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The mask of the devil

The origins of Italian Gothic cinema

Original title: La maschera del demonio
Director: Mario Bava
Year: 1960
Production: Italy
Genre: horror
Length: 84 min. (B / W)
Cast: Barbara Steele, John Richardson, Ivo Garrani
Rating: 8

In the panorama of Italian cinema authors declaimed that there will in all likelihood, etched in collective memory (as well as on celluloid) forever. Then there are people unjustly forgotten, despite their contribution to the seventh art has been fundamental. Fortuna and abroad (the United States and much of Europe) there is still a "small and modest little man who, as he was skilled artisan is able to transform into brilliant artist, taking advantage of the metamorphosis that between the late fifties and the beginning of the seventies, the Italian company involved, marked - in large part - from the birth and spread of television. The much-discussed appliance accelerates the process of secularization in a public showing in the process of post-war recovery and therefore highly receptive, a costume more daring and uninhibited. The work of Mario Bava , active as director from 1960 to 1980, fits in this context: the advent of state television to the proliferation of private TV stations, from production to the prevailing sentimental melodramas of the fifties to the advent eroticism and violence that dominated the films of the sixties and seventies. It changed the people's way of thinking and changed the components of the stories involving the people themselves: a transformation conveyed primarily from two genres that reached their commercial peak in that period: the comedy el'horror. A Light it with unanimity of thought, accountability of the invention of cinema Italian Gothic, and the first (along with Riccardo Freda) for breaking the ban on producing films that belong to a genre you do not like the Fascist regime. While it is true that the master Ligurian (San Remo to be precise) draws liberally from the acts of foreign productions - those of his contemporary English Hammer, and the more classic Universal thirties and forties - it is also true that can permeate all his work with a unique style and original, finding that the source of pure entertainment place, thanks to connubbio of three different elements: the fantastic, the irony and visual search, mixed with a great technical knowledge gained in years of Light Institute, first in the role of operator, then as director of photography and later as chief of tricks, becoming producer of special effects . All his skill is condensed in this monumental debut, "The mask of the devil" also highlights its ability to disrupt the idea of \u200b\u200bstarting to rebuild a screenplay, adapted from a story by Gogol load of irony, surreal atmosphere and attitudes fantastic, it becomes an epitome of cruelty, horror and macabre. Surrounded by an atavistic paganism cloaked Romantic ism is totally unknown to Gogol's original. The only element to remain is that sense of insecurity typical of representations of the Russian nobility which will, in Chekhov's one of its greatest singers. Do not miss the literary references to Dracula and the eternal conflict between Good and Evil, but the core revolves around the threat to the moral taboos, produced by the "monster" as a provocative girl, through sexual behavior judged by the company (and even more reason than forty years ago) deviant and perverse, effect of creating an attraction-repulsion using images "scandalous." Theme that will predominant for almost two decades, at least until the public will not be sufficiently astute and will need many other nightmares and fears in order to be fulfilled in a satisfactory manner. To embody this seductive terror are a young and charming Barbara Steele, with its special features, will have a key role in the emerging poetics of "ginecofobia," as has been described by some experts in the cinema of that period. The structure of the film is characterized by a kind of dichotomy is found in the characterization of the characters (above all, of course, the dual role of the protagonist), is one of the places: the contrast between the inn (and the village that it represents) and the mysterious castle is another clear reference to nineteenth-century literature. But Bava, with a brilliant intuition, likes to challenge certain conventions, involving, for almost the entire duration of the film, the evil in the light - just think of the face of the witch Asa seqenza initial showing in its execution, illuminated by a glow almost "sacred" - compared to the darkness that surrounds the sarcedoti - that would be rather a symbol of the good. The castle and gardens surrounding it appear obvious decay and symbolize the moral decay of the same characters. The other ever-present environments, common to any classic horror film, are the forest by the dense vegetation surrounding the coach on which they travel the two doctors, and the cemetery, the place unhallowed, which resurrected the victims of the witch to do his will. Light Dress with a beautiful black and white that allows him to show moreover that, until before him, was considered not displayable, returning to the fantasy genre that belongs to the physicality of law. The black and white becomes the new means of communication while maintaining unchanged, while the charm of its retro. To realize the greatness of this work is sufficient to recover the DVD published by the RHV and admire, in addition to the film, the documentary "Mario Bava: Maestro of the Macabre", listen to testimonies of directors like Tim Burton, John Carpenter or Joe Dante, who weave rightly his praises, as well as any other in Italy has never done enough, and maybe even move us to a remote past that will never return.

article by David Battaglia
published in Italy Travel No. 35 Clementi Press, December 2006

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Planet Terror

The student exceeds the master

Episode :
Planet Terror Director: Robert Rodriguez
Year: 2007
Production: USA
Genre: horror / sci-fi
Length: 115 min.
Cast: R. McGowan, M. Shelton, M. Parks, F. Rodriguez, J. Brolin, B. Willis, Q. Tarantino
Rating: 8

