[-16 films] A little 'time ago I saw a movie that struck me very much. I did not want to write anything about this vision, in fact I only report the title to some friends (Peter Sacco, Luigi Catalani, Savino Mauro and Maria Pina Ciancio). But then you know that things that go down, I would say to inertia, renew the demanding life on the surface. And here I am with
"The Vesuvius" film visionary, ironic and grotesque 's 1997, divided into five episodes, directed by four directors. These five episodes, five bodies forming the film are set in the outskirts of Naples, Campania and the hinterland are: "The lineage of Iana" of Pappi Corsicato , "Maruzzella" of Antonietta De Lillo , "Sofialorén" of Antonio Capuano, "The devil in the bottle" of Stefano Incerti and "ascent" of Mario Martone. Collective work then, "I Vesuvius, which brings together five different directors with each other and at the same time linked by common origins.
The opening film is "The Race of Iana" Pappi Corsica which shows five riders, followers of the modern cult of the goddess Diana, who sow terror in the streets of the province Naples, demonstrating their superiority over men and becoming necessary, as if by magic, flying into fearsome warriors. In the midst of colored smoke in a suspended between Hollywood and its fairy-tale parodies porn, is narrated in the proliferation of the lineage of Iana, popularization of the cult of Diana. The rest of the episode spread freely with the same light that "ianare" show in their fight wheel, all backgrounds acids and a Neapolitan of space and geography of displacement in the other incidents that require the selection of points of view marginalized and privileged over non-metropolitan areas. The girls of "The lineage of Iana" Amazons are on motorcycles, girls fisted easy dee acrobatically flying on the beach below Mount Vesuvius. The worship of the goddess Diana is not dead and sweeping away the Camorra shots of bodies. They have not yet dissolved the smoke, which is handed another surprise to us, his voice and body Maruzzella, the protagonist of a story full of nostalgia in a porn film, in short, the story of a transvestite "Antonietta De Lillo. So a story set in a dark room porn cinema, dominated by transvestite Maruzzella able to do sexual practices mysterious alchemy of cooking more than anything else and shadow puppets that convey the ecstasy. Center of attraction of local Maruzzella, disillusioned by love meets a strange spectator who cries to the practices porno lower. And the hard
scene turns into a glossy paper of chocolates and a beach where the spectator Maruzzella and give a final with orange flowers to Billy Wilder's famous phrase "no one is perfect." The final fairytale tricks but now links up with the "masked" by Maruzzella thousand miles away from reconciliation and instead diverted to a life where they can recapture those pleasures which generously lavished in the back of the cinema. Capuano's episode "Sofialorèn" diving for fish in the fairy, a nod to masters such as Toto and Pasolini, but perhaps even the colorful tales of Hollywood half-century poetic lightness, speed of thought and depth of passion at the same time, as the intense encounter between the protagonist an inhabitant of abuse and recidivist bradiseismic areas of Pozzuoli, a petty thief looking typically "Pasolini". Or the overwhelming pursuit of the prince, a puppet figure of dark, light or as a tribute to Toto in the early history of the African princess - octopus, lovingly kept by the fisherman in a tub of Pozzuoli. In fact, "Sofialorèn" is the name that the fisherman who lives in the neighborhood of Pozzuoli, in a small house on several occasions considered not fit for use, gives its nice fish preserved in a glass bowl. "The Devil in the Bottle" focuses on the relationship of Uncertain uomo - diavolo. Fausto, e già il nome la dice tutta, è un barbone che entra in possesso di una diabolica bottiglietta grazie alla quale potrà esaudire tre desideri, con una sola precauzione: per evitare tremende disgrazie ci si deve sbarazzare della bottiglia vendendola ad un prezzo inferiore a quello di acquisto.
E’ la bottiglia misteriosa a dare l’opportunità al barbone “vesuviano” di riscattarsi dalla miseria. Il diavolo meglio del sindaco? “Ma voi non sapete quanti problemi devo affrontare “si lamenta, appunto, il sindaco, nell’episodio di Martone, mentre sale faticosamente le pendici del vulcano. Un finale pungente, amaro, ma affettuoso: “La salita”, nello stile di Martone, che allunga la sua memoria cinematografica da Pasolini a Rossellini. Incontri fantasma del primo cittadino oppresso da una città che implode. I morti di Secondigliano fanno capolino da un dirupo e il sindaco promette che farà di tutto per tirarli fuori, il cantante popolare cooptato dagli intellettuali di sinistra, che implora il sindaco di firmare una delibera per l’annullamento dei concerti, un libro raccolto tra la polvere: “Stato e rivoluzione” di Lenin, una prostituta malinconica, l’attrice popolare dell’avanguardia tornata dall’America. E lo spettro in abito di Francesca Spada che si suicidò, dopo essere stata oggetto di lapidazione politica dall’apparato del P.C.I, in quanto moglie di an official dissident.
