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and faded, and no feast paints a self-critical feeling compelled to resort to the color of the director?) was not able to get it to shine as before."Ghosts" is that torment and Juliet, who personified the moral vices of a decaying society, remains theoretical organ of the Italian Communist Party magazine wrote about it in February 1960: "Sweet Life" and also acquired the meaning of political events ...Of course, paint and resolutely denounce Italian bourgeois society should be from the standpoint of, but we should have taken the first director of First big step for this 21 skazatelnymi characters speaking more about aging and mental tions abandoned husband of the woman than on the social diseases of its environment.Gerasimov download the film Komodo
and described the tone of the author's "violent revulsion against the aggressiveness of the bourgeois," but this theme here ( compared to, among others, the "Sweet solution, which could not but disappoint admirers In 1954 Fellini released his famous film" The Road ", in which reinterpreted one of the leitmotifs of neorealism:starting with the "Bicycle Thieves", his characters often are at a crossroads of their life destinies, and a kaleidoscope of meetings with various people, despite their external accident, identify common destiny pariahs of society, their life disorder. It was "a dream on the road," and even "the road of hope."And progressive as our critic, "The Road" was Fellini's "road to nowhere." The release of this film marked the first that he took while at a crossroads. Lack of ideological compass and determined all subsequent creative twists.In the same conversation with the students Fellini said he "did not have enough faith," he has nothing to give his characters, "because myself and I can not say anything."(Much later, giving their comments the film "Eight and a half," in which he put an equal sign between the real world and the reality of the spiritual life, even the elemental forces of the subconscious, the illusory quest for timeless truths and non-social, Fellini told the newspaper that the film is " a cross betweenpsychological session incoherent and chaotic trial of his own conscience. ") Three years after the Neva" The Road, "" Scream "by Antonioni, which sounded the same tune crossroads, but the chords typically antonionievskih.The film received its name in the final hero, unable to stand alone, thrown from the tower, and the woman at the bottom emits a wild cry of fear. The direct its contents would have quite the name "The Road." There was a further and more complete rethinking of the same neorealist motive.Meeting people Antonioni, not only random, but also fragile, short- lived, decay every human, elevated to the level of the fatal laws, and the desire to escape from his loneliness and from similar invariably sterile. Neorealist topic people solved Antonioni also in its own way:He always faceless, silent, inactive, indifferent. Later Antonioni developed extraordinarily fashionable besfabulnoe of plot, however, as no one else was able to use the image of the external world as a projection of the inner world of tired and broken man.