Findings personal and therefore opinabilissimo, but if the most capable, prepared and cultured Quentin, in his Death Proof, is a bit 'undecided about which direction to take, weighed down by its movie pair of extremely long and boring scenes, seasoned with dialogues to its reputation, the prodigal son Robert centered in the middle of the target with his esageratissimo contamined movie that winks at Lenzi's cinema (in particular trashone Nightmare on unspoilt town "), of Romero, Carpenter and his" From Dusk Till Dawn. "
The plot of this wicked wonder is the most banal and stereotyped can exist: a disturbing and mysterious chemical weapon looking for a green cloud, spreads in a fictional town in the province, causing mutations in almost all the inhabitants, to turn them into zombie-like creatures. Fortunately, not all are affected by the cloud, among them, Cherry (Rose McGowan), a go-go dancer dance and her ex-boyfriend Wray (Freddy Rodriguez), will attempt to end the threat of mutants also dealing with a Army battalion commanded by an officer unscrupulous (Bruce Willis).
Rodriguez's skill lies in the fact that his film, featuring all the technical features found in one of Tarantino (scratches, spuntinature, coils that are lost or that suddenly catch fire ... with a message of apology), may promote a greater pace, greater irony, of greater tension and surprise, even a love subplot, particularly apt.
That the film is a great giocattolone for the sole purpose of entertaining, you know, but that the director was able to put it on stage with this huge ironic, was not so obvious. That makes "Planet Terror", in some respects, even higher than the "From Dusk Till Dawn."
short, Tarantino's half of the fault lies in the fact that in some cases seems to want to take too seriously and fall into some self-congratulation too, the merit of that of Rodriguez, even if the type of film that probably lent itself more from the outset , is rather to prove totally fun and crazy, from first to last frame.
All these considerations must be taken for what they are and keep in mind the fact that in Europe, we were forced to watch (blame the lack of success at the box office in the U.S.) work different from what was originally conceived.
remains the finding that the transaction as a whole deserves acclaim and can happily say success, not merely a simple restatement of a kind that no longer exists, nor to a banal parody.
Grindhouse is an act of love for the cinema ... just as it is 8 and 1 / 2 by Fellini.

David Battaglia

How To Build A Motorcycle Dune

Hajime Sorayama

you, robot
Born in Japan in 1947, Hajime Sorayama graduated in 1968 at the Chuo Art School in Tokyo, and since the early seventies initiates his brilliant career, amply documented by numerous publications and international exhibitions. Sorayama is one of the undisputed leaders in the field of erotic , At the erotic world. With only the use of the brush and the pencil creates works that explore the theme of eroticism it around on the exaltation of the female body, stroking the endless variations: from ultrapatinato glamorous style retro pin-up, even the most modern trends in women fetish cyborg aesthetics and the latest technology.
The author is famous for his illustrations, to the point that was adopted the term super-realism, to define his style in a blend of fantasy and real images so thin as to leave the question of whether his works are photographs made drawings. His drawings are different in two streams: one that recurs sensuality the female body and one that addresses the issue of future technology. It is natural to think that the two currents often are based on representations that fish with full hands on social erotic symbolism, mythology, from the biomechanical and science fiction. His technique is very refined: the artist acrylic sheets affects the contours and main features of the drawing, showing only a few details.
His first book titled "Sexy Robots" dates back to 1983. To this was followed by a score of outstanding books, including the eponymous "Hajime Sorayama" (published by Taschen in 1989), "Venom" (released in 2004 in four editions and languages) until the most recent "Relativision," published in 2007.
Sorayama The first solo exhibition was held in 1988. Since then, the artist has exhibited several times in Japan, the U.S., where in 1996 he was awarded the prestigious Vargas Award, and in Germany (Cologne and Monaco). 2005 saw his first exhibition in New York, alongside the opening of a real showroom devoted entirely to his art. Among the recent successes of Sorayama, it should also be remembered for the establishment of the Sony "AIBO ," the puppy dog \u200b\u200brobot, now joined the permanent collection of MOMA , for which the artist has received two major awards: the "Good Design Grand Prize Award "and the" Media Art Festival Grand Prize Award. It is concluded in recent days in Rome at the Mondo Bizzarro Gallery, the first Italian solo exhibition of this Japanese artist.
www.sorayama.net

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Just you


If I told you that what you are reading is not a story, you believe it? This is a confession ... no, indeed ... and much more. can be regarded as privileged because at least when this happens, you will know something more than the others.
I know you're thinking style that is just a gimmick and probably not even very original, but that's the fun part. I can say whatever I want, so everyone will think of a simple story. Only I know what the truth is ... in any case, my conscience will be clean and these lines are blurring between millions of others scattered throughout the network, among a myriad of sites like this. It's my little power. Would you like to know that as I write, my fingertips are befouled with blood ... the keyboard is dark, you know? Darker red that I had imagined. And then, you know that feeling you by, make a heart in his hands and still feel it throbbing, squeezing the point where it burst? No, what you want to know you ... please continue to read the safe in your bedroom or in your office ... careful, however, that the boss does not notice! You feel so alien to the horrors of the world ... what do you want it to happen just to you?! Do you know what another funny thing? Even the little shit that he is here on the ground with the chest open in two, thought the same thing a few moments before ... Do you think a mythomaniac? A madman? A simple maniac? No ... I'm something else, are the stuff generated by your own mind. I'm here, I flow in the wires, under the keys, between pixels. Do you think it's easy to live like this? That it is possible for a human being? You still do not take me seriously, I know ... it is useless to pretend to be interested!
Want to see what time you change your mind?!
Dai, shot ...

Essay of David Battaglia (August 2004)
finalist in the competition "300 words to a nightmare" - 3rd edition - www.scheletri.com

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The Last Man on Earth

When Vincent landed in Italy

Original title: Last Man on Earth
Director: Ubaldo Ragona - Sidney Salkow
Year: 1964
Production: Italy-US
Genre: horror / sci-fi
Length: 86 min.
Cast: Vincent Price, Franca Bettoja, Giacomo Rossi Stuart
rating: Until the last 7.5

