Streaming M Jak Milosc

"Salvador" to never forget

Marzia Apice

It 'hard to imagine a climate of terror and savagery in a Western country and therefore "civilized" as Spain, now a spokesman for major campaigns for the rights of minorities and emblem of freedom and emancipation.
Yet, not many years ago, precisely on March 2, 1974, was executed in that country with a boy of 25, who, after being sentenced to death for political reasons, was killed by garrote, one of the most atrocious and inhuman torture used since the times of the Inquisition.
Those years represented Spain in the last glimpses of the Franco regime, notorious for having brought to its knees and humiliated an entire nation, making him live in fear and total lack of civil rights and freedom. On March 2, 1974 was the date of the death penalty in Spain and that boy, Salvador Puig Antich, a militant of the Movimiento Ibérico de Liberación, From that day he was consigned to history and memory of the English people.
"Salvador-26 years against" a film is tough, passionate, sad but hopeful. The film tells the story of the homonymous and unlucky protagonist, who, who served almost as a game in the MIL, the beginning seems to be divided among the girls to seduce and actions provocative demonstration. Then, perhaps without much awareness, goes with his fellow militants near the guerrillas active in France. Then begin the robbery, and there's also the weapons and the danger to overturn what seemed to be a breeze. Surely, everything changes: increase the political awareness and with it violence. Blood flows on the street is the blood of the boys, but mixed with that of the police.
A war between the poor desperate people who do not change anything. The ambush of the police put an end to the battle of El Salvador, who collectively became, from this moment on, a personal struggle.
's not all: the age of 20 Dec. '73 kills Admiral Carrero Blanco, and El Salvador becomes a real scapegoat. Now the young man is forced to fight not only the institutions but also against a tragic fate. And against a fate that wants him dead, unjustly, madly, Salvador lose.
This film, directed by Manuel Huerga, is not only the story of the events that led to the sentencing to death of Salvador, but also the history of everything that his family, his lawyer, his friends have done to save it from condemnation groped.
"Salvador-26 years against" and the chronicle of a desperate attempt to avoid the atrocious performance of a young man of 25 years, but is also the story of a universe of feelings, hopes, passions, and evils of physical suffering ' mind. And it is the fresco of the dark era that marked the lives of many families beyond repair.
At the end of the film poignant shot: after the funeral of Salvador, a lot of red rose petals plow the ground is wet from the rain. They are tears that wash a land wet from too much blood.
Not to forget. Never.

in cinemas from April 27

cinema, literature, screenplays, films, short films, festivals

What Causes Blood To Rush To The Feet?

"The Lives of Others," snubbed by festival comes to Oscar

Franco Cicero

The chilling "normality" of a dictatorial system is made to perfection in the strict and sensitive film debut of Florian Henckel von Donnersmarck, "The Lives of Others," who has the courage to confront a painful chapter of recent German history. The screenplay, meticulously written by the same director, describes it with a few touches of impressive precision the gray existence in East Germany, the GDR at the time of the Soviet bloc.

The gray was the dominant color of the buildings in East Berlin and its cross streets from the "Trabant" (the cars, "communist") or some powerful cars of the bureaucrats of the party. Gray, mostly, even the clothes of the members of the nomenklatura of the Soviet Union most loyal satellite state until a few moments before the fall of the Berlin Wall in November 1989.
The story told in the film takes place in '84, but no one sees any signals that may portend that just five years could be initiated after the reunification of Germany. Respect, so to speak, and asphyxiating the action of the "Stasi" secret police of the DDR that could count a hundred thousand and more effective on hundreds of thousands of informers. It was the shocking realization of the "Big Brother" of Orwell, with a staggering average ratio of "controlled" and "controllers".
No bloody violence, as in the days of Nazism, but a persuasive but almost invincible psychological pressure, effectively represented the beginning of the film with the manic "lesson" on the relentless interrogation techniques of the Stasi agents. The more "good cop, Captain Wiesler is instructed by his superiors to spy on the most successful playwright of the moment, Dreymand, and his girlfriend, Christa-Maria, acclaimed actress.
In any dictatorship, the intellectuals are regarded with suspicion, even when they seem loyal to the regime. Wiesler is so subtly pleased to be able to fill the house Dreymand bugs. The Stasi agent, however, makes no account be used for very different reasons by the defense Communist orthodoxy. An influential minister is anxious to get rid of the playwright to get go-ahead with Christa-Maria.
might seem that you create a "sympathy" between the controller and controlled, as in the wonderful film by Francis Ford Coppola's "The conversation. " Here, however, the mechanism is further refined. The impassive Wiesler discovers he is able to be moved by a poem by Brecht or a sonata of Beethoven: he's culture for the greater good, beyond ideology. But it can not detect. On these bases
intriguing, Florian Henckel von Donnersmarck's film constructs a asciuttissimo and engaging, inexplicably snubbed by the Festival and then more Europeans Oscar winner (with three prizes: movie, actor and screenplay) and Hollywood Oscar as best foreign film. The director, 34 years of intense international studies with Sir Richard Attenborough, has reached its first feature film after a preparation of many years, allowing him to show a commendable maturity to know the confidence with which the determination of accurate historical information with the mechanics of suspense.
In a highly theatrical film from the characters, we appreciate very much evidence of excellent players: Martina Gedeck is painful Christa-Maria, Sebastian Koch has the bewildered playwright, Ulrich Tukur Colonel is slippery. On all, the "spy" Ulrich Mühe, the emblem of obedience but not to dullness.

cinema, literature, screenplays, films, short films, festivals

Ramipril What Happens If I Stop Taking It

Comencini director of consumer or a true reflection of Italian society?

