flowers in its mouth. The image arouses
the notion that even the Swiss dogs are more sophisticated than Nino, the
stereotypical Italian (Candela). However, Nino quickly learns that Switzerland
is not perfect, and many of the Swiss people are highly flawed. Although Nino
attempts to have a relaxing day in the park, the discovery of a young girl’s
dead body quickly interrupts Nino’s respite. A priest quietly stands behind a
tree as Nino attempts to make sense of the situation. Although the Swiss police
arrest Nino for the murder of the girl, the priest eventually confesses to the
murder, and the police set Nino free. The crimes perpetrated against children
by priests are certainly not unique to Switzerland, and the audience gets the
impression that internal problems within the Catholic Church transcend borders
and denominations. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 0.5in;">
Meanwhile, prejudice
against Italians in Switzerland is also a prominent theme of the film. Nino’s
friend arrives to work late, because he was in a fight with Swiss people that
were talking poorly about Italians.<br />
<a href="http://amzn.to/2a7zRhJ" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img alt="http://amzn.to/2a7zRhJ" border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQHEbNBSc7BbR2XA7F1ie6crlPEHFDaxYQVZ_l5ca-8GV_JYonTPWB3q4W6F0YXdEDmcmPLmcb-CFEwj4zk2erOG5eVWtxI_3HhZ8xIFsdrawH69ZT_1ydntEFaEj88C0JiUALaCtcIL0/s320/pane-cioccolata.jpg" width="320" /></a> Although the Swiss find Nino and Italians
in general to be crude and unrefined, Nino believes that the Swiss people treat
him better than the northerners of Italy treated him. Additionally, one evening
when speaking to a photo of his family, Nino proclaims that he could never make
the type of money that he makes in Switzerland if he was still living in Italy.
Nonetheless, despite many attempts, Nino never ceases being an Italian. In the
beginning, Nino is a child trapped in a man’s body, but his failed attempts to
relate with children on numerous occasions foreshadow the notion that Nino will
eventually lose his innocence and have to grow up. In fact, Brusati signals
Nino’s maturation throughout the film, as he grows more and more tired of the
delusional optimism of signing Italians.</div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 0.5in;">
After the police
release Nino, he wanders the streets of Switzerland. While absorbed in thought,
Nino urinates on a wall in front of two Swiss people taking pictures. The two
Swiss people report the incident, and Nino ends up losing his work permit. Nino
gets on a train back to Italy, but he quickly decides that he will not go back
to Italy. He goes to his former neighbor Elena for a place to stay. She is not
fond of the idea, because she is already hiding her son Grigory from the Swiss
authorities. Elena and Grigory are political refugees. Eventually, Elena allows
Nino to stay at her home for a short period. Although Nino does not have a work
permit, he attempts to work for an Italian industrialist and at a chicken farm.
However, both jobs end in tragedy and folly. The Italian industrialist commits
suicide and loses Nino’s money. Shortly after, Nino gets an unsanctioned job
and place to live at a chicken farm. However, Nino realizes that life on a
chicken farm is exactly the type of life that caused Nino to leave Italy.
Instead of incessantly signing Italians, on the chicken farm Nino must endure
his companions clucking and acting like chickens. Much like Nino, the chicken
farmers are too naïve and “chicken” to face the reality of their situation. They
stare at the Swiss people with admiration as though the Swiss are gods and
goddesses, but they are not. They are simply people with different colored
hair.</div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 0.5in;">
<a href="http://amzn.to/2a7zRhJ" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2a7zRhJ" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLVx2b8BZDtYpduC8YnLVDu6uhKq0zQneAYWtO13qxCa0F7lDBNQje5iVXESBer5Brxo7q3zuZIet6UpISmIrOmQveUddrhgKOfy54BMVAnn3J3G-6bpo1iWd8j6hYbl1EX-SUEwKmcyU/s400/28185.jpg" width="275" /></a>Eventually, Nino
dyes his hair blonde in order to pass as a Swiss native. He looks somewhat ridiculous,
but others treat him with more respect. At first, it seems as though Nino is
happy to pretend as though he is from Switzerland. Nonetheless, his blonde
façade merely mirrors the discontent that he and other Italians mask with humor
and signing. During a televised soccer match at a pub, Nino attempts to blend
in and roots against the Italian team. Meanwhile, Nino realizes that he cannot
be an accomplice to the cruelty and prejudice toward Italians, and he begins
cheering for the Italian team proclaiming, “sono italiano” (“I am Italian”) to
all the patrons of the pub. He stares at himself in a mirror that hangs in the
pub. Although Nino thought that dying his hair would be the answer to his
problems, he despises his ridiculous and fake hair. He cannot stand to look at
his own reflection, and he smashes his head into the mirror shattering the
image he has of himself and the Swiss people. The patrons of the pub throw Nino
out of the pub onto the street, and shortly after the Swiss authorities force
Nino to leave Switzerland. <span style="mso-tab-count: 1;"> </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 0.5in;">
Nino embraces
Italian stereotypes as he walks with a Swiss escort to a train back to Italy.
He knows that resisting the Swiss’ prejudice toward Italians is futile. He
tears posters off the train station walls, blaming his Italian nature. He slaps
an older woman on the rear end, and he blames his hand. Before boarding the
train, Nino attempts to urinate in the open again, and his Swiss escort merely
tells him to stop, dismissing the action as something Italians must do all the
time. Once Nino boards the train, a loudspeaker begins calling his name, and
Elena walks by the train. Nino is surprised and excited to see Elena, and he
rushes back off the train to talk to her. This short exchange between Nino and
Elena captures the spirit and tone of the entire film. Nino’s hair is an
overtly noted symbol of both Nino’s character and the thematic devices used
throughout the film. When Elena comments on Nino’s half-blonde, half-brunette hair,
Nino explains that his hair inadvertently reflects who he is, “That’s me, neither
here nor there.” However, Elena does not believe him, and she refuses to
sympathize with Nino’s tragedy. Instead, she tells Nino that the problem is not
Italy or Switzerland, but rather that Nino must eventually choose to live and
embrace life. Elena informs Nino that she was able to get his work permit
reinstated, but Nino refuses the offer. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 0.5in;">
Regardless of
Elena’s attempts to cheer Nino up and persuade him to stay, Nino decides to
remain on the train back to Italy. As the train departs for Italy, the other
Italians on the train begin singing about the sun and the sea. Nino knows that
he needs more from life than just the sun and the sea.<br />
<a href="http://amzn.to/2a7zRhJ" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2a7zRhJ" border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPu336aKKW6FT_yni2q0eW-2cLeILK1qQO7qhDUt9Ks73lmUGx1hZ2SZ-0d8X-nWBuhQZOqJZgEXaghEDUjacSQcWN_D5tuteHI0uuzRAuMD8jOo45_FdPh0p_DESbiYOQx86GpuQB47I/s400/1660.jpg" width="400" /></a>As the other Italians
sing and play the accordion, the train enters a tunnel into a black hole of
frivolous indifference and delusional happiness. Nino pulls the emergency
brake, gets off the train, and walks out of the tunnel back onto the Swiss
landscape. In this moment, Nino demonstrates a sense of strength and
determination. He ran away from his problems from Italy. Instead of running
back to Italy from the problems he faced in Switzerland, Nino decides to face
his troubles. He accepts that which he cannot change. Nino takes Elena’s
advice, and he chooses to live. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 0.5in;">
<i style="mso-bidi-font-style: normal;">Bread and Chocolate </i>is not only a
wonderful comedy and social commentary, but also an exquisite example of filmmaking.
Brusati’s directing, the use of music, the performances, and the dynamic themes
of the film overshadow any minor imperfections, such as the camera going out of
focus. Regardless of any imperfections and flaws, the audience cannot help but
love the character of Nino, and he is truly an understated hero. The German
part of Switzerland depicted in the film was one of the most racist parts of
Europe during the time (Candela). However, in the end, Nino transcends the
Swiss’ racism. He refuses to let prejudice and rejection dominate his life, and
he continues to fight for his pursuit of a better life.<br />
<br />
<a name='more'></a></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
Works
Cited</div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">Bread
and Chocolate</i>. Dir. Franco Brusati. <span lang="IT" style="mso-ansi-language: IT;">Perf. Nino Manfredi and Anna Karina. </span>Henstooth </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 0.5in;">
<span lang="IT" style="mso-ansi-language: IT;">Video, 1994. DVD.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="IT" style="mso-ansi-language: IT;">Candela, G. “Pane e cioccolata.” </span>Arizona State University. G.
Homer Durham Language </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: 0.5in;">
and Literature
building, Tempe, AZ. 21 Oct. 2015. Lecture. </div>
<br />Burning Empire Mediahttp://www.blogger.com/profile/11639287497744064635noreply@blogger.comtag:blogger.com,1999:blog-6896589607227057174.post-42378626327251139182021-04-20T04:20:00.000-07:002021-04-25T13:21:20.108-07:00The Battle of Algiers/La battaglia di Algeri (1966)<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
The
Battles of Today</div>
<div class="MsoNormal" style="line-height: 200%;">
<a href="http://amzn.to/29YjTkv" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img alt="http://amzn.to/29YjTkv" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8bYljj_gZR_Xvvs1grB73Ur-LrEbtPsVlF1yluLqa7lxxEc60KeV-uuSsXMisojzQQlE_ssQgW5j2T8cRFfbtfmueT9CC8oP-ekzzqCbmmuEm4Z9uZR5NDHjIhZrjXNM6TtuwfG1MjXo/s400/Battle+of+Algiers+poster.jpg" width="283" /></a><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">The Battle of Algiers </i>(<i><span class="st" data-hveid="51">La battaglia di Algeri</span></i>) is not only a
cinematic masterpiece, but also a look back at history that asks us to look at
the world today. Directed by Gillo Pontecorvo and scored by the illustrious
Ennio Morricone, the film provides a hyper-realistic and dynamic perspective of
the French occupation of Algeria in the 1950s. Pontecorvo’s masterful
mise-en-scène and graceful cinematic techniques are as revolutionary as the
story they tell. On the surface, <i style="mso-bidi-font-style: normal;">The
Battle of Algiers </i>is a historical war film. However, Pontecorvo does not
use war as a vehicle to excite and entertain the audience. War is merely the
historical world in which <i style="mso-bidi-font-style: normal;">The Battle of
Algiers</i> is situated, and it is a means of exposing the truth.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The
Battle of Algiers </i>is violent and messy, yet it is thoughtful and
beautifully produced. Although the events portrayed and sensitive subject
matter of the film are often difficult to endure, <i style="mso-bidi-font-style: normal;">The Battle of Algiers</i> is a powerful story and a crowning
achievement of Italian cinema. </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>History
is more complex than most war movies communicate to viewers. News media,
politicians, and Hollywood war movies often lead us to believe that there is a
clear-cut line between enemy and compatriot, antagonist and protagonist.