did not know whether to write something on film or novel. In fact, at least in recent times, I watch many more movies than read books, although both strongly believe (and I'm not the only one) that, in most cases, the paper is stronger - artistically speaking - of the film.
short, as usual I find myself talking about the film, but this time the motivation is more than valid. Although also in this case the book is far superior, there must also be said that a book is quite famous and which have already been written a lot of things, while the film (which is a very good film) has always been snubbed, if even forgotten.
Someone recently rediscovered (myself included) thanks once again to that small and magical object by the name of the DVD.
I'm speaking of "The Last Man on Earth" by Ubaldo Ragona (or as he says in Dardano Sacchetti documetario that appears in the pool, Sidney Salkow) and its counterpart in paper form, "I Am Legend" (though anyone familiar with the title of his first - and unfaithful - Italian translation, "Vampires") of Richard Matheson .
The genesis of this little gem is quite troubled: the first script was rejected by English Matheson Hammer who gave the project the American "Associated Producers Inc.". The latter suggested the Italian "Productions The Queen", which he accepted, however, requiring the collaboration of the cast and crew. If these sources is difficult to attribute to the director or Salkow Ragona, is more than likely that the truth lies somewhere in between and that the passing of the torch was due to the dissatisfaction of the star Vincent Price against the Italian production.
It must be said that Matheson was not particularly happy with the work and so he chose to sign with the pseudonym Logan Swanson.
To the detriment of the many criticisms of the time that they have certainly compromise the success and even reaches the complexity, anxiety and a strong social critique of the novel, "The Last Man on Earth" is a remarkable film, shot on a shoestring in a beautiful, almost gothic black and white to ' Eur Rome, made the ability to Franco Delli Colli as spectral and haunting as ever before (but even then I would say) it was seen at the cinema.
A remarkable film because of the times forerunner and precursor of all the vein zombesco (the "vampire" which has to do with the zombies look a lot like Vincent Price romeriani), as well as the catastrophic or apocalyptic.
important for the metaphor, taken from just George Romero four years later in "The Night of the Living Dead", the man behind asseragliato his fears, but also for its symbolic value (almost mystical) represented by man lit-proclaimed savior of mankind, and instead finds himself killed by modern Pharisees.
oppressive, melancholic and deeply pessimistic , in a word: Highly recommended. Keep this in mind when, soon, will be screened "I Am Legend's Francis Lawrence, starring Will Smith star.

David Battaglia

Fell On Elbow, Swelling

2010, the year of the contact

History a sequel misunderstood

Original title: 2010: the year we make contact
Director: Peter Hyams
Year: 1984
Production: USA
Length: 114 minutes
Genre: Science Fiction
Rating: 7

There are many forms of crime and, in most cases, it is never a "perfect crime". There is always a subtle detail that escapes even the most cunning, cool outlaw who leads the investigators on his trail, sentencing him to the most classic of the epilogues.
There are crimes that have nothing to perfect and that, indeed, in their mad course
disseminate such a quantity of evidence to condemn itself from the first move. In the film world, the perfect example of imperfect crime - the pun is intended - in my opinion is represented by Jerry Lundegaard, a car salesman from Minnesota inguaiato debt, which in the film "Fargo " the Coen brothers commits a series of gross errors that fall into a frightening trail of blood that will bring the cop Marge Gunderson to arrest him with a disarming ease.
This premise, which has little or nothing has to do with science fiction, both with the film Peter Hyams, was necessary to express hesitation that at the time the release of "2010, the year of contact" seized a large slice of the public and critics (At least that part which he considers "2001, A Space Odyssey" as the highest expression of art of the last century).
Only a fool can put his hand on the greatest masterpiece of film history and believed to remain unscathed. That's why from the time when it was decided to make the sequel to 2001 he was committing the most heinous of crimes and imperfect, which will not go unpunished for long.
crime that is even more unbearable if he is seen as an attempt to explain (and thus trivialize) the work of Kubrick.
The basic problem of this movie is just to be normally considered as a sequel to one of the great British director, totally forgetting that there is a writer (and most scientists), the Arthur C. Clarke that, starting from his short story "The Sentinel" has as a result, created a quartet of novels including "2010: Odyssey two" is the second chapter (there are also "2061: Odyssey Three" and "3001: Final Odyssey" ). Hymas
The film is in fact a faithful transposition of this book, unlike his predecessor, is unwilling to enter into the labyrinth of the human psyche or ask questions that even today, after forty years, have not received answers ( even someone you are still wondering exactly what these questions), but wants to be essentially a science fiction story classical, or "hard " if you prefer, a term that has nothing to do with understanding the "red light", but it signifies the close relationship with the scientific verosomiglianza .
Sure, there are references to a life (significance?) And the upper figure of the Nietzschean superman, personified by "reviving" Dave Bowman , but they are sporadic, which flows into a fairly straightforward plot. In this sense
and forgotten (I know it's easier said than done) for those barely two hours of 'bulky "shape of the Master , 2010 is an enjoyable film that keeps glued to the screen with his growing tension , its spectacular images and its blend of action and psychological insight. It is a question that only
Hymas has deliberately left open: How will life on Europa ?
I hope that the third novel by Clarke to give some answers, because, for now, nobody has dared to make a third film sull'Odissea ...

David Battaglia

Lifefitness Elliptical Level 15

anonymous letter


Baltimore, 21.12.2024 22:37 hours

When you read this, dear Ed, and disilludente my dear love, I am no longer among you. I will also no longer on this Earth, probably, but do not be afraid for me, I will not be dead, or at least not in the sense you mean. I turn
to you, Ed ... it is easier. I met the greatest mystery of the universe and I discovered that I was part, too, had been intended from the first day of my life. It was not useless and mediocre existence as I thought! I have not wasted all these years in vain for years ... to compose pieces that no one ever bothered to consider. Now I'm sure Ed: you can do it without me.
Where am I going I do not even need my old Les Paul. It is your friend, and make good use.
The Crimson King ... fuck if there really exists! It arrived Monday at dusk and was moored at the fifth bridge east, the disused for years. No one could see except me and it was then that I understood. I knew it was coming to get me! We sail in less than an hour and we'll route to a destination that I do not know as yet ... the only thing I know is that there are limits to that ship.
I may not tell you what I saw up there, know only that it is better than all the orgasms you may have experienced in your life.
You know that my faith has never been great, but I now believe that God exists! It was he who created the music. But even if he were the devil ... after what I saw, I can burn in hell for eternity!
And I do not hate, I love you. Have one last kiss from me to Alice. Goodbye. Kurt