Franco Cicero

"I'm not an artist, I consider myself a good craftsman and has not said that my film does not reach to the artistry of this result." Luigi Comencini was the same in the best way to summarize his extraordinary career with 50 titles that made him one of the most popular and beloved directors of Italy.
long inactivity forced by a long illness - his last was in 1992 directed the remake of "Marcellino bread and wine" - Luigi Comencini died at his home in Rome, assisted by his daughters, Cristina and Francesca, both directors, and Paola, costume designer.
In nearly fifty-year career he has accompanied protagonist, the passage of the best Italian cinema from Neorealism to the great tradition of the equally crucial "Italian comedy". Comencini was with Dino Risi, Ettore Scola and Mario Monicelli, the master of a genre typically national, all too often judged to be of mere consumption but instead re-evaluated and, fortunately, largely faithful mirror of social evolution and creativity of our country. And he directed the play as samples Sordi, Manfredi, Tognazzi, Mastroianni.
With a title like "Bread, Love and Dreams" (1953), Comencini was reputedly the father of the "pink neorealism", with "Everybody Go Home" (1960) took part the glorious season of film review of recent national history, thanks to "misunderstood" and, among others, the television show "Pinocchio" was considered "the director of children".
many times that they actually contain only one: that of "Craftsman" - to use its definition - that could look at reality without ever forgetting that cinema has the mission to entertain, to amuse and to think.
Luigi Comencini was born in Salo, in Brescia, 8 June 1916. His first love was architecture, but during his studies he became a friend of Alberto Lattuada which participated alla rivista milanese “Corrente”, fondata nel 1938 da Ernesto Treccani. Comencini scriveva le critiche cinematografiche, un’attività che continuò anche nell’immediato dopoguerra dapprima nell’“Avanti!” e poi nel settimanale “Il Tempo”. Una sapienza di scrittura che gli ha consentito di essere quasi sempre anche il soggettista e sceneggiatore dei suoi film. L’amore per il cinema lo portò, assieme a Lattuada e Mario Ferrari, a promuovere il salvataggio delle pellicole di valore, fondando la Cineteca Italiana, da autentico antesignano.
Nel ’46, Comencini debuttò nella regia con un documentario, “Bambini in città”, assai apprezzato e destinato to become a constant in his work. In fact, the same Comencini once said that he had a particular interest in the world of childhood. But he, as a stern and a bit 'gruff intellectual Lombard, had found in the freshness of the look of children a unique perspective to describe the profound social transformations. Even in his first feature film, "Forbidden steal" of '48, the protagonists are children, street urchins of Naples, accompanied by a courageous priest, played by Adolfo Celi.
At that point, Comencini could really craft a career, it was reliable both in directing comedies such as "The Emperor of Capri" with Toto (1950), and dramatic films, like "shutters closed" ('51) and "white slavery" ('52).
Instead came the extraordinary turn of "Bread, Love and Dreams", just encore in '54 with "Bread, love and jealousy," thanks to the overflowing Gina Lollobrigida, Vittorio De Sica and ineffable unbeatable Tina Pica following the perfection of the director's intuition to tell the Italian province in a smiling, but no less effective than did the masters of neo-realism.
With "The Belle of Rome" ('55) Comencini meets talent Alberto Sordi that will peak five years later, in "Everybody Go Home," a title has become emblematic in evoking the attitude after the Italian armistice of 8 September 1943. Again with the Deaf, turned in '62 "The Commish" and in '64, "My lady" and then meet again in the '70s with the excellent "The scopone science" ('72, with Bette Davis, Joseph Cotten , Silvana Mangano and Domenico Modugno), "Those weird occasions" ('76) and "traffic jam" ('79)
Meanwhile, Comencini had directed films in the late 50's commercial as "Husbands in the City "and" dangerous woman ", but was feeling the need to engage in a play: after experiencing a bittersweet mingling in" Riding the Tiger "('61) in '63 found an opportunity to transpose on the big screen the novel by Carlo Cassola "Bebo's Girl" with Claudia Cardinale.
In '67, with "Misunderstood" from the novel by Florence Montgomery, Comencini confirms excellent conductor of small actors, as well as respectful of the written page. It is the prelude to his masterpiece of television, "The Adventures of Pinocchio" '72 that the miracle of reviving the famous Collodi's book, thanks to perfect the casting (the "fairy" Lollobrigida, "Geppetto" Manfredi, Franchi and Ingrassia "cat and fox) and the wonderful soundtrack by Fiorenzo Carpi.
A delicacy in dealing with themes of childhood and adolescence Comencini then reiterated in "Turn around Eugene ('80), in television," Heart "('84) and" The Story "('86) and" In a boy of Calabria "('87), with Gian Maria Volonte, Diego Abatantuono and the young Calabrian Holy Polimeno. Until the end, "Marcellino bread and wine."
not be forgotten many other film "nazionalpopolari" but never trivial, such as, "Comrade Don Camillo" ('65), "Children, vocation and early experiences of Giacomo Casanova, veneziano" ('69), "My God, how I fell down "('74). With notable peaks such as "The Sunday Woman" ('75), taken from the yellow and Fruttero Lucentini, or "The Cat" ('77).
When the Italian comedy that seemed close to becoming a self-celebration, as demonstrated by film in episodes filmed in the mid-70s along with Nanni Loy and Luigi Magni ("Just do not know it around," "Those strange occasions," "Ladies and gentlemen, good night"), Comencini had started to be a bit 'part. But always looking for new and original ideas, like the bizarre "Wanted Jesus" ('82), with Beppe Grillo, or "Merry Christmas, Happy New Year" ('89). The latter film, starring Michel Serrault and Virna Lisi, should perhaps be regarded as the true sublime leave a filmmaker, "the director of children" had been able to look with equal attention to the world of senior citizens, once again anticipating the evolution of Italian society with keen foresight.

cinema, literature, film scripts, films, short films, festivals