Heap черные кошки 55

Pages: 1  2  

Fairy tales of the Viennese wood


I Visconti same technique at the service of poetry is enough to recall the scene arrival of officials, describing the property for debt.First, we see how they go down the street to the door leading into the courtyard. Then - as they come into the yard and go through the inner door of the house. So there is a feeling for sure, and the passage is shown as an invasion.Let us remember the love scene, which was solved poetically - with harassment almost in the air, through meadows and rocks in the background, if I remember correctly, the noise of the surf and the passing train. Then - the scene with the drunken night, with its slow, exciting rhythms and vulgar whistling sergeant.Amazing scene return NTON from the city where he mortgaged the house: in Acitrezza morning, clean air carried by the voices of women are heard cries, bursts of laughter, the sound of the village, NTON drawn on the grass, we see in the foreground of his legs ...All of this reflects a purely intuitive notion of life in Sicily, its people, and accurately conveys the idea of ​​the characters Dino Garrone7 Vergi "Their clocks - the cosmos." It should not be in the assessment of "La Terra Trema" unnecessarily deepen the content of the film.Better look for the secret of his poetry in the response, which is born in us while watching, try to understand for external displays how many - instinctively, against all logic, subconsciously - he reflects. Anyone familiar with Visconti, know that his actions often mean much more than words.In the film, his actions - this is called above the stage; voice fishermen, leaving at dawn to fish in the sea, songs of masons, ominous glow Rain, younger sister of intonation and posture firstborn NTON rebellion, obedience to his mother ...And many of the other, in addition to what the inevitable social debate we hear and know the sincere tone and poetic-sounding voice Luchino Visconti.Bohemian translation Alberto Lattuady In defense of Italian cinema We know against what objective difficulties and against any stubborn forces to fight the deputy Andreotti1 to protect the lives of our movie, and that's why we want to expand the range of evidence for the case, the validity of which will inevitably soon realize all Italians.I am told, and I myself can say is that many government officials, ministers and political leaders do not attach importance to this issue.If not for the fear of some untrained astound readers, I would say that the man does not understand the force of the impact cinema, its powerful effect on the statement of ideas, morals, and, in a word, civilization of a people, can not be a politician of the twentieth century.And because the government acts connected with the people at the helm of government, we demand that the deputy Andreotti refused the role of the gravedigger of Italian cinema at the critical moment, when it comes to its global recognition.There is no doubt that for the salvation of the highest manifestation of our spiritual and cultural revival will need to act decisively enough to make if speculators and profiteers, at least through with this noble modesty, - but it is only a confident determination to protect specific interests of the nation and gives the rightMinisters to manage the life of his people.