Essay of David Battle (March 2000) made for the
conocorso "Scrivilamusica", the music and the sea, Genoa City

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Blade Runner's birthday

25 years ago came the masterpiece of Scott On June 26

Blade Runner turned 25. It was 1982, in fact, when the film directed by Ridley Scott was about to debut in the planning of American theaters. In that year the film was perhaps not the full and complete success, busy as he was to contend against a "giant" as ET by Steven Spielberg, but over time has indelibly imprinted in the imagination of the audience, to become the cult film that is now responsible, along with Kubrick's 2001, it has opened new frontiers to the vision of fantascineza film and cinema in an absolute sense.
Manifstazioni to celebrate the event you are wasted all over the world, but the gift that fans are eagerly awaiting will materialize only after the summer, and it will be the umpteenth version of the film.
As was the case in 1992, with the theatrical release of Blade Runner, The director's cut, to celebrate the tenth anniversary, Blade Runner, The Final Cut 'll begin to travel around the world starting next September. This is further re-edited the original film, the assembly of which the director has put his hand, which should be added to other previously unreleased footage filmed specifically. So we will have the pleasure to savor the legendary duel between Harrison Ford and Rutger Hauer with a new image quality, and listen to the legendary rebel dell'androide monologue with all the purity of the sound restored. All this and much more, of course, will be marketed on DVD in a slipcase which promises to be really special.
will be trivial and obvious, but this movie has changed my life as a film buff and a lover of the world of fantasy and therefore with great joy that the Interstellar Overdrive joins the chorus of millions of fans and Happy Birthday to "Blade Runner ...
Hopefully in another hundred or a thousand of these days, but without hope as many editions ...

source: www.fantascienza.com

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Memento

no past nor the future makes sense

Original title:
Memento Director: Christopher Nolan
Screenplay: Jonathan Nolan
Year: 2000
Production: Use
Length: 113 minutes
Genre: thriller
Rating: 9

Leonard Shelby (Guy Pearce), has a rare disease that prevents him from store new memories for more than a quarter of an hour. This seems to be due to an accident during an assault had in which his wife was raped and killed. In fact Leonard only remembers everything up to that terrible day. In his life destroyed, the only goal left is to trace and punish the murderer. Polaroid Photo , memos, tattoos, are the means by which it attempts to build a grid of memory, resistant to the ambiguity of the survey and the volatility of the disease which he can perhaps arrive at some truth. The help a man who says he is an old friend (Joe Pantoliano) and a girl who claims to have suffered like him (Carrie-Anne Moss).
Christopher Nolan, to access the Pharaonic budget of "Insomnia" and especially "Batman Begins," has convinced Hollywood stars and producers of his talent with this (not too small) piece of jewelry. Scripted by the director's brother, Jonathan, and based on his original story, "Memento" is its greatest strength in its original script and complex, thanks to a building "progressive " full of flashbacks and flash-forward, with alternating black and white and color, an extreme concept that has been Tarantino in "Pulp Fiction" (honestly, already proven in 1956 by Stanley Kubrick in "Robbery in armed "), to art history of disturbing facts in the light of the plot.
Telling the story " the contrary" is not a sensationalist or choice voted for complacency: the only possible way to empathize with the viewer in a profound sense of dislocation and tear of interior which Leonard is a victim of its almost pathetic attempt regularly and systematically to object to a condition that would make life impossible for everyone.
Besides being a great thriller that recalls the best atmospheres of other times noir, this film is primarily a reflection on human frailty, the ancestral questions we ask everyone. These questions can be answered only in the past, without even meaning it loses the present and the future does not exist either.
Maybe that's why often you lie to yourself, building memories and fictional actions that this wadding and give boost to the future. The tragedy of Leonard is the same as those who, without being affected by such a disease, does not accept himself and prefers to deny their feelings, hiding under the veil of shame. In fact, those who are not ever want to remove even one day of their lives to defend himself from past uncomfortable? But on balance
difficult to maintain their identity by denying pieces that, like it or not, are part of us.
is that the investigation of Leonard becomes the only motive that would justify even a life forever compromised. Here's to rebuild the complex puzzle of his life he needs the help of his friend Teddy (Joe Pantoliano better). But he can really trust and all the other people who revolve around them? Like Leonard, we, in our daily lives, we must face questions to which, not always, we can give answers.
Memento is a film that, due to its complex structure , requires extreme caution and probably also needs more views to be included in an appropriate manner. But this is not a defect, but a common feature of many masterpieces.

Review also published on www.scheletri.com (January 2006)

David Battaglia

Monica Roccaforte Interviue

Conan Future Boy

Everything has to start again ...

Original title: Mirai Shonen Conan
Directed by: Hayao Miyazaki, Keiji Hayakawa, Isao Takahata
Animation: Hayao Miyazaki, Yasuo Otsuka
Year: 1978
Production: Japan
Length: 26 episodes of 25 min.
Genre: Science Fiction

If the calculations are correct, there are less than one year - then in 2008 - should be the end of the world . At least as we know it today. Everything will be caused by a third world war fought based on magnetic bombs (much more powerful and destructive than nuclear!) That will destroy the earth's surface in a few hours ... even the axis of rotation of our planet and the continents will move fractures sinking in the oceans.
Only a few people manage to escape and remain isolated in the few areas that emerged ... will have to start from scratch, but, as ever, ' obstinacy of the human race will have the upper hand and somehow manage to keep going.