However, <i style="mso-bidi-font-style: normal;">The Battle of Algiers </i>demonstrates
that in real life this line is not always as clear and visible as a Hollywood
film. <i style="mso-bidi-font-style: normal;">The Battle of Algiers</i> takes place
in Algeria of the 1950s. During that time, the French had occupied Algeria for
several decades. Despite the French colonials’ belief that their claim to Algeria
had solidified, the Arabic Algerians began to feel imprisoned and oppressed by
the French occupation of their country. The Algerian Front de Liberation
Nationale (FLN) formed in response to this oppression. </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>While
the FLN was a relatively small and radicalized group of freedom fighters,
eventually the Algerian people as a whole began to resist the French occupation
of Algeria. Helpless and without power, the FLN began taking extremely violent
and brutal measures to obtain independence from France. Today, these measures
would quickly be reduced to and labeled as terrorism. However, rather than
automatically condemning the actions of individuals seeking freedom from
oppression, <i style="mso-bidi-font-style: normal;">The Battle of Algiers </i>does
not utilize the dismissive rhetorical device to explain the events that took
place in Algeria. Instead, Pontecorvo situates the viewer within the historical
realm of the story, and this enables the audience to draw their own impressions
and conclusions about the events. Pontecorvo does not sympathize or ally with
the FLN. His allegiance, in true neorealist fashion, lies with the common
people of Algeria. Pontecorvo provides a voice for the voiceless, and he shines
a light on a moment in history that the French government attempted to suppress
(Virtue). </div>
<div class="MsoNormal" style="line-height: 200%;">
<a href="http://amzn.to/29YjTkv" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/29YjTkv" border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwMNMkJWzBk0QDCStWkIV42DasZaQuIv13R20X7eUpvG7urCvEYo410VC4h6A8TAmpoGJVftcKfchPe8JgFfb7Ypvi4BCoRLqTmMqVnhnZnnnUkGIDHkrrC04MXLl_zZT_8UB2tRDgFyY/s320/Battle-of-Algiers-Poster.jpeg" width="320" /></a><span style="mso-tab-count: 1;"> </span>At
the center of the FLN is Ali La Pointe, played by Brahim Hadjadj. In the
beginning of the film, La Pointe is merely an illiterate petty criminal. His intellectual
and social statuses have alienated him from society. He is a troubled outsider
with nothing to live for and a rebel without a cause. The alienation and unrest
he experiences naturally compliment his rebellious nature, and eventually, La
Pointe becomes the leader of the FLN. After the first series of devastating
bombings perpetrated by the FLN, the French government sends additional
military forces to Algeria in an effort to snuff out the FLN and the Algerian
uprising. Colonel Mathieu, played by Jean Martin, leads the fight against the
FLN. Martin is the only professional actor in the film and, his performance
blends naturally with the raw and untrained acting of the amateur cast. At
first, it seems as though Colonel Mathieu symbolizes French solidarity,
sophistication, and righteousness. However, as the story proceeds, the audience
eventually learns that Colonel Mathieu is merely another pawn in a complex game
of political unrest. Riddled with uncertainty, Mathieu simply wants to put an
end to the mess and go back home. </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Although
Mathieu seems to have pure motives, he proves to be just as violent and brutal
as the FLN when he blows up Ali La Pointe and a child toward the end of the
film. <i style="mso-bidi-font-style: normal;">The Battle of Algiers</i> does not
have a clearly defined protagonist and antagonist. While the actions of the FLN
are abhorrent and tragic, Colonel Mathieu and the French military do not seek a
resolution. They do not consider the demands of the Algerian people and the
actions of the FLN critically. Instead, they act in wanton disregard for the Algerian
people and merely meet violence with more violence, under the guise of self-proclaimed
superiority. Neither Ali La Pointe nor Colonel Mathieu is the protagonist of
the film. They are both antagonists that position the Algerian people in the
middle of their battle. The Algerian people are the protagonists that
eventually win the war and their independence. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<a href="http://amzn.to/29YjTkv" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img alt="http://amzn.to/29YjTkv" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgASjyA7gFVMAYqfG-91pvl09RQqlLwv43_Oai7sGutr5YJHo3qiiJIadASGMfF9Wu7ItNHouhrAdeDLRerZNbUqFbNxVj-sl0lPizP-Ju29DxnUu6KX5VZO3-OYs8m9zOnmR4n0mdbKxg/s400/productimage-picture-the-battle-of-algiers-4969.jpg" width="296" /></a>Conversely, the film
does not end with the sense of Hollywood happiness that comes with winning a
war. Over a million people died in the Algerian War, and humanity continues to
face the same type of conflicts in the modern era (Candela). <i style="mso-bidi-font-style: normal;">The Battle of Algiers</i> is one of the most
powerful films I have seen in my life. The line between fictional narrative and
historical fact is seemingly nonexistent. The production techniques, camera
framing, use of score, and a variety of other elements through the film are
captivating and awe inspiring. The film is effectively subversive, and as
stated by Peter Matthews, “An absolute pinnacle of counter-cinema, a <i style="mso-bidi-font-style: normal;">ne plus ultra</i> of a mode that seeks to
intervene strategically in the war for social change.” Prior to viewing <i style="mso-bidi-font-style: normal;">The Battle of Algiers</i>, I had only heard
of Gillo Pontecorvo. Although I am a fan of violent and bloody films, generally
speaking, I am often not a fan of films that depict war. Pontecorvo’s film is
instantly my favorite war film of all time. <i style="mso-bidi-font-style: normal;">The
Battle of Algiers</i> is the first war movie that I have seen that forces the
audience to, regardless of their stance or political views, question the world
of the past and the world of today. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Although the use
of a war film to take reflective look into the past is not an invention of
Pontecorvo’s, his style, filmmaking methods, and choice of historical event
transcend the common war movie. Meanwhile, the film does not merely inform the
viewer; it pushes the viewer’s perspective to new worlds and cultures. At
times, the film utilizes a documentary or newsreel style. However, <i style="mso-bidi-font-style: normal;">The Battle for Algiers </i>is not a
documentary. In fact, Pontecorvo was always offended when people referred to
his film as a documentary (Virtue 323).<span style="mso-spacerun: yes;">
</span>Pontecorvo’s frustration with the sentiment is entirely reasonable. To
consider <i style="mso-bidi-font-style: normal;">The Battle of Algiers</i> a type
of fictionalized documentary merely cheapens and degrades the precise and
masterful camera direction and mise-en-scène of Pontecorvo. <i style="mso-bidi-font-style: normal;">The Battle of Algiers </i>is not a
documentary. It is cinema at its finest, and it demonstrates why cinema is one
of humanity’s highest forms of art. One of the most powerful techniques
Pontecorvo uses in the film is the use of score. Scored by Oscar winner Ennio
Morricone and Pontecorvo, the music in the film is graceful and compliments the
camera and action. As the “Fin” title card dissolves at the end of the film, a
brief composition, highly indicative of Morricone’s musical thumbprint, plays
in the background. The audience has learned that after millions of deaths and
years of war, the Algerians won their independence. In this moment, Morricone’s
score sends shivers down the spine. The score acts as a vessel for easing the
audience out of the narrative in silent reflection. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
While I am
admittedly fond of violent films, <i style="mso-bidi-font-style: normal;">The
Battle of Algiers</i> leaves me questioning both the modern day conventions of
depicting violence and the current state of international affairs. Americans
love violent films, and I am no exception. My favorite films are violent, and
their purpose for cinematic violence is often merely for entertainment.<br />
<a href="http://amzn.to/29YjTkv" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/29YjTkv" border="0" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbbVzEkA394HDspov3QoLiUgFVXzt4AjLP7nF-doau7XpSVMWLI74DtLjRGtZ0JG5qDM3mNLC55r3XO8ZAxyKXh86GouVsYoNAKTh5l7qQPcvrcxnPaBPXaC_5sabJnkH8gye1kJQyOZ8/s320/the-battle-of-algiers-4.jpg" width="320" /></a>After viewing
<i style="mso-bidi-font-style: normal;">The Battle of Algiers</i>, it is never
more apparent that fictional depictions of violence have meaning and purpose.
The modern world is a wonderful place to be depending on where an individual
lives. However, billions of people struggle to survive, and senseless violence
is committed against innocent people every day. Western civilization has learned
very little from the Algerian War. The American military prominently remains in
several countries throughout the world. The news media and politicians tell the
American people that their military is spreading freedom, democracy, and a
better way of life to foreign countries. However, <i style="mso-bidi-font-style: normal;">The Battle of Algiers </i>shows the viewer that France claimed to have
similar motives in Algeria, and those motives resulted in war and death. Gillo
Pontecorvo’s <i style="mso-bidi-font-style: normal;">The Battle of Algiers</i> is
a beautifully made film. Throughout the entire film, Pontecorvo remains
sensitive to both the history he attempts to tell and the viewers that watch
his film. He does not seek to alienate the audience from his film. Instead,
Pontecorvo shoves the audience into the middle of the action. <i style="mso-bidi-font-style: normal;">The Battle of Algiers</i> urges the viewer
to look at the modern day world critically and seriously considered the
ramifications of our politics and international policies.<span style="mso-spacerun: yes;"> </span></div>
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Works
Cited</div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;">The
Battle of Algiers. </i>Dir. Gillo Pontecorvo. Perf. Brahim Hadjadj and Jean
Martin. Criterion, </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
2004. DVD.</div>
<div class="MsoNormal" style="line-height: 200%;">
Candela, G. “The Battle of
Algiers.” Arizona State University. G. Homer Durham </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Language and
Literature Building, Tempe, AZ. 25 Nov. 2015. Lecture. </div>
<div class="MsoNormal" style="line-height: 200%;">
Matthews, Peter. “<i style="mso-bidi-font-style: normal;">The Battle of Algiers: </i>Bombs and
Boomerangs.” <i style="mso-bidi-font-style: normal;">Criterion</i>. The Criterion
</div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Collection, n.d.
Web. 6 Dec. 2015</div>
<div class="MsoNormal" style="line-height: 200%;">
Virtue, Nancy. “Poaching Within the
System: Gillo Pontecorvo’s Tactical Aesthetics</div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
in <i style="mso-bidi-font-style: normal;">The Battle of Algiers</i>.” <i style="mso-bidi-font-style: normal;">Screen</i> 55.3 (2014). Web. 6 Dec. 2015</div>
Burning Empire Mediahttp://www.blogger.com/profile/11639287497744064635noreply@blogger.comtag:blogger.com,1999:blog-6896589607227057174.post-11714209949457043712021-04-02T12:02:00.000-07:002021-04-25T13:25:54.694-07:00Fernando di Leo: Il maestro del cinema nero<!--[if gte mso 9]><xml>
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<![endif]--><b style="mso-bidi-font-weight: normal;"><span lang="IT" style="mso-ansi-language: IT;">Introduzione</span></b><br />
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://amzn.to/2kMBnWb" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2kMBnWb" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh33xKMSPbT3SYXRz9kD2H0cXpxlXfV8Dgz800sxSbf8e0Ec7IiBo8TJ6lDNlvoTq79SZgWipEoZ_vCy_QklxKeByvYkTLxvlWQ89SuC6Vdz5HzXj5UEyvrg7v3ONwu5hdu9o2nvmbzKWo/s1600/fernandodileo-11.jpg" /></a></div>
<span lang="IT" style="mso-ansi-language: IT;">Fernando Di Leo è stato un sceneggiatore e un
regista italiano. Come un regista, Di Leo ha girato venti film, e ha scritto
più di quaranta sceneggiature (Rea). Il lavaro di Fernando Di Leo è influente,
discusso e molto divertente. Di Leo ha influenzato un po’ dei più rispettati
registi di oggi come Quentin Tarantino e John Woo (Coacci). Nonostante la sua
influenza, i suoi film e la sua influenza dei film di oggi sono quasi
dimenticati e considerati non sono nelle grazie ai pubblici film. <span style="mso-spacerun: yes;"> </span>Tuttavia, i suoi film rimangono entrambi testimonianze
sociali della cultura italiana importanti del passato e del presente, e i suoi
film sono i fondazioni di molti film gialli criminali. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span lang="IT" style="mso-ansi-language: IT;">Questi film e il suo lavaro sono spesso
classificati in maniera impropria come film poliziotteschi, ma Di Leo ha girato
solo uno film che sarebbe considerato un poliziottesco, <i style="mso-bidi-font-style: normal;">Il poliziotto è marcio</i>. </span><br />
<a href="http://amzn.to/2kMBnWb" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img alt="http://amzn.to/2kMBnWb" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD-2SCbnxAMIEi6qi__s0_zpRjnFrl-N0DimXJ34u54vrOcffY5bczhzI8diXidKCQirFpdfkWE5YroeJSjQBgVosyOn4X7v-3QLfsMaJUyytJ23f0FJ6RNPYVFDhCO6DKBsLaphXi-No/s400/colpo_in_canna.jpg" width="277" /></a><span lang="IT" style="mso-ansi-language: IT;">Come Gordiano Lupi ha scritto nel suo libro
<i style="mso-bidi-font-style: normal;">Frenando Di Leo: E il suo cinema nero e perverso,</i>
“Di Leo non usa i meccanismi e gli stereotipi del poliziesco, non fa mai cinema
consolatorio, evita di creare personaggi – caricatura e di cadere nei cliché
del genere. Gira film noir e sono cosa ben diversa dal poliziesco” (Lupi 42). In
realtà, i film di Fernando Di Leo sono film neri (o i film noir italiani)
spesso ispiravano dal lavaro ed i gialli di Giorgio Scerbanenco. Mentre questi
film ispiravano da Giorgio Sceranenco, Di Leo è considerato uno dei inventori
dei film criminali italiani. Inoltre, Di Leo è anche considerato uno dei
inventoru dei film western all’italiana (o spaghetti western,) e ha scritto le sceneggiature
con Sergio Leone come, <i style="mso-bidi-font-style: normal;">Per un pugno di
dollari</i> e <i style="mso-bidi-font-style: normal;">Per qualche dollaro in più </i>(Gomarasca).
