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Fairy tales of the Viennese wood
FILM HERMANN DER CHERUSKER - DIE SCHLACHT IM TEUTOBURGER WALD Realism, rather, is this cinematic vision, which would have been or would be sought to study and poetic interpretation of the surrounding reality in all its complexity and depth of its conflicts and contradictions.This reality is not only present, but also from the past, recent and distant history.I always thought that the last fifty years of our history, it is because they are the most controversial, but, in fact, the least known and studied, could be the first fertile ground for exploration of all who try to price-tag for the principle of realism and follow it in the dense forest of our modern problems."The Story of the poor lovers" as soon as I read it, I was immediately excited just because to me was like suddenly flung-open window from which I opened an unfamiliar human landscape, almost mythical, and yet so historically accurate;it was my discovery of the world, who produced our current crisis and that the official story did not want to recognize and describe. "The Story of the poor lovers" made me also feel particularly acute imperious need to design "character."Principal, a vital element for the direction tending to realism, I think, can not be in movies today creating characters more profound and complex than those that are still inhabited our best scenario movies.Even in the most characteristic product of our neorealism often too obvious and heavy-handedly to show interest in the atmosphere, to the environment, to specific historical events, to impressive but vague Chorale. This position was, perhaps, the right at the first stage of development of the realistic.But this position is obsolete today, the historical situation is different from that which existed in 1945-1947.Strict and sometimes suffocating determinism, which eventually roll down so many of the characters of the early Italian realist cinema, submission to fate, renunciation of the struggle and passive suffering, painful loneliness many accidents heroes chronicles should, I think, to give way to a broader vision of todayIndeed, the desire of the artist to establish a more sustainable relationship between man and destiny, between the individual and society.When creating a modern "character" should not forget the need to give the character more freedom, independence, will and desire to remake yourself and change the world, which is still strongly conditioned his mind and actions.In this way the Italian film could contribute to the liberation from the shackles of the Italian character or academic naturalism and fix the oldest and the biggest drawback of the whole Italian culture. Characters in "The Tale", especially those I love most, could make a significant contribution to the debate of this kind.On this basis, we could start a conversation, a discussion. So I and my staff went to work. About the result, of course, will be judged by critics and audiences. Bohemian translation Cesare Dzavattini Letter to Michelangelo Antonioni's December 15, 1953 ...What prompted us to create two "articles", the two reporting one such, is not a striving skandalizovat as ends in themselves and in the first case - the desire to talk about prostitutes pochelovecheski, a kind of "bringing to justice" as accomplices themselves spectators, attempt to do away with the romantic myth and consider the realthe situation of these women, what could not be more sad and needs to change.