In a nutshell this is the scenario in which it moves Conan (not the barbarian course), a child of eleven born after the catastrophe on an island (called the 'Island of Dr. Moreau ) where a group of astronauts rushed in an attempt to escape out of the range taerrestre. We are in 2028
Conan and lives with his grandfather, the only survivors of the astronauts, leading a simple life and intimately connected to nature, believing that no other human being on Earth.
The discovery of the small island on the beach, a girl unconscious, upset the life of Conan ...
Lana, this is the name of the girl, reveals that many other people have survived the disaster, and in his island Hyarbor people live in peace and harmony, even if it is threatened by the aggressive company Indastria , praticamante the only city-state based on the technology still remained on Earth.
Conan will know soon the evil intentions of this mysterious Indastria since an aircraft will come from there own party lost on the island, kills his grandfather and Lana snatch, kicking off an adventure in 26 episodes long (almost 11 hours) .

When Conan first appeared on Italian television screens - even though I was still a rookie (like all those of my generation) - we realized to be before something slightly different from the usual robottoni to Go Nagai (please, do not spit into the pot in which I have never eaten so many years, but Ufo Robot, Mazinga & Co. does not have the thickness of a fingernail that can claim the cartoon Miyazaki).
The high artistic and technical quality of this animated series surprising when you consider that in those years television (especially the entertainment for children) was in its infancy and it is no coincidence that, although both Conan been (thankfully) a mini-series prequel or not followed, in contrast to the popular anime , has a large number of admirers, not only among the nostalgic thirty-thirty-five who looked to be infants, but also among today's teens, savvy and accustomed to other wonders of technology, than their peers at the end of the seventies.
The environments away from traditional norms (many references to landscape and architecture of the forties, that is clearly related to World War II and the atomic disatro which the victim was Japan) and environmental issues (easy dist Language The dichotomy of good and evil, represented by the first farmers and nature, while the second, by industry and motor vehicles), making it one of the most interesting animation products the entire Japanese production and at the time revealed the skill and sensitivity of an author such as Hayao Miyazaki, is intended eventually to be recognized as the greatest Japanese filmmaker - I love this term that today is used almost - " cartoons animated. "
Personally, to review a few episodes after more than twenty years, I noticed how much nostalgia for the past is the main theme of the whole story, even in its simplicity, can take the viewer to reflect.
not through the usual gooders that toghether many productions today, but something deeper and more rare.
a jewel to be discovered.
David Battle

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Mulholland Drive

A nightmare with eyes half-closed

Original title: Mulholland Drive
Director: David Lynch
Year: 2001
Length: 145 minutes Production
: USA
Genre: Drama / surreal
rating : 9

is that, as I anticipated the day that I opened this blog, Interstellar Overdrive and makes his first trip outside the orbit of science fiction.
To do so I chose something very challenging and, in fact, not so far away from the issues that govern the works fantastic. I'm going to talk about Lynch, and in this case, every label on every schematic, any attempt at classification - pass me the euphemism, unless it is banned - goes to fuck off.
hard, really hard to write something about this work of David Lynch , without the risk of falling into banality (filling out the review of adjectives which seem abused) or lost in the intricate aspects of narrative (perhaps trying to give one, or even worse, different interpretations of what we have seen).
In this tortuous route is even difficult to understand where he is the beginning and at the end. You can walk, as one of the many characters at random, around the ring that holds the story (more or less circular ), ad infinitum.
Lynch's films is made very clear and sometimes unsettling episodes like "The Elephant Man," "Wild at Heart" and "Straight Story" (his most intimate films) and films that would have the joy of Sigmund Freud as "Blue Velvet," "Lost Highway" and, precisely, "Mulholland Drive".
you ever fall asleep and dream about someone you have met (even if only in passing) during the day? Or dream of people you know well, but have something different in the dream from reality? Remember to dream that you thought that you remove and then re-emerge as intact or distorted? Old loves to dream shattered as they were still tangible? This is "Mulholland Drive" a film about schizophrenia (Diane looks a lot like Fred Madison " Lost Highway"), and the dream is about a schizophrenic mechanism, a deceitful game of Chinese boxes.
I think it's really useless to seek the interpretation intended as an explanation, really too many words have been written about it, the same Lynch said that the film was born from a dream, and dreams, we know, are anchored in our unconscious, other in each of us and, in my humble opinion, difficult to psychoanalyze following exact formulas and diagrams.
Some say that the first part of the film represents the dream-like quality, while the second embodies the harsh realities. Some say it is only the sad story of unrequited love. Others argue that perhaps Diane has never even got up from that couch and he wanted to see everything, but would like to argue that Noodles in Once Upon a Time in America "he had never left the opium den. And who are we to say such statements?
I tell you, if so, would seek to reduce to rational schemes film a very "surreal" and I do not think this is possible (at least I do not have the capacity).
The only thing I can say without any doubt whatsoever is that "Mulholland Drive" provokes in me, every time I see him again, a high aesthetic pleasure. That is the purpose of art, regardless of any meaning it may contain more or less implicit.

David Battaglia

Are Kidney Stones More Painful For Men

Spider Man 3

Incorporeal like ('man) sand

Original title: Spider-man 3
Director: Sam Raimi
Year: 2007
Production: USA
Length: 156 minutes
Genre: fantasy / action
rating: SV