Molti film di Fernando Di Leo sono molti violenti e spinti, ma anche hanno i
temi socioeconomici importanti. Anche se i film di Fernando Di Leo apparentemente
si sono dimenticato e si sono ignorati dalla cultura di massa, i suoi film e il
suo lavaro in generale sono un po’ dei più importante film della storia film, e
Di Leo ha cambiato il modo in cui i film sono girato ed i tipi dei film che
concedevano proiettare nel’Italia. </span></div>
<img alt="" border="0" height="1" src="https://ir-na.amazon-adsystem.com/e/ir?t=burningempire-20&l=li2&o=1&a=B005MTHRDM" style="border: none !important; margin: 0px !important;" width="1" />
<br />
<div class="MsoNormal" style="line-height: 200%;">
<b style="mso-bidi-font-weight: normal;"><span lang="IT" style="mso-ansi-language: IT;">Una biografia di un
sceneggiatore</span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span lang="IT" style="mso-ansi-language: IT;">Fernado Di Leo è nato nel 22 gennario 1932 a San
Ferdinando di Puglia, ed è morto nel dicember 2003. Suo nono e suo padre sono
stati gli avvacati, ed all’inizio della sua vita adulta Fernando si è iscritto
a una facoltà di giurisprudenza (Coacci). Anche se glielo ha laureato, questo
via ha finito velcomente dopo Fernando Di Leo ha vinto la “Coppa Murano” per il
teatro sperimantale <i style="mso-bidi-font-style: normal;">Lume del tuo corpo e
l'occhio</i> dalla “Aguna di Venezia,” una cerimonia di premiazione per il
teatro (Poppi). Ma sembra che la “Aguna di Venezia” <span style="mso-spacerun: yes;"> </span>non sia più in uso. Dopo ha vinto la “Coppa
Murano,” Di Leo si è trasferito a Roma, ed è andato al Centro Sperimentale di
Cinematografia, dove ha laureato nel 1963. Il suo primo film ha diretto era un
cortometraggio (“Un posto in paradiso”) per il film <i style="mso-bidi-font-style: normal;">Gli eroi di ieri, oggi e domani</i>, un film a episodi (Anicaflash). </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<a href="https://www.amazon.com/Fernando-Collection-Caliber-Italian-Connection/dp/B005MTHRDM/ref=as_li_ss_il?ie=UTF8&qid=1485802074&sr=8-1&keywords=fernando+di+leo&linkCode=li2&tag=burningempire-20&linkId=8a87e400df19a96ee5b0860d2e1a25a4" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img border="0" src="//ws-na.amazon-adsystem.com/widgets/q?_encoding=UTF8&ASIN=B005MTHRDM&Format=_SL160_&ID=AsinImage&MarketPlace=US&ServiceVersion=20070822&WS=1&tag=burningempire-20" /></a><span lang="IT" style="mso-ansi-language: IT;">Nonostante il suo inizio nella cinematografia era
come un regista, il sua carreria successa ha iniziato grazie alle sue sceneggiature.
Sopratutto queste prime sceneggiature sono state film western. Con queste
sceneggiature, Fernando Di Leo ed altri registi e sceneggiatori stimati, come
Sergio Leone e Víctor Andrés Catena, hanno inventato il western all’italiana,
più spesso conosciuto come “il spaghetti western” (Coacci). Durante gli anni
1960, il spaghetti western furano molto successo, e Di Leo scrisse o fu
coinvolto nel molti dei film più famosi come <i style="mso-bidi-font-style: normal;">Per un pugno di dollari</i>, <i style="mso-bidi-font-style: normal;">Una
pistola per Ringo</i>, <i style="mso-bidi-font-style: normal;">Per qualche
dollaro in più</i>, <i style="mso-bidi-font-style: normal;">Navajo Joe</i> e
molti altri. Gli spaghetti western film e i loro cineasti hanno ispirato altri
cineasti, e questo fenomeno è risulato nella produzione di centinaia di altri film.
Due dei spaghetti western più famosi che Fernando Di Leo ha scritto con altri
sceneggiatori sono <i style="mso-bidi-font-style: normal;">Per un pugno di
dollari </i>e <i style="mso-bidi-font-style: normal;">Per qualche dollaro in più</i>,
comunque Di Leo non ha attribuito per il suo lavaro perché delle sue politiche
di sinistra (Gomarasca). Tuttavia, le sue politiche di sinistra e il suo punto
di vista diventano i fondazioni tematici dei suoi capolavori. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<b style="mso-bidi-font-weight: normal;"><span lang="IT" style="mso-ansi-language: IT;">L’inizia di un regista</span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span lang="IT" style="mso-ansi-language: IT;">Prima di Di Leo ha iniziato girare i suoi film
neri, ha scritto e ha diretto il film di guerra <i style="mso-bidi-font-style: normal;">Rose rosse per il fuhrer</i> nel 1967. Questo film era il suo primo
lungometraggio e il film usa molti di temi sinistri che risuonano in quasi
tutto del suo lavaro, ma questo tipo film non è stato il suo forte e non è
stato il suo genere di preferenza (Lupi). Sembra che Di Leo non abbia travato
mai una genere di preferenza come un regista o come un scenggiatore. Invece,
sembra che Di Leo semplicemente abbia avuto una preferenza per i film e i
soggetti hanno radicato nelle controversie. Molti dei suoi film sono molto
discusso, un po’ di sono affrontano i soggetti sensibili come la identità
sessuale delle donne giovani e molti dei suoi film sono molto molto violenti. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span lang="IT" style="mso-ansi-language: IT;">Di Leo non era mai paura girare il tipo dei film
che ha voluto girare. I temi e i soggetti dei suoi film eranno molto discusso,
ma i temi socali eranno molto importante negli anni sessanta e negli anni
settanta. Per espempio, nel suo film <i style="mso-bidi-font-style: normal;">Avere
vent’anni</i>, i progtagonisti sono una coppia lesbica. Al tempo il film ha
lanciato, il soggetto di una coppia lesbica ha considerato non solo bizarro, ma
anche e sopratutto molto offensivo parlare di questi tipi dei soggetti (Gomarasca).
Però, per Fernando Di Leo e molti dei suoi film, sembra che la indentità della
giovinezza e il paesaggio culturale fosse spesso del più importenza. Intanto,
il soggetto della omosessualità nel film <i style="mso-bidi-font-style: normal;">Avere
vent’anni</i> era un realità in Italia e nel mondo, e Di Leo ha hetto che il
film era solo una riflessione del mondo vedeva. I suoi film non eranno per
giochi e divertimento. No, invence, ha pensato che il<span style="mso-spacerun: yes;"> </span>tema di un film deva essere qualcosa che fa
pensare e cambia il paesaggio culturale e il narrativo culturale degli
italiani. <i style="mso-bidi-font-style: normal;">Avere vent’anni </i>ha un forte
tema, ma il film fornisce una voce agli afoni del tempo e oggi. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<b style="mso-bidi-font-weight: normal;"><span lang="IT" style="mso-ansi-language: IT;">I gialli di Giorgio
Scerbanenco</span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span lang="IT" style="mso-ansi-language: IT;">Seguente gli spaghetti western, <i style="mso-bidi-font-style: normal;">Rose rosse per il fuhrer</i> e atri lavori
minori dei film, Di Leo ha trovato i libri di Giorgio Scerbanenco, un scrittore
dei romanzi criminali, conosciuto come i gailli (Gomarasca). Di Leo ha usato
molti di questi libri come il soggetto principale dei suoi film o come le
inspirazioni per i suoi personaggi e altri elementi dei suoi film. I critici
hanno considerato Scerbanenco solo un scrittore dei romanzi “pulp,” ma per
Fernando Di Leo questi libri hanno fornito un tipo di atmosfera e un narrativo
culturale che ha voluto rappresentare nei suoi film (Lupi 65). Senza i libri di
Giorgio Scerbanenco, Di Leo forse non avrebbe girato un po’ dei suoi migliori
film. Il suo primo film bassato su un romanzo di Scernaneco dello stesso nome,
è <i style="mso-bidi-font-style: normal;">I ragazzi del massacro</i>, ma questo
film è stato solo l’esordio della sua carriera di film nero. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<a href="http://amzn.to/2kMBnWb" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2kMBnWb" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJFemXkAp-iFhqV1sI7KII65KlcnMVcg1vhGV7KdSfmpokHDAH0XYAcbIZ1-TL8NweB8cVPq_z_JlnmAdjRcGbuCehjzWiTMOx3HMrn4FNbJPo5fN-2_NEG00IfSRaTKyNx_8d_yj0HqI/s320/01587001.JPG" width="223" /></a><span lang="IT" style="mso-ansi-language: IT;">Mentre<span style="mso-spacerun: yes;">
</span>Fernando Di Leo è spesso chiama un inventore del noir all’italiana,
Scerbanenco ha influenzato molti altri registi italiani negli anni settanta,
come Carlos Saura, Romolo Guerrieri, Duccio Tessari, Yves Boisset, e più
(Lupi). Se Fernando Di Leo era il inventore del film nero italiano, era
Scerbanenco che ha inventato i film gialli e i film poliziotteschi, senza ha
girato mai un film. “Scernanenco è il vero punto di riferimento per la
narrativa gialla e poliziesca italiana” (Lupi 65). Nello stesso momento,
Scernanenco ha inspirato Fernando Di Leo fare il suo cinema nero, allora deva
essere il vero punto di riferimento per la nera italiana. Dopo <i style="mso-bidi-font-style: normal;">I ragazzi del massacro, </i>Fernando Di Leo
ha girato il film orrore <i style="mso-bidi-font-style: normal;">La bestia uccide
a sangue freddo</i> con l’attore famoso nel mondo Klaus Kinski, ma Di Leo velocemente
ha tornato al lavoro di Giogrio Scerbanenco per il suo film incredibile <i style="mso-bidi-font-style: normal;">Milano Calibro 9</i>. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<b style="mso-bidi-font-weight: normal;"><span lang="IT" style="mso-ansi-language: IT;">Milano Calibro 9</span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjgxOt5UHf9SGg0cIpT3NizkHJI6430fGc2e6jnRPD17Wj5XedLQ6gBfPsTNxrv49mgl0ToQIY-nZAXwdSdTFGIGPnQG8WPZTXN6nHnSS01xulz_RCNWYXNXd1yPlgCLpQB4ji-ywszW8/s1600/b82adcefe1556bb41ea2dccdc4d805df.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjgxOt5UHf9SGg0cIpT3NizkHJI6430fGc2e6jnRPD17Wj5XedLQ6gBfPsTNxrv49mgl0ToQIY-nZAXwdSdTFGIGPnQG8WPZTXN6nHnSS01xulz_RCNWYXNXd1yPlgCLpQB4ji-ywszW8/s320/b82adcefe1556bb41ea2dccdc4d805df.jpg" width="306" /></a><span lang="IT" style="mso-ansi-language: IT;">Di Leo ha scritto e ha diretto il film <i style="mso-bidi-font-style: normal;">Milano Calibro 9 </i>nel 1972, e lo è il suo
capolavoro. <i style="mso-bidi-font-style: normal;">Milano Calibro 9 </i>è non
solo il suo capolavoro, ma anche il film che definisce Di Leo come un regista,
come un sceneggiatore e come un attivista sociale. Il film mostra il suo stile
violento e molti di suoi temi controversi. Prima di questo film i pubblici non hanno
esposto al’idea che c’era una criminalità organizzata in una città come Milano,
ma alla fine questa rivelazione era conosciuto come una realtà (Gomarasca). <i style="mso-bidi-font-style: normal;">Milano Calibro 9 </i>è il perfetto film
nero. La colonna sonora è del compositore famoso e prolifico Luis Enriquez
Bacalov, e gli interpreti sono Barbara Bouchet, Mario Adorf, Luigi Pistilli e
il protagonista principale Gastone Moschin. Prima di <i style="mso-bidi-font-style: normal;">Milano Calibro 9</i> Gastone Moschin era solo un attore della commedia
all’italiana, ma questo fatto non è mai evidente nel film. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span lang="IT" style="mso-ansi-language: IT;">Gastone Moschin interpreta il personaggio di Ugo
Piazza, un ex detenuto. Il suo capo del passato Rocco (interpreta da Mario
Adorf) pensa che Ugo abbia rubato trecentomila dollari dalla sua organizzazione
criminale. Rocco è pazzo e gli piace torturare le genti. Rocco e la polizia
credono che Ugo abbia nascosto i soldi. Ovunque il film molti personaggi innocenti
uccidono, e Ugo è uno di questi personaggi. Il film usa un narrativo unico, non
c’è una fine felice. Di Leo ha voluto girare un film realistico. Ha voluto
mostrare una immagina vera della mala e criminalità organizzata a Milano. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<b style="mso-bidi-font-weight: normal;"><span lang="IT" style="mso-ansi-language: IT;">La trilogia della mala</span></b></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="IT" style="mso-ansi-language: IT;"><span style="mso-tab-count: 1;"> </span>Di seguito al successo di <i style="mso-bidi-font-style: normal;">Milano Calibro 9</i>, Fernando Di Leo ha
continuato raffinare il suo stile del film nero. In aggiunta, Di Leo ha
continuato usare il lavoro di Giorgio Scerbanenco come uno delle sue
ispirazioni per i suoi prossimi film. Il due film che hanno lanciato dopo <i style="mso-bidi-font-style: normal;">Milano Calibro 9</i>, sono <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>La
mala ordina </i>e <i style="mso-bidi-font-style: normal;">Il boss</i>. Questi due
film sono anche buoni esempi del tipo di nero che Di Leo ha girato. Di Leo ha
continuato usuare un stile ultravioletto e un narrativo non trattenuto per
questi film. Inoltre la realtà, in un senso cinematografico, della mafia
milanese e altri paesi inaspettato continua nei film <i style="mso-bidi-font-style: normal;">La mala ordina </i>e <i style="mso-bidi-font-style: normal;">Il boss</i>.