So ends "The Vesuvius, with a mayor who must respond to an ocean of voices of protest, accused of giving straight to the media, but at least knows how to listen. Martone, "La rose", has chosen the mayor of Naples as an example of the former communist ruler has become a bitter dispenser promises hard to keep, beset by ideological past and the painful sense of guilt that arises from repudiate every day, worn out and frightened by its own impotence. Martone, who tackles the new political reality Neapolitan and accompanies the mayor (the reference is to Antonio Bassolino!) In a surreal stroll along the steep ridge of Mount Vesuvius. There is room for various symbolic characters of Neapolitan and symbolic situations such as the construction of child workers (always too far away to be able to intervene), but more significant is the encounter with the crow of Pasolini's Hawks and the Sparrows.
Between the lines one could also see a tribute to the myth and history not only of Naples: Pappi Corsicato about the Amazon, Antonietta De Lillo portrays the myth of the hermaphrodite, Antonio Capuano relive the adventure of Ulysses, who is enthralled by sirens, Stefano Incerti repeats the myth of Faust, while Mario Martone follows the vicissitudes of human power. But all in all it seems to me that these references are not quite basic compared to the fact Neapolitans that five directors have joined almost all young people to tell their stories through the city, dreams, imaginations fanciful. Real visions ... visions of Vesuvius!
scene turns into a glossy paper of chocolates and a beach where the spectator Maruzzella and give a final with orange flowers to Billy Wilder's famous phrase "no one is perfect." The final fairytale tricks but now links up with the "masked" by Maruzzella thousand miles away from reconciliation and instead diverted to a life where they can recapture those pleasures which generously lavished in the back of the cinema. Capuano's episode "Sofialorèn" diving for fish in the fairy, a nod to masters such as Toto and Pasolini, but perhaps even the colorful tales of Hollywood half-century poetic lightness, speed of thought and depth of passion at the same time, as the intense encounter between the protagonist an inhabitant of abuse and recidivist bradiseismic areas of Pozzuoli, a petty thief looking typically "Pasolini". Or the overwhelming pursuit of the prince, a puppet figure of dark, light or as a tribute to Toto in the early history of the African princess - octopus, lovingly kept by the fisherman in a tub of Pozzuoli. In fact, "Sofialorèn" is the name that the fisherman who lives in the neighborhood of Pozzuoli, in a small house on several occasions considered not fit for use, gives its nice fish preserved in a glass bowl. "The Devil in the Bottle" focuses on the relationship of Uncertain uomo - diavolo. Fausto, e già il nome la dice tutta, è un barbone che entra in possesso di una diabolica bottiglietta grazie alla quale potrà esaudire tre desideri, con una sola precauzione: per evitare tremende disgrazie ci si deve sbarazzare della bottiglia vendendola ad un prezzo inferiore a quello di acquisto.
E’ la bottiglia misteriosa a dare l’opportunità al barbone “vesuviano” di riscattarsi dalla miseria. Il diavolo meglio del sindaco? “Ma voi non sapete quanti problemi devo affrontare “si lamenta, appunto, il sindaco, nell’episodio di Martone, mentre sale faticosamente le pendici del vulcano. Un finale pungente, amaro, ma affettuoso: “La salita”, nello stile di Martone, che allunga la sua memoria cinematografica da Pasolini a Rossellini. Incontri fantasma del primo cittadino oppresso da una città che implode. I morti di Secondigliano fanno capolino da un dirupo e il sindaco promette che farà di tutto per tirarli fuori, il cantante popolare cooptato dagli intellettuali di sinistra, che implora il sindaco di firmare una delibera per l’annullamento dei concerti, un libro raccolto tra la polvere: “Stato e rivoluzione” di Lenin, una prostituta malinconica, l’attrice popolare dell’avanguardia tornata dall’America. E lo spettro in abito di Francesca Spada che si suicidò, dopo essere stata oggetto di lapidazione politica dall’apparato del P.C.I, in quanto moglie di an official dissident.
So ends "The Vesuvius, with a mayor who must respond to an ocean of voices of protest, accused of giving straight to the media, but at least knows how to listen. Martone, "La rose", has chosen the mayor of Naples as an example of the former communist ruler has become a bitter dispenser promises hard to keep, beset by ideological past and the painful sense of guilt that arises from repudiate every day, worn out and frightened by its own impotence. Martone, who tackles the new political reality Neapolitan and accompanies the mayor (the reference is to Antonio Bassolino!) In a surreal stroll along the steep ridge of Mount Vesuvius. There is room for various symbolic characters of Neapolitan and symbolic situations such as the construction of child workers (always too far away to be able to intervene), but more significant is the encounter with the crow of Pasolini's Hawks and the Sparrows.
Between the lines one could also see a tribute to the myth and history not only of Naples: Pappi Corsicato about the Amazon, Antonietta De Lillo portrays the myth of the hermaphrodite, Antonio Capuano relive the adventure of Ulysses, who is enthralled by sirens, Stefano Incerti repeats the myth of Faust, while Mario Martone follows the vicissitudes of human power. But all in all it seems to me that these references are not quite basic compared to the fact Neapolitans that five directors have joined almost all young people to tell their stories through the city, dreams, imaginations fanciful. Real visions ... visions of Vesuvius!
by Mariano Lizzadri
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