What does the master Alfred Hitchcock with the third chapter in the saga of Spider-Man? Apparently nothing yet, the key reading for the new film by Sam Raimi, lies in a historic statement by the late British director. Hitch argued that "the more successful the villain and the more successful the film" ... well, Spider-man 3 there are three bad guys (actually four if you count the dark side of the same character with whom Peter Parker is fighting for a good half) but nobody can be as effective as the 'Harry Osborne William Dafoe and Alfred Molina of the Octopus.
This is the main defect of a film that, despite the considerable time - almost two and a half hours - has several loopholes in the screenplay.
The film proceeds in fits and starts, beginning in way too slow (we're still talking about a fumettone), recovering in the middle and falling - it's appropriate to say - in a finale that was required to "close the circle" and remove too much meat before putting the fire .
Leaving the room has the feeling that he too wanted to pull the rope (or web) and have remained out of gas halfway. Complex characters and in the life of Peter as Venom and Gwen Stacy end up as mere extras, pins individual scenes that are not sufficiently developed narrative.
probably are not even justifiable criticism because of the excessive claims of this film are far from wanting to achieve immortality of historical films, but Raimi - as well as Nolan, Burton Singer before him - has demonstrated that the balance between entertainment and authorship is not a utopia.
If someone claims that it is inconsistent compared to what Raimi Spidey's a McFarlane, or Miller, or Romita ... - And it is very acceptable given that the language of film is different from that of the comic - it is nevertheless true that the film in question resembles more a fumettone rather than a film.
In this third episode, the authorial choices Raimi, perhaps forced by others and then, one wonders to what extent authorial, not fully convincing. First of all, the director shows the uncertainty in remaining poised between comedy and drama, exhausting the tones in both directions and failing to find the perfect balance that had characterized the two previous films. Remain above in mind, in the negative, the now infamous curtain-style Tony Manero that Tobey Maguire, overwhelmed by the alien symbiote, must have been compelled by force to act (one of the most embarrassing things ever seen out of context and cinema) and in a positive sense, the cameo by Bruce Campbell a very good role of a French waiter bungler.
usually with a trilogy should end a saga, but perhaps this third installment of the Amazing Spider-Man, is a link between what was and what awaits us in the future. A sort of long trailer that makes us hope incurable fans can still see our beloved area spider hovering between the skyscrapers of New York.

David Battaglia

How To Make Curly Cue Hair Bows

or loss of childhood

Episode : El laberinto del Fauno
Director: Guillermo del Toro
Year: 2006
Production: Mexico, Spain, USA
Length: 112 minutes
Genre: fantasy / drama
Rating: 8

Set in Spain in 1944 shortly after the end of the English Civil War, the latest film Guillermo del Toro (Blade 2, Hellboy, The Devil's Backbone) tells the story of Ofelia (Ivana Baquero) who, moved with his mother Carmen home of her stepfather, Franco's army captain Vidal (Sergi López), suffers for its cold and authoritarian ways. Will thus find refuge in a mysterious labyrinth that has found close to home, where Pan , The magical creature that acts as guardian of the labyrinth, reveals that she is the lost princess of a magical kingdom.
second chapter, after "The Devil's Backbone" of "Trilogy" (although lately they tend to use the term inflazionatistico) great metaphor-Franco Spain, designed by Guillermo Del Toro. The poster
and labels conferred by the same production company (in addition to some criticism) would think of a title proper fantasy and that is why I set about the vision with some reservations. Reserves conditioned by the fact that, especially recently, I have a bit 'of allergy to this kind because, increasingly, we are witnessing the staging of fairy tales especially suited to a public child or adolescent at most, with a disproportionate use of special effects , are ultimately rather sterile in other respects (all compared to the Tolkien saga, directed by Peter Jackson, who will - probably - a unique case of perfect balance).
It was not the case with the relatively recent effort (noticeable, although I personally do not completely successful) of the "Lady in the Water " of Shyamalan and this is even less of Del Toro that, after starting a bit 'hesitant and rhythm too bland, it soon proves a terrible nightmare.
Contrary to what one might imagine, however, the nightmares are not taken from the monsters that inhabit the depths of the earth frequented by little Ophelia, but the men who caused the reality on the level of terror with their Franco dictatorship in Spain. It is here that the film reveals exactly what it is: a drama focusing on civil war and the horrors caused by fascism. The director himself makes no secret of his thoughts: "... fascism is primarily a form of perversion of innocence, and thus of childhood. For me Fascism is in some sense the death of the soul, because it forces you to make painful choices, leaving an indelible mark piercing and profound in those who have lived. "That's the point of view of a young girl becomes the ideal representation of a sort of dichotomy, first direct (with a historical representation), the other in the form of metaphor (with the loss of innocence). Two forms of storytelling that eventually fit together perfectly.
The film is totally divorced from any consideration comforting and adolescent, constantly putting the little star in the middle of tragic situations, the forced to make choices that are not typical of his age, and premature loss of childhood.
The result is a fine example of how to make films of "gender" in a "serious" and dramatic, concedetemelo adult.
The labyrinth is the place (Mythical) where the plot is resolved by calling in an elegant way also Kubrick's Shining, from the point of view of the subject well as figurative, leaving the viewer in suspense and multiplying possible readings.
A ray of light but can not destroy the bursting of the dark tragedy, even with the seductive ambiguity of the final scene.

Review also published on www.scheletri.com (December 2006)

David Battaglia

Bfn After Bfp Using Clearblue Digital

Pan's Labyrinth Children of Men

An anti-hero in thongs

Original title: Children of Men
Director: Alfonso Cuaron
Year: 2006
Production: USA
Length: 98 min.
Genre: drama / sci-fi
Rating: 7.5