Insieme, questi film <i style="mso-bidi-font-style: normal;">Milano Calibro 9</i>,
<i style="mso-bidi-font-style: normal;">La mala ordina </i>e <i style="mso-bidi-font-style: normal;">Il boss </i>sono conosciuto come “La trilogia della mala” o “La trilogia
del milieu.” La atmosfera di <i style="mso-bidi-font-style: normal;">La mala
ordina </i>e <i style="mso-bidi-font-style: normal;">Il boss </i>è lo stesso come
<i style="mso-bidi-font-style: normal;">Milano Calibro 9</i>, ma questi film non
sono i continuazioni di <i style="mso-bidi-font-style: normal;">Milano Calibro 9</i>.
Mentre sono chiamare una trilogia, non ci sono una trilogia nel tipico senso di
una trilogia. Invence di sono in relazione con la trauma di <i style="mso-bidi-font-style: normal;">Milano Calibro 9</i>, sono in relazione con
il stile, lo spirito e il soggetto di <i style="mso-bidi-font-style: normal;">Milano
Calibro 9. </i>“I personaggi sono ambigui, complessi, mai totalmente buoni e
cattivi, realistici, pieni di sfaccettature caratteriali. Di Leo preferisce
finali tragici sconvolgenti al lieto fine, perché non ama tutto quello che nel
cinema sa di contraffatto e di poco affine alla realtà che ci circonda” (Lupi
42).</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyAvvvF9BK8Mr2PaVA8ytR0Z1_WIahu-no6YZpwgfKAIscPEQ0I5DKUaDD5_Tw7Kn5GEers4mE7nmUTgc-koAx_gcFB-ZWRIQ7fw5P5_JmjFZ-ex_EA-WC1lDAEcgfAtjDzqb0PhrOFZ4/s1600/The-Italian-Connection-1972.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyAvvvF9BK8Mr2PaVA8ytR0Z1_WIahu-no6YZpwgfKAIscPEQ0I5DKUaDD5_Tw7Kn5GEers4mE7nmUTgc-koAx_gcFB-ZWRIQ7fw5P5_JmjFZ-ex_EA-WC1lDAEcgfAtjDzqb0PhrOFZ4/s320/The-Italian-Connection-1972.jpg" width="212" /></a><span lang="IT" style="mso-ansi-language: IT;"><span style="mso-tab-count: 1;"> </span>Tutti di questi film di
“La triolgia della mala” sono stati molto successo in Italia e in molti paesi
ovvunque il mondo. Negli anni settanta il tipo dei film che Fernando Di Leo ha
girato, non hanno avuto plauso dalla critica, invece era gli spettatori che
hanno voluto andare al cinema per un altro nero di Feranndo Di Leo. Non hanno
vinto i premi, e Fernando Di Leo non è stato mai un nome familiare ovunque il
mondo. Peró i suoi film hanno fornito molti altri registi, molti altri film e
molti altri cineasti una via per facendo il tipo di film che vogliono fare.
Dopo l’inzia degli anni ottanta. I film neri sono caduti fuori la favore del
pubblico. Di Leo ha continuato girare i film, ma questi film non sono come
influente, unico o interesante come <i style="mso-bidi-font-style: normal;">Milano
Calibro 9</i> o gli altri film della “Trilogia della mala.” A un certo punto,
gli spettatori hanno dimenticato Fernando Di Leo e un po dei suoi migliori
film.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<b style="mso-bidi-font-weight: normal;"><span lang="IT" style="mso-ansi-language: IT;">Quentin Tarantino ricorda Di
Leo</span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span lang="IT" style="mso-ansi-language: IT;">Nonostante gli spettatori in massa che hanno
dimenticato Fernando Di Leo, c’è uno uomo che ha rifiutato dimenticare Fernando
Di Leo e i suoi film. Questo uomo era il regista americano Quentin Tarantino.
Dopo Di Leo è morto nel 2003, Tarantino ha scritto una dedica a Fernando Di Leo
per il RaroVideo confezione cofanetto di DVD,<span style="mso-spacerun: yes;">
</span>reimmissione nei circuiti di distribuzione dei film di Di Leo. La
popularità per Fernando Di Leo salta un’altra volta. Però questa volta gli
spettatori non vanno al cinema guardare i suoi film, invence Fernando Di Leo
era un grande successo sul video. Purtroppo, questo successo era dopo Fernando
Di Leo è morto.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<a href="http://amzn.to/2kMBnWb" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img alt="http://amzn.to/2kMBnWb" border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD_3MID0QYIMIPu1C5VrP01uRSZ6CX6NxpQbwy2nz4JaJMHgXf5i0B5pV_vrp8gAj9O-8MEDFtb2bTs_OYopmUghxNjeCh_ixQH-ZQ3s2rr4MHUvxVq1Xi2FLBmJ1h78muJD1rxwDFPO8/s320/5549_5.jpg" width="320" /></a><span lang="IT" style="mso-ansi-language: IT;">Quentin Tarantino spesso dice che <i style="mso-bidi-font-style: normal;">Milano Calibro 9</i> è il fil in cui si è
ispirato diventare un regista. Oggi, una citazione di Tarantino è sulla
copertura del DVD di <i style="mso-bidi-font-style: normal;">Milano Calibro 9, </i>e
sembra che una persona non possa parlare di Ferando Di Leo senza il soggetto di
Quentin Tarantino. Tarantino ha detto che ha imparato come fare i suoi film da
guardare i film di Fernando Di Leo. Inoltre, Quentin Tarantino ha derivato
molte idee e un po’ dei personaggi per il suo film <i style="mso-bidi-font-style: normal;">Pulp Fiction </i>dal film di Fernando Di Leo, <i style="mso-bidi-font-style: normal;">La mala ordina</i> (Lozzi). Tarantino è forse il quasi solo ragione
sappiamo Fernando Di Leo ed i suoi film nel’era moderna. Comunque, Fernando Di
Leo ed i suoi film sono lavori importanti che hanno fondato un nuovo genere di
cinema all’italiana.</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="IT" style="mso-ansi-language: IT;">Il poliziotto è marcio</span></i></b></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span lang="IT" style="mso-ansi-language: IT;">Un altro film importante di Ferando Di Leo è <i style="mso-bidi-font-style: normal;">Il poliziotto è marcio.</i> Questo film è
importante non solo perché il suo forte tema e titolo, ma anche perché lo ha
influenzato le possibilità dei soggetti sensibili nel pubblico e come altri
registi girano i loro film.<i style="mso-bidi-font-style: normal;"> </i>Il
protagonista di <i>Il poliziotto è marcio </i>è Malacarne, un poliziotto Milano
con le sue mani della mafia. Questo soggetto era una grande controversia.
Parlare del poliziotto come “marcio” ha pensato essere tanto offensivo. Dopo <i style="mso-bidi-font-style: normal;">Il poliziotto è marcio</i>, Fernando Di Leo
era condannato del governo e il pubblico per un breve tempo. Peró, come i
migliori film Di Leo ha fatto, questo film è solo una descrizione. “La realtà
ci insegna che la storia del crimine è piena di poliziotti marci” (Lupi 31). </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<b style="mso-bidi-font-weight: normal;"><span lang="IT" style="mso-ansi-language: IT;">Conclusione</span></b></div>
<div class="MsoNormal" style="line-height: 200%;">
<a href="http://amzn.to/2kMBnWb" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2kMBnWb" border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhECMS1iKSMN5Ofk7GsYTGbnarwIevEWgI_yfwh-ZYsF_6ZtvIFdcENeirc0OBBApmJAcz_Yk6O2ghRJWK1E_AYka04uhqhl29LdlqwIZ-Vliw2UmCeqxFbVlP5WblTfJ-aKVT8cwY3tPw/s320/Fernando-Di-Leo.jpg" width="320" /></a><span lang="IT" style="mso-ansi-language: IT;"><span style="mso-tab-count: 1;"> </span>La carriera di Fernando Di
Leo è molto interessante. Ha girato molti film di molti generi </span><span lang="IT" style="mso-ansi-language: IT;"><span lang="IT" style="mso-ansi-language: IT;">diversi</span>. Il suo
lavoro ha influezato il cinema e i registi di oggi. Il stile e i temi dei suoi
film sono forti, molto controversi e molto importanti. Però Fernando Di Leo non
ha voluto fare male al mondo, invence ha voluto intrattenere gli spettatori
mentre anche provocare un cambiamento del mondo di cinema e il mondo in
generale. Giorgio Sceranenco ha inspirato Fernando Di Leo, Fernando Di Leo ha
inspirato Quentin Tarantino e Tarantino inspira i registi di domani. I loro
lavori sono molto discusso, non sono per tutto, ma Fernando Di Leo non è
dimenticato. Lui solo continua scrivere senza un nome, come l’inizia della sua
carriera.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwq_BS_1bOKP9TbzbS_9aS9Cy8aTJqOFSiKAi5VXw5Ni4zy8tTXUz-sxwfFke1C9vmJeBMImrcKokONF09B-w' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span lang="IT" style="mso-ansi-language: IT;">Bibliografia</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="IT" style="mso-ansi-language: IT;">Coacci, Simone. “Fernando Di Leo: Il rosso e il nero.” <i style="mso-bidi-font-style: normal;">OndaCinema</i>. OndaCinem, n.d. Web. 3 </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span lang="IT" style="mso-ansi-language: IT;">marzo 2016. http://www.ondacinema.it/monografie/scheda/fernando_leo.html</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="IT" style="mso-ansi-language: IT;">“Fernando Di Leo biografia.” <i style="mso-bidi-font-style: normal;">ComingSoon.it.</i>
Anicaflash, n.d. Web. 3 marzo 2016. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<a href="http://amzn.to/2kMBnWb" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2kMBnWb" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUj17GWxkxtzpgy_bN0QFlIq88RzsRUdTWIpsmr6Yz4Nngh7jcrgPlOR0cHB15G-KFc8dGPCJNPwQgFgh7Tgj3JAp-ZSQmtfNvUgp1NCqT1WZwI31UzpKir8zNKzSGcVd4oLLlAvSczX8/s320/a87dc-poster.jpg" width="162" /></a><span lang="IT" style="mso-ansi-language: IT;">http://www.comingsoon.it/personaggi/fernando-di-leo/30861/biografia/</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="IT" style="mso-ansi-language: IT;">Gomarasca, Manlio.<i style="mso-bidi-font-style: normal;"> Fernando Di Leo:
La morale del genre</i>. Perf. Fernando Di Leo, Nino </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span lang="IT" style="mso-ansi-language: IT;">Castelnuovo, and Howard Ross. RaroVideo, 2004. DVD.
</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="IT" style="mso-ansi-language: IT;">Lozzi, Luigi. <i style="mso-bidi-font-style: normal;">Anarchio del noir...
Tricolore!</i> All That Digital, 2 giugno 2014. Web. 3 marzo </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span lang="IT" style="mso-ansi-language: IT;">2016. </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="IT" style="mso-ansi-language: IT;">Lupi, Gordiano. <i style="mso-bidi-font-style: normal;">Fernando Di Leo e il
suo cinema nero e perverso</i>. Roma: Profondo Rosso, 2009. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<span lang="IT" style="mso-ansi-language: IT;">Print. </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="IT" style="mso-ansi-language: IT;">Poppi, Roberto. <i style="mso-bidi-font-style: normal;">I registi: dal 1930
ai giorni nostri</i>. Roma: Gremese Editore, 2002. Print. </span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="IT" style="mso-ansi-language: IT;">Rea, Luca. </span><i style="mso-bidi-font-style: normal;">A Candid Interview
with Fernando Di Leo on the Making of his Films</i>. Minneapolis: </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
RaroVideo, 2004.
