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Reviews
Non credo più all'amore (La paura) (1954)
Too little. Too late.
Rossellini shot two versions of 'La Paura', one in German ('Angst') and an international version ('Fear'). The two differ in shots and editing. The first Italian version ('La Paura') corresponds to the international one. Later on another shorter version was distributed by the title 'Non credo più nell'amore'. This restoration is the reconstruction of the international version, 'Fear', and it started from the negative of 'Non credo più nell'amore' and by two vintage duplicates, a positive and a negative. The latter, with a number of vintage prints, were used as reference to reconstruct the editing. I watched the international 'Fear'.
I can't help but feel a film about a woman living in constant fear as a direct result of her own infidelity would have fit into the Rossellini + Bergman catalogue so brilliantly just 3 or 4 years prior when they both were living in fear as a direct result of their own sinful affair's scandalisation of America. As it is, I feel that 'Fear' is distant from all collaborating on it. Lack of thought becomes uncharacteristically apparent in the closing act, and the reason for that seems to be a lack of care for a project that could have been so special, so Kiarostami, in a weird, Rossellini kind of way.
The Grand Budapest Hotel (2014)
Wes Anderson perfected.
Pure innocents and optimism beautifully contrasted with our sad reality. No director is able to jump through time as well as Wes Anderson. Instead of bogging down what could be convoluted stories with unnecessary transitionary periods, he simply just, cuts away. Sometimes with a title card saying when/where and/or the reason why, sometimes without. And he does this like he does everything, the way he wants to. Everything Wes does is utterly Wes and there's almost nothing better than Wes' individuality perfected. There's almost nothing better than 'The Grand Budapest Hotel'.
Goodfellas (1990)
What makes the film work.
The tragic reality comes second to the wants of Henry. And what Henry wants most of all is what he couldn't get anywhere else, to be needed, no, to be wanted and to be loved. The goodfellas' love for Henry is the heart of 'Goodfellas', and is their downfall in years to come.
La coda dello scorpione (1971)
Exactly as intended.
What a bloody fun experience! 'The Case of the Scorpion's Tail' is an impossible puzzle, and is so with purpose.
This film serves to take you on a violent, shocking, thrill ride.
The build to each climax is short, simple and damn effective. As is the set-up for the plot. A woman is granted one million dollars, others want that hefty sum and will do anything to get their sweaty hands on it (and probably a half-naked woman in the process).
Shown through cinematography creative as anything, lots of gratuitous unappealing sexytime and unexpected conveniences is the violent, shocking, thrill ride exactly as intended.
L'eclisse (1962)
Exploration of themes.
I am a woman. I'm a burden placed upon man, who knows why!. I've been rushing ready for 15 minutes while you wait arrogantly, for god's sake it's you I must do this for. I do all this only for you to have eyes for the others; I'm getting fat they're getting skinny. We're ready to blow, blow as you might blow a dandelion.
I am a man. It's our rules we live by. This is great. We live like we own the place, we do, and we deserve to. We curse and shout. We have no respect for anyone lesser than us, except for Vittoria's mother, of course, she's materialistic, narcissistic and uncontrollably greedy too. We gamble our lives away. That is until we cannot, then it's our turn for a flower related metaphor.
I think we ought to do a little reflecting.
I am Vittoria. I'm so tired and depressed. Disgusted and confused. I've done some reflecting in various mirrors in various ways. I'm reluctantly staying as they want. My time on the prowl for individuality was liberating and unique. But there's no point in going through what's hardest for everyone if it's just I who bids.
We all know what needs to happen but in our respective positions, we either reap the benefits or lose hope completely. Besides, it's just one lifetime... right?!
L'avventura (1960)
Emotional analysis.
Every day a piece of music, a short story, or a poem dies because its existence is no longer justified in our time. And things that were once considered immoral have become moral again, no one knows them anymore. Even though they deserve to survive.
Anna's disappearance leaves Sandro, Claudia dead and the subsequent search for Anna, for life, begins.
Desperate for any purpose and aware of their fates the search takes place for no other reason than for the self-hating pair to wander the barren landscape in search of a reason to continue. It doesn't take long to resort to newly moral acts.
A kiss of desperation. Sandro's lips burst like a whirlwind to Claudia's, her expressive mouth locks to his for mere seconds before forcefully pulling away: mere seconds too late.
Claudia sits alone sorrowful for days after projecting false hope while Sandro does the same on the prowl for Anna's nowhereabouts. Both are left with nothing and both are left with nothing to live for.
When you have nothing, sex is all you have.
Quickly they slip into each other's pants, and they know their place in life. There's no more false hope, just quixotic hope that they love each other.
On the first purposeful night, he lets her know how he feels then takes his time downstairs, eventually and regretfully as all-purpose is lost, he is caught with his expressive mouth on another and her purpose up another's skirt. Without a word she flees knowing what he has done to them, he knows too.
Growing limp he stands far below her, after a moment of contemplation and a touch of forgiveness they are free to continue the way they have been, only to live.