How many times watching a movie one is led to reflect on how the imagination of the authors draw inspiration from reality, perhaps emphasis (even if we all learned how often the reality run faster and be more tragic than any apocalyptic fiction) and an extreme consequences of the diverse human actions? Vision "Children of Men" will test exactly this feeling, or to be confronted with something very real and not a representation of science fiction.
Slavoj Zizek, a prominent philosopher and cultural critic, speaking of the work of Alfonso Cuaron , even quotes Hegel and his "aesthetic " which maintains that a good portrait is more like the person that the person himself or In other words, a good portrait is more representative of the person he is portraying. This is
And what could the Mexican director with his film does not point to an alternate reality, but simply makes the reality more than it already is. In this respect was the decisive choice to shoot the film giving it a documentary, making extensive use of floor-length sequence and those attending would be the protagonists of the story as a war reporter. The same spots "blood splashing on the camera (they were originally a mistake, but in the end Cuaron and his cinematographer Emmanuel Lubezki decided - fortunately - to keep them) do nothing but accentuate this sense of hyper-realism. The future
bad, bad and dirty that humanity is being built with his own hands is already before our eyes: environmental and socio-economic migration increasingly out of control, unbridled globalization, racial tensions and civil wars are, in fact, already our present. It makes little difference whether the scenario of all this is not a country of the former Yogoslavia or a state of the Middle East, but a Britain (which is a fundamental choice in more because of its character as a country traditionalist par excellence) remained only defense of a world that has already crossed the threshold of collapse. A bastion but looks like a Nazi regime, which, in the hope of preserving their barriers and ensure minimum services for its citizens, has erased the concept of human dignity of all others. The borders were closed, the refugees are expelled (if not killed) after being deported in the city turned into a concentration camp. There is no longer a moral because there is no future and the great theme of the film - the total fertility of the human race - it's just a metaphor for a possible genocide.
Cuaron (but especially the writer PD James, author of the book from which the film is based) also tells us of the dangers of utopias and of those who blindly believe in them: we must fear most people who love the ideals that its like, because the past has taught us that good can lead to hatred also ideal for anyone who has the power to interfere with the deployment of the dream.
also preserve the art becomes a utopia and the David of Michelangelo saved by the Foundation for the Arts (established in the famous Central Electricity Battersea) appears as a sad and decontextualized piece of marble surrounded to a totally aseptic.
And the big pig with wings that sails between the towers of the central ( explicit homage to Pink Floyd's Animals cover and, in turn reference the allegorical novel "Animal Farm" by Orwell ) returns an even more terrible than this in mind. The music plays, in fact, a very important role: focus primarily on large tracks of the '60s and '70s is both synonymous with nostalgia and a witness to what the world has evolved more by that time until 2027, where c 'tecnolgia is small compared to our present and what little there is, is already dilapidated.
An evocative film, full of meanings and probably unrealistic in the same way that puts the issues under discussion. Many points of reflection is not helped by a screenplay that does not always equal remains the only (but not marginal) new film.
Despite this "Children of Men" should be viewed and reviewed, both for its valuable technical solutions for both hot and most modern topics. You just have to follow the faltering steps dell'antieroe Theo- Clive Owen that snug fit as inappropriate flip-flops, will be overwhelmed by events and will be forced against his will to fight his depression and his nihilism to return to a future ' humanity.

Funny Pictionary Clues

X_Science. Cinema between Science and Science Fiction

Genoa, 2-3-4 May 2007, Second Edition
Free admission

Science and Science Fiction film, a strange union for some but not for the Faculty of Mathematical, Physical and Natural Sciences University of Genoa and the Genoa Film Festival (Cultural Association Daunbailò), who join forces to carry out the second edition of X_Science: Cinema between Science and Science Fiction . With the support of Regione Liguria, Provincia di Genova, Genoa City, Festival of Science and with the collaboration of Fandango, Warner Bros, Lab80 and Archives of Genova Film Festival.

Between 2 and 4 May Genoa, after the great success of last year's X_Science, it is proposed again to the forefront of world science with an event aimed at an audience more alert, curious and eager to understand. The second edition of
X_Science: Cinema between Science and Science Fiction will be held in Genoa at the Cinema Unstable and is enriched with matinee (from 10 to 12) for schools at the Museum of Natural Sciences of Genoa.
L 'Admission is free subject to availability.

The event is divided into five "branches":
X_Premiere: preview feature films and TV
X_Shorts: national competition of short films and science fiction, with a program on the outside (Fanta) statistical
X_Feature: feature films
Matinee : screenings for schools at the Museum of Natural Science
The Night of Science Fiction: Masterpieces of American science fiction films of the fifties

The program, on the evening of Wednesday, May 2nd, the preview screening of Dark Resurrection anticipated film directed by Imperia and Angelo Licata Davide Bigazzi, committed by some years in the realization of this work inspired by George Lucas' universe . The authors present the film, the screening of calls to availability (for info segreteria@genovafilmfestival.it).

Another preview, Friday, May 4, the first night of the Sci-Fi, for Invaxön, aliens from space, the brand new show created by Massimo Morini Enzo Pirrone and the tireless members of Buio Pesto Jimmy, Sky satellite channel dedicated to science fiction after the success of the film released in 2004. The public can preview X_Science 4 episodes of 25 minutes of entertaining show that has the participation of major guest stars like Dario Vergassola and Captain tense. The authors present the show.

X_Shorts, the competition for short films to , sees competing eight works by as many authors from all over Italy that will be projected on the evening of Thursday, May 3 and rewarded by the public in the next evening.

X_Feature propose two feature films released this year in Italian cinemas unfairly passed almost unnoticed: in collaboration with Warner Bros will be presented A Scanner Darkly - A dark scan (Wednesday, May 2nd, 22:30) and Richard Linklater's documentary masterpiece from Werner Herzog, Grizzly Man (Thursday, May 3rd, 22:30), presented in association with Fandango.

Night Science Fiction, which will take place from 24:00 on Friday 4, will be a true white night dedicated this year to the masterpieces of American science fiction films of the fifties.
Day the Earth (The Day the Earth Stood Still, USA, 1951) Robert Wise
The experiment of Dr. K (The Fly, USA, 1958) by Kurt Neumann
Incredible, Shrinking Man (The Incredible Shrinking Man, 1957) by Jack Arnold

The presentations of the film will be edited by members of the Organizing Committee X_Science which are: the Faculty of Science - Maurizio Martelli (Dean), Marilena Carnasciali, Teo Mora and Paul Picard; for Genova Film Festival - Cristiano Palozzi and Antonio Sica

Info: Tel 010.5573958 segreteria@genovafilmfestival.it

www.genovafilmfestival.it

Braces And Partial Teeth Costs

Sunshine

Nothing new on the horizon ... even the Sun

Original title:
Sunshine Director: Danny Boyle
Year: 2007
Production: Great Britain
Length: 108 min.
Genre: Science Fiction
Rating: 6