Pr<span lang="IT" style="mso-ansi-language: IT;">int. </span></div>
Burning Empire Mediahttp://www.blogger.com/profile/11639287497744064635noreply@blogger.comtag:blogger.com,1999:blog-6896589607227057174.post-77587433971872671982019-10-07T10:19:00.006-07:002021-04-25T13:08:40.233-07:003 from Hell (2019)<div class="separator" style="clear: both; text-align: center;">
<a href="https://amzn.to/2VllN7t" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="675" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju-_j7kB7oSgnsVPRMqtJve4bhof49vlABcBsUdGHx5Fvc5YV9AwtCqQq1v4RGxdJ2UcD8HFOIyQp4yopDy9SnsvkJdPknbsGWJwRNYK4dYzJUwlPbKkneZp3-AiM9aakVzkgDRV_SyN4/s400/MV5BZWVjOGRjNzMtNjk4ZC00Nzg4LWE1NjMtZWYyOWU5YzEwOWJkXkEyXkFqcGdeQXVyNzAwMjU2MTY%2540._V1_SY1000_SX675_AL_.jpg" width="270" /></a></div>
Delicious. This movie is late-night maniac deliciousness. Reading all of the reviews of <i style="mso-bidi-font-style: normal;">3 from Hell </i>is an illuminating view of Internet dickholes that
are far more concerned with their own self-aggrandizing than the topic of
discussion. I fucking love this movie. When I checked the production budget, my
pants got wet. This is a 3 fucking million dollar film. That is absolutely
nothing and absolutely incredible.<br />
<br />
If you did not like this movie, then you
probably went to the wrong fucking movie. It is that simple. What did you
expect from a movie that revives characters after 20 bullet holes rip
through their bodies? I have an original Baby and Otis action figure from <i style="mso-bidi-font-style: normal;">Corpses</i> and <i style="mso-bidi-font-style: normal;">The Devil’s Rejects </i>poster on my wall, and I remain proud.<br />
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal"><br /></div>
<div class="MsoNormal">
<a href="https://amzn.to/2VllN7t" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img border="0" data-original-height="500" data-original-width="1200" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrIQMYx5ay0yEXd_TxvgJFiYfOXkuYEe-wX4-r2WsAqtSgqh7NrI9ee-Hw_k5lH7aBm0Ydh1hVjoGh8z8auPC1pM0tRWnxTV7fyR1Pu70VXoqY3MZR07FGb0WsK_FXEtoLpuJyMu9QvcI/s400/hero_3-from-hell-banner-1.jpg" width="400" /></a>Nonetheless, I was hoping for more from
the movie, and I did not like it as much as I thought I would. </div><div class="MsoNormal"><br /></div><div class="MsoNormal">However, I also
did not know that it was produced with a $3 million production budget. I thought
it was going to be some sort of $30-million blowout simply turning up the body-count
dial to insanity. Therein lays another charming element of the film: A forced
increase of dead bodies is precisely what it did not do. That is what common convention
says what a filmmaker is supposed to do, and it is bullshit. In my opinion, the
principle takes control of the entire cinematic process and labels consumer
hooks as creativity. It is probably not the approach one should take when
fleshing out a story about escaped lunatics in digital grindhouse. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://amzn.to/2VllN7t" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQEzksA-Hi4NGXzXcSAD7IO8o1-mQNmw3aYCZX2jFFr_DtkuAEv2MVN1c_MzVjHasuPmWuWsA9ZZiIYqwZiNyXJxMOsMsw5aopYbjYcbnFJavIke3_Su0IEWNA2d-Z0xU4Em1v5d57_Mk/s320/tfh_3.jpg" width="320" /></a></div>I fucking love it. Why? Because I can.<span style="mso-spacerun: yes;"> </span>Because I love Rob Zombie movies. Because
Sheri Moon Zombie is absolutely amazing. The characters often argue about who
the star of the show is. Baby. Always Baby. Without Baby, the movie is just two
grimy old men being grimy old psychopathic men. Either way, I love them both
too.<br />
<br />
The soundtrack/score for the film is wet-your-pants good. Again, delicious. Rob says he did not plan to make a sequel to <i style="mso-bidi-font-style: normal;">Corpses</i>, he did not plan to make a sequel to <i style="mso-bidi-font-style: normal;">Rejects</i>,
and he currently does not have plans to make a sequel to <i style="mso-bidi-font-style: normal;">3 from Hell</i>...<br />
<br />
<a href="https://amzn.to/2LTDnfJ" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img border="0" data-original-height="1024" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNdKdssS4EmvZUH4RSGTgGK-pwPDINfPLltZA18QX74UmMaawmpro-5RZ5cWwfg0pwhObiyi7YIXvJvKqZE1pBGyWgIwwJBLO1EopHPEG82MyDVVaB-s_jfl4seBh5rnLMP_eg__JlDjw/s400/David-Welker-Dazed-Confused-Movie-Poster.jpeg" width="250" /></a>Growing up and throughout my life, I developed stories and characters. A friend
got mad at me once, because I was not plot driven enough (except he did not
articulate it in this manner.) He explained that I generally only care about
developing characters and ignore plot (again, he did not articulate it in this
manner, and I was also a child.) The experience pulled me away from creating
and nurturing characters. This is flawed. It is taught that story is
everything, and it is. But at the same time it is not, because characters are
everything.<br />
<br />
This is merely my own bit of personal film theory: we can make a good
film with awesome characters but no story; we cannot film a story without
characters. There’s an element of, “No duh,” but there is far more to unpack in
that statement.
Ultimately, this is a bit of the underlying thesis of <i style="mso-bidi-font-style: normal;">Slacker </i>by Richard Linklater. It’s simply a feature-length
presentation of a bunch of wack-a-doo characters. He does this again in a dream
with <i style="mso-bidi-font-style: normal;">Waking Like</i>. </div><div class="MsoNormal"><br /></div><div class="MsoNormal">In fact, most of
Linklater’s work is simply character-driven fun. Technically, <i style="mso-bidi-font-style: normal;">Dazed and Confused</i> has a plot. However, that’s just any random end-of-the-year day and the exploration of the characters within it. When going
back to watch this film, do we watch it to rediscover the plot points or meet
up and hangout with old friends? "Are you cool, man?" <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://amzn.to/2VllN7t" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="748" data-original-width="502" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidEr7Sc2Y-e3BApAb6aOu9_tVG5UANVz5_xZbHKntz43JsaAnPnn7OwTSBsEcJ-dvNxcbnBsPqPIWmhrWnVdCmYVesMS8PQCARKCDP_XF8r5dTvXZCQxtpKGdet4Nj0T4ybu178SXyL6o/s400/MV5BNGZlNmYwZWYtOWU1My00Mzg3LThhNDMtMDQ0ZjAzNWNiNDZiXkEyXkFqcGdeQXVyNDIzMzcwNjc%2540._V1_.jpg" width="267" /></a>I’m biased. I was
bound to love this movie. It’s delicious. I wrote delicious down before the
movie even started. I bought the movie poster before I saw the film.<br />
<br />
Along with
Leatherface, I consider the Driftwoods my family. They warm my heart and bring
a literal tear to my eye as does the passing of Sid Haig. I am not the type to
type out ineffectual weeping for celebrities regardless of my level of fandom. </div><div class="MsoNormal"><br /></div><div class="MsoNormal">That said, while seeing <i style="mso-bidi-font-style: normal;">3 from Hell</i>
helped balance my brain chemicals, it also marks the loss of the best film
clown of all time. I fucking said it, “The best film clown of all time.” There
is nothing hyperbolic about the sentiment: Sid Haig was the best fucking film
clown of all time.</div><div class="MsoNormal"><br /></div>
<div class="MsoNormal">
Delicious.<br />
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</div>
</div>
Burning Empire Mediahttp://www.blogger.com/profile/11639287497744064635noreply@blogger.comtag:blogger.com,1999:blog-6896589607227057174.post-29205444826664776962019-06-03T04:20:00.000-07:002021-07-27T10:25:28.594-07:00The Easy Life/Il sorpasso (1962)<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
A
Passing Warning</div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<a href="http://amzn.to/2a9McMt" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2a9McMt" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5ek8mhyphenhyphenxN2E-t48yRJIMXCXS6WzaoGGjLG4sm4Y8g9WoX8py1k_b_GB42vlepYhshIlpuVMmX0ySbEYihMu824QUKwxzAuHQi9yanoUFO9VZ6hUSZMXhoYxuV3HOXyf3BRtYLCzeGKNU/s400/ilsorpasso_poster_original.jpg" width="272" /></a><i style="mso-bidi-font-style: normal;">Il Sorpasso </i>(<i style="mso-bidi-font-style: normal;">The Easy Life</i>)<i style="mso-bidi-font-style: normal;"> </i>is a
ferociously entertaining film that is both masterful and thought provoking. Directed
by Dino Risi, <i style="mso-bidi-font-style: normal;">Il Sorpasso </i>stars
Vittorio Gassman as Bruno and Jean-Louis Trintignant as Roberto. Nick Vivarelli
of <i style="mso-bidi-font-style: normal;">Variety </i>referred to Risi as, “An
undisputed master of Italy’s postwar commedia all’italiana.” <i style="mso-bidi-font-style: normal;">Il Sorpasso </i>demonstrates this sentiment
beautifully. On the surface, <i style="mso-bidi-font-style: normal;">Il Sorpasso</i>
is a comedy about a road trip shared by two entirely different strangers. Meanwhile,
the film is also deeply tragic, and it provides a reflection of cultures past
and present. Bruno is the driving force of the film from the beginning to the
end. He is wild and unrestrained. Responsibilities are the furthest issues from
Bruno’s mind. Instead, Bruno lives in every moment with excitement and wanton
disregard for consequences. He charges through life and the Italian landscape
in a peppy little convertible with reckless abandon. However, Bruno’s actions
and carelessness eventually result in the tragic death of Roberto. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
While Bruno
represents a man attempting to transcend his age and a special brand of overcharged
masculinity, Roberto is different. Roberto is quiet and reserved. He is
ordinary and represents the traditional values of Italian men and families
(Candela). From the onset of the film, Bruno makes Roberto nervous, and he is
uncertain of Bruno’s intentions. Although Roberto is uncomfortable in the
beginning, he eventually begins to relax and gives into Bruno’s influence. The
juxtaposition between Bruno’s fun-loving personality and Roberto’s sheltered
nature provides an organic humor. The film is a highly entertaining comedy, yet
it is also a cautionary tale about economic prosperity and a man that lives
without prudence (Powers). While <i style="mso-bidi-font-style: normal;">Il
Sorpasso </i>is a depiction of Italy in the 1960s, the film’s humor and themes
transcend geographical borders and time. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<a href="http://amzn.to/2a9McMt" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img alt="http://amzn.to/2a9McMt" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIoh0_kii1y2niaUyrdnnmoChu6egHQrMiuBQWoXb3Xq6EHKKRdmKkW8unPsV2JOq3pIKa6z5AxMqK0BsvMj1wDNin7-C9Ca_t6q_W9IlV4TzcQ7OjMw5ffbCsJWPU5Dxyjj-c8YNpe9g/s320/jl170ejo.jpg" width="226" /></a>One of the most
essential ingredients of <i style="mso-bidi-font-style: normal;">Il Sorpasso</i>
is Vittorio Gassman’s performance. Gassman is brilliant as Bruno. Bruno not
only convinces Roberto to ride in his car, but also yanks the audience into the
passenger seat. Although we are also uncertain of Bruno’s motives and question
his level of self-control, we cannot help but join him on his journey. While
Bruno provides a representation of problematic masculinity manifested onscreen
as a lunatic in a convertible, he is also fun, exciting, and infectiously
charming. We see through Roberto that Bruno is not only a potentially dangerous
man, but also a lovable boy trapped in a man’s body. When necessary, Gassman
seamlessly flows in and out of moments of hysterical comedy and the layers of
turmoil that reside within Bruno. Bruno is over the top and out of control, but
Gassman’s performance in <i style="mso-bidi-font-style: normal;">Il Sorpasso</i>
is nuanced and refined.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
The nuances and
refinement found in Gassman’s performance harmoniously echo Dino Risi’s
directing. Risi’s emphasis on detail is striking. Every frame of the film seems
to come alive with subtly and superior composition. Bruno is wild and
energetic, but Roberto is calm and restrained. Risi’s directing style
demonstrates the same type of relationship. Risi balances each of these forces
with control and elegance. Risi can be loud and over the top, yet much like
Roberto, he remains in the background in quiet contemplation when necessary.
The framing of the characters and the landscape of the film are accomplished
with precision. Everyone and everything in the camera’s lens is carefully
constructed, and Risi gives purpose to both the central characters and the
extras. Risi’s extras are almost just as important as the central characters of
the film. By drawing our attention to these branches of reality and alternate
modes of existence, Risi adds a depth that assists in bringing the film alive. These
details not only provide the audience a greater sense of the world that
surrounds Bruno and Roberto, but also a unique perspective of Italy during the
postwar economic boom (Lopate). </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
From the moment
the film opens, Risi captivates the audience with visually striking landscapes.