Year 2057. Do not know why (scientific data in hand it should work even a few billion years), but the Sun is shutting down. The hypothesis although unlikely (but we science fiction fans regard this matter) is always fascinating and poses (or could create) the basis for an endless series of questions: questions that inevitably can not find answers. The only and last chance
salvation of the Earth lies in the attempt to reactivate the vital functions of our star through the dropping of an atomic bomb powerful (made with all the latest nuclear resources available on Earth) live in its core. That's the mission
Icarus II, consisting of a crew of seven astronauts young scientists, navigate to the dying time of the star with the weight of responsibility can not fail. Sunshine
reunited after five years and some of the elements that will decide the success of after 28 days (and that's good) is the producer Andrew Macdonald, the well-established actor Cillian Murphy and screenwriter Alex Garland (Which has realized the script for 28 days after it was, alas, also the author of The beach ... and this is not good).
is clear that the director likes a certain type of fiction (let's say that most elegant of 2001, for example) and the scientific and verosomiglianza is clear that there was a great job focusing on expert advice and great preparation technique that involved all the cast, the manager of photography (Alwin Kuchler) than that of scenery. His statements also would suggest that you are faced with something like this: " the question of what would happen to our minds when they meet the creator of the universe that for some people is a spiritual or religious concept, for others it is purely scientific idea. We are all made of particles of exploded stars , and how it would get so close to the sun, the star from which comes the life of the solar system? "
If the intention of Danny Boyle was to create an unprecedented space odyssey, capable of giving new life to the science fiction author, dressed by complex psychological nuances in the balance between philosophy and theology, we regret to declare the experiment failed .
If, otherwise, stripping Sunshine every ambition too pretentious, the aim would be to produce a classic film series B that, when drawing heavily from films such as 2001, A Space Odyssey, Alien and Solaris, tends to resemble more a Event Horizon, then: Icarus II, mission accomplished!
should be emphasized, however, always the original style "youth" of the English, a perfectly fitting variable in the service of the storyline, and its recognized ability to use music, composed entirely by Underworld (those of the smash "Born Slippy "from Trainspotting soundtrack ) than with a mix of electronic and minimalist post-rock give the film a touch of pathos more.
If you like the stories of ships lost in space who are facing a series of unpleasant surprises, then Sunshine is the film for you, otherwise look elsewhere for your Sun

David Battaglia

Funny Best Friends Quotes For Picnik

Roger Dean

When the fantasy meets art and music

as Roger Dean might just say to fans of art, but it should say much (at least in theory) to fans of a certain type of rock.
The music complex, intellectual, redundant and often dictated the epic mode, and the rules at the beginning of the 70s (now called progressive ) is accompanied perfectly metaphorical and fantastic art by artists such as Paul Whitehead (illustrator of the covers of Genesis), Hypnosis (author of the graphic cover of Pink Floyd) and, above all, by Roger Dean who has linked his name ( and its success), especially that of Yes. Dean
In art, as well as progressive rock music, you can easily grasp the meeting between the remote past and future and cohabitation (often also antithesis) between tradition and innovation.
Many groups, in fact, combining sounds and instruments of ancestral origin in extreme forms of experimentation in electronics that were a source almost inexhaustible source of discoveries. No coincidence that the prog-rock was fishing with both hands from both classical music that the modern jazz.
The colors, characters and imaginary forms that populated the covers of those discs were then depictions of fantastic worlds projected by music. Music that time has proven to be utopian and that, as in fantasy and science fiction, tells of worlds defined as "land of dreams."
Roger Dean embodies the dream: its images are characterized by great harmony, a sense of peace and serenity and a purely fabulous.
His style, made of images and colors twilight soft embodies a search for content that recurs in all his work by giving him a real trademark (note that also earned him some criticism) and who often do not even have a deep rooted relationship with the disk even if it always manages to capture the essence.
Dean is English, born 1944, son of a soldier, his father's work meant he had to live for most of his childhood and his youth around the world, bringing environments to meet diverse and exotic landscapes that have, probably influenced his imagination and his vision of art.
Back home, he graduated as a designer at the Canterbury School of Art, while in 1968 graduated from the Royal College of Art London.
In those years he worked in the music industry making the album cover for a group called Gun, and soon after, one for Africans Osibisa. It was the latter work to attract the attention of the already popular Yes it took for the graphic representation of what would become their first masterpiece: Fragile . We
in 1972 and this work, which still remains one of the most beautiful and complex of its production, shows a sort of globe full of water and vegetation action (two recurring elements in his works so much to do alongside the nascent New Age movement) by a flying object flew over the ancient and at the same time, post-modern invention that is very reminiscent of Leonardo Da Vinci , perhaps a hint of experimentation and invention that they were Yes trying with their music.
Thereafter Dean will become almost a member of the group taking care of loved almost all of the covers of Yes, inventing the beautiful and famous logo and choreographing their many concerts. The world of progressive music should, however, much to the English artist who counted among his collaboration over time, even that of many other major groups such as Uriah Heep, Gentle Giant (how can we forget the spectacular octopus album "Octopus") and Asia.
Personally, one of the jobs that I appreciate most is the inside cover of the album poster (of Yes, but 70's rock, as well as that historical period) " Close to the Edge", which is opposed to disarming simplicity of the exterior, as if to underline that the most important aspect of this disc lies inside: music, indeed. Close to the Edge is a paradoxical landscape of a waterfall where the water rushes in all directions and where the rocks "float" suspended in the air.
A witness to the thoroughness and preparation this should be remembered as an artist engages in contemplating the use of different techniques of watercolor, the china, charcoal, collage and how it is distinct also in projects as an interior and exterior, where there is the harmony and anarchy forms of his paintings.
to admire his work is recommended to recover the volumes Views , 1975, and Magnetic Storm of 1984, or pay a visit to his website www.rogerdean.com
good trip at all.

David Battaglia