A lively jazz soundtrack blares through the psyche. Although the streets of
Italy are mostly empty, Bruno and his convertible fill the landscape with
energy and excitement. The tone of the film is carefully set. When Bruno stops
the car outside Roberto’s home in the beginning of the film, the audience becomes
a passenger before Bruno and Roberto meet. Bruno and Roberto are strangers, but
Bruno’s overbearing and outgoing personality instantly engulf Roberto’s
existence. Upon meeting one another, Bruno asks Roberto to call a woman that is
waiting for Bruno. Instead of calling the woman for Bruno, Roberto invites
Bruno to use his phone. Roberto is timid and reclusive. He wants to be alone to
study, but Bruno quickly convinces Roberto to take a drive in the convertible.
Bruno’s driving is erratic and dangerous. He roars through the Italian
landscape, furiously honking his horn, and teasing everyone that he passes.
While Bruno mocks everyone that he passes, Risi mocks Bruno’s machismo and
masculinity throughout the entire film. Despite the comedy that Risi uses to
poke fun at his characters and Italy, a deep affection for the characters and country
is apparent in Risi’s work. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
As Bruno and
Roberto drive from town to town, Bruno is never in short supply of sarcasm and
practical jokes. He plays jokes on Roberto, the people he meets, and other cars
on the road. At first, Bruno’s behavior and bravado make Roberto uneasy, and he
questions whether he should continue to engage in the car ride with Bruno.<br />
<a href="http://amzn.to/2a9McMt" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2a9McMt" border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmAUvz19-s5mEK6Sq1qfD6vZqrpszbZI_otS3E4V_o06TUPMPlCAQpOUp48wdD6mFgFNwtsCiWTPqMw2BMExBcLnc0-ZkxWYfMV2yXEbRt7QosssaOyLp-l6g5PFOjqH3wN0nFPEGAB-8/s320/ferragosto.jpg" width="320" /></a>However, eventually Roberto warms up to Bruno, and it is apparent that Roberto
admires Bruno. Bruno’s overbearing personality lures Roberto into Bruno’s way
of life. Bruno charges through the world with the carefree nature of a child.
While Bruno is uninhibited around women, Roberto is shy and nervous around them.
However, as he begins to loosen up and enjoy the ride in Bruno’s convertible,
Roberto starts to enjoy the simple pleasures of life with Bruno. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Until the end of
the film, Bruno seems without consequence, and he often slips away from danger
and authority unscathed. Bruno seems unstoppable until a car crash on the side
of the road prompts him to pull over. A dead body lies on the side of the road.
Instead of taking the serious nature of the car crash to heart, Bruno remains
sarcastic, opportunist, and flippant. He attempts to capitalize on the
situation by soliciting a crying truck driver for the merchandise damaged in
the crash. However, a police officer quickly interrupts Bruno by honking the
convertible’s ridiculous car horn. The police officer writes Bruno a ticket for
his reckless driving. Despite the officer’s citation and the foreshadowing
implored by a dead body on the side of the road, Bruno remains obnoxious. Bruno
begins mocking the police officer, but he is quickly back on the road racing
through life more carefree than ever. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Throughout the
film, it often seems as though there is no stopping or slowing down Bruno. His
vibrant energy never falters.<span style="mso-spacerun: yes;"> </span>Until we
learn the Bruno has a wife and daughter, it seems that Bruno has led an
entirely laid-back and untroubled life. However, as Bruno’s estranged wife
Gianna reveals to Roberto, Bruno has struggled to find his place in the world.
Underneath the seemingly happy-go-lucky and brash exterior of Bruno, resides a
lonely boy that never matured. In fact, Bruno’s teenage daughter Lilly is more
mature and self-controlled than Bruno. Once Lilly and Gianna are introduced, it
is clear that the lifestyle Bruno leads and the unfaltering masculinity that he
clings to have already resulted in negative consequences. It is obvious that
Bruno has been absent for the majority of Lilly’s life. Meanwhile, it is
apparent that Lilly loves and cares for Bruno, but Lilly generally uses Bruno’s
first name when talking to him. She sees Bruno as more of a friend than she
does a father figure. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<a href="http://amzn.to/2a9McMt" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="http://amzn.to/2a9McMt" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW6Jdchihd8768nGW9tPix2aRFp3ZzifgXKPNcwi3qI9G0jOfpEE8ddv7iZFoQhGCOTY0Wpn4xt2Q2TDlt5iuGa_X_yKKXK-ILg-hGI6j0GZ7J7hXr8K6EDNVLcxh7JdBGPHcoTLWfQ40/s400/6263178_1.jpg" width="283" /></a>In the middle of
the night, Bruno and Roberto arrive at Gianna’s house drunk. Shortly after
their arrival, Lilly’s boyfriend Bibi escorts her home. Bibi is significantly
older than Bruno, and Bibi’s age upsets Bruno. However, Roberto offsets Bruno’s
frustration by drunkenly laughing at the situation. The presence of Bibi, and
Lilly’s plans to move to America with Bibi, mark the point in which Bruno
finally begins to question and evaluate the choices that he has made in life. Lilly’s
relationship with Bibi is an obvious representation of a young girl seeking out
the male role model and fatherly structure that Bruno neglected to provide
Lilly in her formative years. Meanwhile, Lilly’s relationship with Bibi is not
a manifestation of malice or passive aggressive vengeance. Bruno regrets not
being a better father to Lilly and a more responsible person in general.
However, when Bruno confides in Lilly, Lilly tells Bruno that he should never
change. She cannot help but love Bruno and his vivacious attitude toward life.</div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Nonetheless, Bruno’s
unfaltering reckless behavior ultimately causes Roberto’s death. After a brief respite
at the beach, Bruno and Roberto decide to end their road trip. Bruno is just as
careless and fearless as even while driving home. Despite Roberto’s fear and
uncertainty of Bruno’s reckless driving in the beginning of the film, in the
end, he relishes in the excitement of speeding through the Italian landscape. Now,
both Bruno and Roberto are screaming and wailing down the highway like two
teenagers on a joyride. As Bruno attempts another il sorpasso (the suiting
title and Italian term for aggressively passing another vehicle,) he drives the
convertible into oncoming traffic, and a semi-truck drives straight at the
convertible (Lopate). Bruno swerves the car away from a semi-truck. He loses
control of the car. The car smashes into a cement barricade. The impact of the
crash throws Bruno from the car as it tumbles down a cliff. Roberto remains in
the passenger seat as the car falls, and he plunges to his death. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglUBMDLbgUTkoYZnU7qBZFAFOYYGBaMM-PxCWRwM25YYT0ITg2_EAN4kh9I440p0oBARZD3h1NDI_8hNH2LwLSw4ow9Q7adUYnWK5r6QdZnwCYdYmP3CkmDilVpFPFhyk9Z9WqeeyTT6k/s1600/sorpasso.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglUBMDLbgUTkoYZnU7qBZFAFOYYGBaMM-PxCWRwM25YYT0ITg2_EAN4kh9I440p0oBARZD3h1NDI_8hNH2LwLSw4ow9Q7adUYnWK5r6QdZnwCYdYmP3CkmDilVpFPFhyk9Z9WqeeyTT6k/s320/sorpasso.jpg" width="209" /></a>While <i style="mso-bidi-font-style: normal;">Il Sorpasso </i>is a highly entertaining
comedy, it is also a deeply tragic film. It is not only a social critique about
Italian males and the economic boom of postwar Italy, but also a warning
(Powers). Despite the excitement inherent in Bruno’s vibrant and arrogant
personality, his carefree lifestyle results in detrimental consequences. Bruno
embraced a frivolous and superficial lifestyle, and he can only blame himself
for missing his child’s life and the death of Roberto. Additionally, the film
serves as a reflection of a culture and a society that Risi saw as speeding
recklessly out of control trying to breeze by anyone or anything it passes
(Lopate). The film warns that life can be thrilling and fun. However, when we
stop paying attention to that which we care about and lose sight of ourselves,
tragedy waits down the road.<br />
<br />
<br />
<a name='more'></a><br /></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
<span lang="IT" style="mso-ansi-language: IT;">Works Cited</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="IT" style="mso-ansi-language: IT;">Candela, G. “Il Sorpasso.” </span>Arizona State University. G. Homer
Durham Language </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
and Literature
building, Tempe, AZ. Oct. 2015. <span lang="IT" style="mso-ansi-language: IT;">Lecture.
</span></div>
<div class="MsoNormal" style="line-height: 200%;">
<i style="mso-bidi-font-style: normal;"><span lang="IT" style="mso-ansi-language: IT;">Il Sorpasso</span></i><span lang="IT" style="mso-ansi-language: IT;">. Dir. Dino Risi. </span>Perf. Vittorio Gassman
and Jean-Louis Trintignant. Criterion, 2014. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
DVD.</div>
<div class="MsoNormal" style="line-height: 200%;">
Lopate, Phillip. “<i style="mso-bidi-font-style: normal;">Il sorpasso</i>: The Joys of
Disillusionment.” <i style="mso-bidi-font-style: normal;">Criterion</i>. The
Criterion Collection, </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
n.d. Web. 20 Nov.
2015</div>
<div class="MsoNormal" style="line-height: 200%;">
Powers, John. “Two Italys Take a
Road Trip in <i style="mso-bidi-font-style: normal;">Il sorpasso</i>.” <i style="mso-bidi-font-style: normal;">NPR</i>. NPR, 8 May 2014. Web. 20 </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Nov. 2015.</div>
<div class="MsoNormal" style="line-height: 200%;">
<span lang="IT" style="mso-ansi-language: IT;">Vivarelli, Nick. “Dino Risi.” <i style="mso-bidi-font-style: normal;">Variety</i>
11 June 2008: 16. </span>Print. </div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
Burning Empire Mediahttp://www.blogger.com/profile/11639287497744064635noreply@blogger.comtag:blogger.com,1999:blog-6896589607227057174.post-41176676924759270172017-02-11T01:24:00.001-07:002017-02-11T02:16:30.365-07:00John Wick: Chapter 2 (2017) <a href="http://amzn.to/2kSNxym" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img alt="http://amzn.to/2kSNxym" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSokDhoyMHMML4H8zNwdfBJcml2mCzSdiXPQnu_fhcFJmHpwAxUOvX0WhEcpNVZ7JE5bepyrkruCMyh8ME-wG9DL7qTOjc_i7-P0RuWq0MolmW-MIigmqPRFb_UdCXa-sxPTrR6CF-Za0/s400/johnwicksmall.jpg" width="258" /></a><i>John Wick: Chapter 2</i> hits like a sledgehammer to the skull from the beginning and never stops. Earlier today, I assumed that it was going to be a fantastic and ultra-exciting movie. In fact, I started to think that I was getting a little too excited.
<br />
<br />
Nope. <i>John Wick: Chapter 2</i> is beyond fantastic. I have not enjoyed a film from beginning to end this much in several years. I am shocked by how much I love this film. There is undoubtedly a <i>Godfather</i> effect when comparing <i>Chapter 2</i> to the first, and <i>John Wick: Chapter 2</i> is blood opera at its finest.
<br />
<br />
Everything about the film resonates and pleases: the story and pace, the cast and performances, the directing and cinematography, the fight and stunt choreography, the settings and production design, and the sound and mixing, damn the sound was masterfully executed. All of the different sounds of brutal violence continue to echo a delightful symphony in my ears.
<br />
<br />
John Wick is officially my favorite action hero, or antihero, since Tarantino’s Beatrix Kiddo. In other words, I cannot think of a film character I have enjoyed this much in over a decade.<br />
<br />
That’s not to dismiss Django, but throwing Tarantino back in the mix again is not fair. Meanwhile, technically speaking, Chapter 2 has Django. Franco Nero, the original Django, is a special guest actor in the film, and it simply does not get better than a special appearance by Franco Nero.
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://amzn.to/2kSNxym" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2kSNxym" border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihHyMV5TsY_lLF-MEweWui93gH4zrT-LuEk8BdbLCGWGgGu-SMUqzyyFAWgU8wtXsw02-U04MeK_LvKLrfF6RZrI2qrdH3l2CEr6Ll-5nmIKZmOstjlAjoJ7AnPOlI_-geAdWJJ3Re3s4/s320/1414193876671.jpg" width="320" /></a></div>
<br />
Let’s be honest. I simply love the Keanu as well. I always have. He’s thee One. He’s Johnny Utah, Ted Theodore Logan,<i> Johnny Mnemonic</i>, Jack Traven, Siddhartha, the devil’s right-hand man, Winston Connelly in <i>The Night Before</i> (a ridiculously obscure reference of a film I loved growing up.)<br />
<br />
I loved Keanu growing up and I love Keanu as an adult. Ultimately, Keanu is my lifelong man-crush. When I was growing up, people said that choosing Keanu as my favorite actor was queer. I tried to pick some others for a while, but having a closet man-crush does not look good on anyone. F’em.
<br />
<br />
<a href="http://amzn.to/2kSNxym" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img alt="http://amzn.to/2kSNxym" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz0cTU7h2-scloO8ozZRtY5fhGs_qhgsvZIas8-yw3Jpe43vPMaocijzzOejhTnhNWGzNcbDAz7ulReZkcms9OCJoVGWELlUqKYy_XzysnKu0AdwBXQz1KKDZBJIP2LMw52r8FfQxFzWo/s320/2F68482A00000578-0-image-m-48_1450233861540.jpg" width="294" /></a>Keanu continually crushes it at the cinema. In a John Wick movie, anyone calling you queer for liking Keanu Reeves or anything meant to demean you and all things queer would probably be stabbed in the neck with a pencil. Have you not seen <i>A Walk in the Clouds</i>? That’s a tough guy film. I’ll tell you what’s tough: Going to see that one alone as a fat little thirteen-year-old. Scary shit.<i> The Last Time I committed Suicide</i>? Keanu as Neal Cassidy’s friend. Iown it.<br />
<br />
That new one on DVD <i>The Whole Truth</i>? That was a good sleeper rental. <i>Feeling Minnesota</i> with Cameron Diaz? Own it.<i> Much Ado About Nothing</i>? <i>Parenthood</i>? <i>Constantine</i> (so underrated)? <i>Knock Knock</i>? Eli Roth is a phenomenal filmmaker. See? The list goes on and on. All solid movies with superb performances by Keanu. One might say that Keanu is the proverbial wine that only gets better with time.
<br />
<br />
<a href="http://amzn.to/2kSNxym" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2kSNxym" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghmBrvDoKeXzd3r1fGK_xZo1Jx86gy7yksa8tYcspi_6pjkfELQb_enTsdd2nT-txGcLQnMKTjua9URqdomsmxeIyLaEfce8vCq2pm9gWaeF2ZIdm44QpBLi8nLGdvjdNVDwNcN-jtaT4/s320/1520_Wick_2.2-1296x1944.jpg" width="213" /></a>Where I come from, he’s Johnny Utah, and that’s really all that needs to be said.<i> John Wick: Chapter 2</i> is merely more evidence that Keanu is going to win again and again.<br />
<br />
I am not saying that I think <i>Chapter 2</i> is going to win a best picture Oscar next year. However, it very well could end up as my favorite film of 2017. I know, it’s only February, and I too am very excited about several films coming out this year.
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj49W5w8g3H1CxxD7asLvhb9OC0IwO5xzQCqFINjQ5Sq_zyXxrkfDpzwTGfB_zYKbx99-uTes2denkm2CU2vQ7eG5fvznMQ7y2QunNsT0uhCh9gfruTYaoddII-0iqrpGVC-1Di-_lycZk/s1600/reeves-wick-dog-18dec15-01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj49W5w8g3H1CxxD7asLvhb9OC0IwO5xzQCqFINjQ5Sq_zyXxrkfDpzwTGfB_zYKbx99-uTes2denkm2CU2vQ7eG5fvznMQ7y2QunNsT0uhCh9gfruTYaoddII-0iqrpGVC-1Di-_lycZk/s320/reeves-wick-dog-18dec15-01.jpg" width="215" /></a>Either way, if you are reading this blog, I can’t see how <i>Chapter 2</i> wouldn’t be the film for you too. I say take the whole family.<br />
<br />
I’m trying to see it again with my mother this weekend. That’s right, I immediately want to see it again. My mom is a huge Keanu fan too; she has a different kind of crush for Keanu than me.
<br />
<br />
<i>John Wick: Chapter 2</i> far exceeded my expectations. I not only loved the movie but also needed it. Hollywood is always producing films that I enjoy, but <i>Chapter 2</i> quenched a thirst for elegant cinematic ultraviolence that is rare in forms of superior substance. I am extremely happy this film was made. It is superb cinema.
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://amzn.to/2kSNxym" target="_blank"><img alt="http://amzn.to/2kSNxym" border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL0pqTZnRqEQnliUpu51tXir7A5eEbU72VjuTLKul9LAzitEJsJyHa2NMib6XPH7oXFKGaCdkmj-uIHuSRy25K-3662VOgJqIpJAtzQNSWoUl1sTpGGco7x18nBXhU90uD_BrzOZD5Rr8/s640/john-wick-chapter-2-poster.jpg" width="450" /></a></div>
<i>The film is so good I admit that it deserves a much deeper analysis than I have provided here...</i>Burning Empire Mediahttp://www.blogger.com/profile/11639287497744064635noreply@blogger.comtag:blogger.com,1999:blog-6896589607227057174.post-66342751689012459402016-10-27T22:44:00.000-07:002017-02-02T22:48:06.431-07:00The Wild Violence of 'The Wild Bunch'<!--[if gte mso 9]><xml>
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<a href="http://amzn.to/2l3bjqh" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2l3bjqh" border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGgqlLxhIUZDyVdMSwhzfaf_q-_avqcoZelhk7g081d06A0SDKmbtI_ZrGvjPiofodoe9YBUGaaLklZAy_IRuCLc9KEOSHwSNwx-WEuc4vh2733eNtpznfh36WEJRcy28vdoEUnqSTheg/s400/004-the-wild-bunch-theredlist.jpg" width="400" /></a>Sam
Peckinpah’s <i style="mso-bidi-font-style: normal;">The Wild Bunch</i> tears at
the screen with blood and violence. The violence in <i style="mso-bidi-font-style: normal;">The Wild Bunch </i>is not only historical but also revolutionary. While
the film is one of the most controversial movies of its time, today, its
controversy remains a frequently revisited and debated subject among scholars,
critics, and movie patrons (Gronstad 167). When <i style="mso-bidi-font-style: normal;">The Wild Bunch </i>was first release in 1969, critics and general
audiences were incredibly divided (Ferrera). Many critics embraced Peckinpah’s
vision and use of violence and blood. Others admonished Peckinpah for his
brutality and vivid portrays of on-screen violence. Some may feel as though the
violence of <i style="mso-bidi-font-style: normal;">The Wild Bunch </i>is
antiquated when compared to the portrayals of on-screen violence seen today.
However, according to Ferrera, the way Peckinpah uses violence changed how filmmakers
portray violence, in particular gun violence, on screen. Unlike previous
western films, Peckinpah showed audiences that death and violence are bloody
and miserable. Even today, the graphic violence in <i>The Wild Bunch </i>is a
subject of controversy and debate. Despite the controversy of the past and
present that obsesses on Peckinpah’s use of violence, blood and guns, <i style="mso-bidi-font-style: normal;">The Wild Bunch </i>remains of the most
celebrated and influential American Westerns of all time. </div>
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<a href="http://amzn.to/2l3bjqh" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img alt="http://amzn.to/2l3bjqh" border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjTvu_EU-jGx0r8YWoHhwZg18BuF5y3yPf5D6dBA35Ll2vCk2PUtP-kAFkeLh_297s3HFElEBMfzfWLMEoscyKAiJ0j7AWjbZ2g6S3saSSgwNkbk29wjGHKCwydXhEYGkPrFpgX06C4A4/s320/the-wild-bunch-1.jpg" width="320" /></a></div>
<span style="mso-tab-count: 1;"> </span>Perhaps
the most intriguing aspect of <i style="mso-bidi-font-style: normal;">The Wild
Bunch’s </i>reception is the debate among popular critics around the time of
the film’s release. Film audiences had not seen explicit portrayals of violence
before Peckinpah’s masterpiece (Ferrera). Bullet holes rip through clothing and
human bodies, and blood gushes as the bullets rip through a character’s body.
Peckinpah showed the killing of innocent bystanders. The perpetrators of
violence use other humans as shields from cascades of bullets. Children giggle
as hordes of ants devour a scorpion alive, and later, the children set fire to both
the scorpions and ants. The aftermath of gun battle in <i style="mso-bidi-font-style: normal;">The Wild Bunch</i> is gruesome and scary. The brightest color in the
film is blood. For its time, the violence of <i style="mso-bidi-font-style: normal;">The Wild Bunch</i> was unmatched, and many critics and audience members
were unsettled and outraged (Canby). Vincent Canby of <i style="mso-bidi-font-style: normal;">The New York Times</i> suggests that other critics of the time seemed
to have felt as though the film would cause viewers to want to leave the theater
and automatically start murdering people. Canby affirms that an impulse to
inflict violence on people was not present after watching <i style="mso-bidi-font-style: normal;">The Wild Bunch, </i>and the film, “Is very beautiful and the first
truly interesting, American-made Western in years.” <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://amzn.to/2l3bjqh" target="_blank"><img alt="http://amzn.to/2l3bjqh" border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvJC5NC5JVaJr7kVFWFU4RMM8Pn5wiUOm1FIfjYSEkY869Hn_cUrerSS6aOjwWWL4_QfcDZZ90el1rwEnNiUr4Ph0EPFfqVN8sp5apyIXCPGHSMss_1nHtzXWmO-0zivQz3U1Uaolecvw/s640/quote-the-whole-underside-of-our-society-has-always-been-violence-and-still-is-churches-laws-sam-peckinpah-80-19-67.jpg" width="640" /></a></div>
<br />
</div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>Although
many critics felt as though the film was too violent and not suitable for
humanity, Charles Champlin and Roger Ebert celebrated the film. Champlin often
squinted during the film in a futile attempt to escape the violence. He refers
to <i style="mso-bidi-font-style: normal;">The Wild Bunch </i>as, “Not so much a
movie as a blood bath,” but affirms that the film is, “Brilliantly made and
thought provoking.” Champlin notes the original test audiences of <i style="mso-bidi-font-style: normal;">The Wild Bunch</i> recoiled in horror and
stormed out of the theaters in droves. Apparently, members of test screenings
picketed the theaters the next day, and Warner Brothers made Peckinpah cut 35
minutes of violence before officially releasing the film (Champlin). However,
Champlin defended the film’s portrayal of violence, and notes that death in <i style="mso-bidi-font-style: normal;">The Wild Bunch </i>is depraved and gut
wrenching, just as it is in real life. Roger Ebert also celebrated and defended
the film’s use of violence with veracity and eloquence. Ebert affirms that the
larger cultural issue at hand is that we depict cowboys, Indians, and the Old
West as a fun game for children to play.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgti0tmqjPXmuIfdC-yv1WpWCFD90Toz8Vr2LXErWiCmByRsuQEkF_fhxYBzDfRickJUkGqFiBPXLdmWcfUQJU3a4hRYN6r0R_OMl8HZN-tLxTm9SYU0oy6lfU1ECK0CwhtQ4PG4Gq8nlA/s1600/Il-mucchio-selvaggio-The-Wild-Bunch-di-Sam-Peckinpah-con-William-Holden-Ernest-Borgnine-Robert-Ryan-Edmond-OBrien-Warren-Oates-streaming.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgti0tmqjPXmuIfdC-yv1WpWCFD90Toz8Vr2LXErWiCmByRsuQEkF_fhxYBzDfRickJUkGqFiBPXLdmWcfUQJU3a4hRYN6r0R_OMl8HZN-tLxTm9SYU0oy6lfU1ECK0CwhtQ4PG4Gq8nlA/s400/Il-mucchio-selvaggio-The-Wild-Bunch-di-Sam-Peckinpah-con-William-Holden-Ernest-Borgnine-Robert-Ryan-Edmond-OBrien-Warren-Oates-streaming.jpg" width="400" /></a>While Peckinpah did not make a cowboys
and Indians film, <i style="mso-bidi-font-style: normal;">The Wild Bunch </i>attacks
and destroys the notion of the traditional Western. Ebert notes that Peckinpah
utilized excessive violence, but this violence merely comes as a reaction and a
response to violence enacted throughout the world on a daily basis. This
response to violence continues to reverberate through modern-day culture and
violence. After seeing <i style="mso-bidi-font-style: normal;">The Wild Bunch </i>a
second time,<i style="mso-bidi-font-style: normal;"> </i>Ebert described some of
Peckinpah’s use of violence as, “Blood flowing in an unending stream” and
“Geysers of blood everywhere.” While Peckinpah’s use of violence is graphic and
unlike any other film of its time, interestingly, Ebert’s statements were
hyperbole. Nonetheless, Ebert argues that regardless of how graphic and
realistic Peckinpah’s on-screen violence may have been, the film exists in a
one-dimensional realm, realism is not synonymous with reality, and it is
“Impossible to forget this is a movie.” </div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="mso-tab-count: 1;"> </span>In
addition to the variety of responses and debate among film critics and audience
members at the time of <i style="mso-bidi-font-style: normal;">The Wild Bunch’s </i>release,
controversy and commentary continues in modern times. Books, scholarly
articles, and blogs continue to chronical and add to the discussion of
Peckinpah’s portrayal of on-screen violence in <i style="mso-bidi-font-style: normal;">The Wild Bunch</i>.<span style="mso-spacerun: yes;"> </span>In <i style="mso-bidi-font-style: normal;">Cowboy Metaphysics, </i>Peter A. French does
not share the same spirit of support for Peckinpah’s portrayals of violence as Roger
Ebert. French categorizes Peckinpah’s use of violence as simply an, “Extreme
consciousness of death” (84). According to French, the main characters are
courageous and heroic, but they are slightly demonic and lack true altruism in
their supposedly heroic actions (126). The concept of a person committing to
their word as the single attribute necessary to achieve the highest level of
moral integrity in <i style="mso-bidi-font-style: normal;">The Wild Bunch </i>is
particularly unsettling to French. French argues that this brand of integrity
utilized in <i style="mso-bidi-font-style: normal;">The Wild Bunch </i>causes one
to overlook the appalling traits and violence behavior of the film’s characters
(128). In other words, if a character is seen as possessing integrity, their
awful behavior is justified, and to a certain degree integrity becomes a device
that glorifies violent acts regardless of whether the violence is justifiable
or not.</div>
<div class="MsoNormal" style="line-height: 200%;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisuUAAGqKEfV3zKx6ae9Wtrqzc6G1j6NMSnbsd_oImf8iSvfcR1GWU1ImqL5w_wb-y9Q6WLKCim_GF0PMZIoa7-22Kg4DRkzdtRxUTwPUJ_ytitzlif4T_59MFj1VcLg3gvhK9tqf826U/s1600/385982a42585049e5d6ce7988af8c8f1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisuUAAGqKEfV3zKx6ae9Wtrqzc6G1j6NMSnbsd_oImf8iSvfcR1GWU1ImqL5w_wb-y9Q6WLKCim_GF0PMZIoa7-22Kg4DRkzdtRxUTwPUJ_ytitzlif4T_59MFj1VcLg3gvhK9tqf826U/s400/385982a42585049e5d6ce7988af8c8f1.jpg" width="281" /></a><span style="mso-tab-count: 1;"> </span>Meanwhile,
critical researcher Asbjorn Gronstad highlights and supports many critically
justifiable functions of Peckinpah’s use of violence. Gronstad compares
Peckinpah’s <i>The Wild Bunch</i> to Thoreau’s <i>Walden</i>, not in plot but in
meaning and allegory (169). According to Gronstad, morality is not the
overarching theme of the film and its violence. Instead, the film is an
allegory for the battle between nature and technological progress (Gronstad 170).
Observing and drawing conclusions solely from the lens of morality not only
negates Peckinpah’s sense of morality, but also ignores a deeper and important
thematic dynamic at play in <i>The Wild Bunch</i>. Gronstad frames Peckinpah’s
portrayals of violence as both an admonishment of violence and violence toward,
“Socio-cultural homogenization” (169). Additionally, Gronstad claims that by
re-representing the past, specifically the Old West, in a more appropriate and
accurate light, viewers are able to draw a correlation to the present and
possible futures of humanity (171). In order to understand the present, and
violence situated in the present, we must work to stop glorifying the past.
Violence is not a virtue to Peckinpah. Instead, Peckinpah depicts violence as a
product of a bleak world in which humanity is always at odds with machine, and
in this world, there is no hope for the past, present, or future (Gronstad
184). </div>
<div class="MsoNormal" style="line-height: 200%;">
<a href="http://amzn.to/2l3bjqh" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2l3bjqh" border="0" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5536rA-UnLvfIcrmFjVzNLOlfAfaidtykTZpAmxnrmx8ohg79CEio65neCFAUkQ7muCQOeUANhbNBUG88KCU5lp4Cpq0wcd48scg6cql-jQ87uTgHMqfnYcGJkvxy_wK7oKcsTMoynqM/s400/wild-25.jpg" width="400" /></a><span style="mso-tab-count: 1;"> </span>While
controversy and debate about Peckinpah’s use of violence continues over 40
years after the film’s release, <i>The Wild Bunch </i>remains a, “Seminal work
of violence and artistry that forever changed the landscape of motion pictures”
(Ferrara). According to Ferrara, Peckinpah was the first to use violence as a
slowed-down, graphically choreographed visual motif. The sound of flies buzzing
over dead bodies, squibs aggressively flinging blood across the screen,
different angles of the same action, and the double and triple printing of film
were all innovative techniques Peckinpah utilized to depict on-screen violence
(Ferrara). While these techniques are a victory of filmmaking that many
filmmakers utilize today, they are also the source of much of <i>The Wild
Bunch’s </i>controversy. Prior to <i>The Wild Bunch’s </i>release, the
Production Code had not yet been eradicated (Ferrara). According to Ferrara,
the Production Code was eventually eradicated and replaced by the MPAA, yet the
MPAA strongly objected to the violence and required Peckinpah to remove a scene
that graphically displays the cutting of a character’s throat. <span style="mso-spacerun: yes;"> </span>Upon test screening the film, after making the
necessary cuts, audience members’ reactions were often extremely negative, and
Ferrara quotes one early audience member saying, “Don’t release this film. The
whole thing is sick.” Despite the controversy and the MPAA’s objections to the
depictions of violence in <i>The Wild Bunch</i>, the film received several
prestigious awards. In 1999, <i>The Wild Bunch </i>was added to the National
Film Registry (Ferrara). </div>
<div class="MsoNormal" style="line-height: 200%;">
<a href="http://amzn.to/2l3bjqh" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img alt="http://amzn.to/2l3bjqh" border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQqiuCr51kqO1oVv5wYShb8OIHQTzzgOHqiTZiuBrauxhJ6sKTULCmPsOH94I_Y1t9R2iVrdz4eJCJBs2go_lEyi2c2BgYVtW86XqRhuyL6t8IXSMqwPgvEypdhVKr7D804H5ywvnPUHM/s320/tumblr_ma7ijmYeJH1rovfcgo2_1280.png" width="320" /></a><span style="mso-tab-count: 1;"> </span>Peckinpah’s
own reaction to <i>The Wild Bunch’s</i> release is perhaps one of the most
compelling commentaries on the film’s use of violence. Even though there were
several audience members that recoiled in horror and condemned the violence in
the film, Peckinpah was more appalled by stories of audience members that
cheered and attained enjoyment from the film’s violence (Ferrara). Nonetheless,
Peckinpah ultimately defended his depictions of violence when condemned by
critics, and Peckinpah condemned the idea that he was using on-screen violence
as something that is fun and enjoyable (Ferrara). While Peckinpah romanticized
the beautiful Mexican landscape in which the film is set, the depictions of
violence are brutal, dirty, and devastating. Peckinpah was nicknamed “Bloody
Sam” and the final shoot out of <i>The Wild Bunch </i>the “Blood ballet,” yet Peckinpah
used violence in the film to speak out against the Vietnam War and violence in
general (Ferrara). As Peckinpah himself said, “I wasn't trying to make an epic.
I was trying to tell a simple story about bad men in changing times. I was
trying to make a few comments on violence, and the people who live by violence.”
</div>
<div class="MsoNormal" style="line-height: 200%;">
<a href="http://amzn.to/2l3bjqh" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;" target="_blank"><img alt="http://amzn.to/2l3bjqh" border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge7gzaLy_E4bAYj6QY7u93De9BoEKKVI3QIQHStc8jrdqrg7MIgrl0KonBbmxJQbmJnUJYIlDvhDWthe8wdV2scw6DoUCtc2R91daHI1Kn5iIvprsZK6L2kbWS0kIX8fIb4nWExqVvz10/s400/34c6ac_ffa5d6e153cb45f39667ffd217eefc21.jpg" width="400" /></a><span style="mso-tab-count: 1;"> </span>Although
Peckinpah expressed disappointed that audience members were thrilled and
enjoyed the violence, even Roger Ebert admits enjoying Peckinpah’s use of
violence. While audiences were divided on whether certain elements of <i>The
Wild Bunch </i>are enjoyable or detestable, the film depicts violence, death,
and the gun as gruesome and unenjoyable elements of the world. This depiction
was Peckinpah’s goal, and the film does not glorify violence but rather
condemns violence in the world. If nothing else, Peckinpah managed to produce a
violent film that is still a subject of controversy today. Many critiques of <i>The
Wild Bunch, </i>such as French’s <i>Cowboy Metaphysics</i>, paint a grim
picture of how Peckinpah depicted violence in <i>The Wild Bunch</i>. However,
many popular critics and scholars defend Peckinpah’s use and aesthetic of
violence. Ultimately, it seems as though the individuals commenting on the
violence in <i>The Wild Bunch </i>are more obsessed with violence than the film
itself or Peckinpah, because despite the insurmountable amount of commentary on
the violence in <i>The Wild Bunch</i>, I could not find a source that mentions the
film ending in laughter and song. </div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://amzn.to/2l3bjqh" target="_blank"><img alt="http://amzn.to/2l3bjqh" border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdNrwuVjwi3u7SmC7n7R76tZigN9k9KTlcq1AGTpKBiDAk3xo2eA5bzKdqBv74NwDBkjv1VcE4a8OsqDCrI0sCGPnfXhkeF_dU-PbqpqgxLdpDmz29BnYklULzuAbjrahlsXspB9qfCYI/s640/d5551a3027ff484bc5f9414f1416fc3b_3x3.jpg" width="640" /></a></div>
<br />
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div align="center" class="MsoNormal" style="line-height: 200%; text-align: center;">
Works
Cited</div>
<div class="MsoNormal" style="line-height: 200%;">
Canby, Vincent. “Violence and
Beauty Mesh in <i style="mso-bidi-font-style: normal;">Wild </i>Bunch” 26 June
1969. New<i style="mso-bidi-font-style: normal;"> York Times</i>... Web. Mar.
2015. </div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
Champlin, Charles. “Violence Runs
Rampant in <i style="mso-bidi-font-style: normal;">The Wild Bunch.</i>” <i style="mso-bidi-font-style: normal;">Los Angeles </i>Times 15 June,</div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
1969... Web. 1 Mar. 2015.</div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
Ebert, Roger. “The Wild Bunch.” <i style="mso-bidi-font-style: normal;">Chicago Sun-Times </i>3 Aug. 1969. <i style="mso-bidi-font-style: normal;">Rogerebert.com</i>, n.d. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Web. 1 Mar 2015.</div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
Ferrara, Greg. <i style="mso-bidi-font-style: normal;">The Wild Bunch: Articles.</i> <i style="mso-bidi-font-style: normal;">Turner
Classic Movies, </i>Turner Sports and </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Entertainment
Digital Network, n.d. Web. 1 Mar 2015.</div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
French, Peter A. <i style="mso-bidi-font-style: normal;">Cowboy Metaphysics</i>. Lanham, MD: Rowman
& Littlefield, 1997. Print.</div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
Gronstad, Asbjorn. “Peckinpah’s <i style="mso-bidi-font-style: normal;">Walden</i>: The Violent Indictment of
‘Civilization’ in <i style="mso-bidi-font-style: normal;">The Wild </i></div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in;">
<i style="mso-bidi-font-style: normal;">Bunch.”</i> <i style="mso-bidi-font-style: normal;">Critical Studies</i> 15.1 (2001): 167-186. <i style="mso-bidi-font-style: normal;">ASU Library One Search</i>. Web. 1 Mar. 2015.</div>
<div class="MsoNormal" style="line-height: 200%; margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
Peckinpah, Sam, dir. <i style="mso-bidi-font-style: normal;">The Wild Bunch.</i> Perf. William Holden,
Ernest Borgnine, and Robert Ryan. </div>
<div class="MsoNormal" style="line-height: 200%; text-indent: .5in;">
Warner
Brothers/Seven Arts, 1969. Film.</div>
Burning Empire Mediahttp://www.blogger.com/profile/11639287497744064635noreply@blogger.comtag:blogger.com,1999:blog-6896589607227057174.post-8618466480761144252015-07-27T04:20:00.001-07:002021-07-27T10:35:16.878-07:00Up Till Dawn Films<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0kR-0wKmi1I_ilo_qIZhKVztL4OnokBUkdB5t17kDgIa9hpBoQFAyHpQ21QpJ1ezz3nUqKrfbfUS0K9B-_CfzYbNbDdfYNbF8vms7su_Hb-_hmdVmK2t8z1eVh4WnNNsVsWHns9I8D_Q/s1988/103719903_2450343045068740_3305102351146617842_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="https://amzn.to/3eYCEYU" border="0" data-original-height="1988" data-original-width="1583" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0kR-0wKmi1I_ilo_qIZhKVztL4OnokBUkdB5t17kDgIa9hpBoQFAyHpQ21QpJ1ezz3nUqKrfbfUS0K9B-_CfzYbNbDdfYNbF8vms7su_Hb-_hmdVmK2t8z1eVh4WnNNsVsWHns9I8D_Q/w510-h640/103719903_2450343045068740_3305102351146617842_n.jpg" title="https://amzn.to/3eYCEYU" width="510" /></a></div><br /><p></p>Burning Empire Mediahttp://www.blogger.com/profile/11639287497744064635noreply@blogger.com