TITLE
Si (Separate)
MUSIC PHOTOGRAPHY
Gianni di Venanzo PRODUCER Lux-Vides 
Frank Wolff, Salvo Randone, Federico Zardi, Pietro Cammarata, Fernando Cicero, Giuseppe Teti Drama SYNOPSIS
Biography Salvatore Giuliano, a legendary Sicilian bandit and independence. But as far as Rosie is really interested in focusing on the endemic backwardness of Sicily, on the relationship between mafia, banditry, political and economic power, ie the causes of what Italians call the "southern problem ". (PRO)
Download links (cut with HJ Split)
http://www.mediafire.com/?iyt204pys4yeqdz
http://www.mediafire.com/?n43w3rl4s71g862
http://www.mediafire.com/?7rly2241qv5pbbo 
http://www.mediafire.com/?ow1bpw2c7k310vo subtitulos
http://www.mediafire.com/?ic5fxebusbdcad2
If you can not say, and was told that Salvatore Giuliano is the "best film of the Italian cinema, "is certainly reasonable to conclude that the third work of Rosi is the fruit most courageous and passionate testimony to the civil law of the" recovery "of these years. If the passion of neo-realism was the rage and impetuosity of his desire to discover, the aggressiveness of its commitment to knowledge, it is found in full in Rosi's film where there is a rib on the other hand the criticism of certain tendencies "retrospective "the Italian production of these years. Deep emotion we feel before certain scenes from the film confirms the exhilarating feeling that Rosie often recalls that he felt, that is, to a film by hitch free from the constraints and the trade and the Convention, in which the moment of creative development coincides with the progressive discovery of the truth of the human condition, a dramatic and contradictory reality of a bottleneck historical unresolved. I think Rosie, in this refer to certain reasons resentful of neorealism in the light of today's most rugged and painful problem, has found the enthusiasm of those who make the movie knowing that an act of witness and communication. This emotion civil, that is the hallmark of the film, its necessary stimulus, then it is also the limit, found for us in the dispersion axis and ideological narrative should support the speech.
node dramatic political and Rosi's film is the death of Julian, whose body riddled with bullets in the back of the courtyard Maria De mark the end of a nightmare and opens with violence as a rational process. Julian is the demystification of the negative moment, and most interesting film Rosi: Giuliano live is a generic, a foreshortened figure in the background of the country, the band, other, Giuliano dead body is a cumbersome and unpleasant that bounces once on the speech others, the environment and forces acting. Julian can not be the star of the film because he was not a hero, because even the southern banditry was never an active, but an instrumental phenomenon, a story of consequences and not causes. Twelve years later, in his attempt to rejoin the non-story of Julian the history of the forces that produced it and of those who have suffered, must Rosi necessary part of there as soon as Giuliano officially ceases to be a character and becomes a problem.
the filmmaker who does not follow, therefore, a faithful and consistent line chronologically, moving from the open questions and unsolved problems of this order to unearth bits and pieces of the truth of the past in a relentless succession and tumultuous, with all the break-up of a chronicle in many respects incomprehensible, a story that has not become history. In the process sequence of Viterbo and restless and disappointed in the face of the court's Randone masterfully evoked by the sign of a desire for clarification and despairing of his impotence, of the many difficulties that hinder the effort officer of reason and the sanction of the law required. The last image of film, with the corpse of the mob knocked down the shotgun, wants to tell us that the chapter of complicity and responsibility is still open, and the film thus tends to extend beyond the limits of his own life, in the midst of society which addressed his speech. no accident construction style of Salvatore Giuliano suggestively may think that a film that takes us back with mounting evidence of his hot pictures to a recent report, which may already be forgotten before settling into a historical clarification and redeem a lesson in politics. But here the director, who did not work in the field of organization and understanding the material of film and newsreels, but at a higher level, faced with the problem of groped a critical discourse within a creative work, the problem in short, to find a stylistic and ideological axis around which to organize a subject as explosive and burning. And this fact seems to us that he was unable to find a balance principle and consistent ordering of its "news". If the breakup of the time and conventional narrative patterns, based on contamination of forms of documentary and experimental stress some of its European cinema today, has allowed Rosi to alternate between past and present seamlessly and give us an insight into emotional and turbulent of all the members of the Sicilian reality, he has since been forced into a mesh that method at some point ceases to be, as it should, an instrument investigation and knowledge and is likely to resolve itself throughout the film. So the pages dedicated to the Mafia, the "role" played by the police, the macabre farce staged on the body of Julian are not always persuasive, and are those that reveal the limits of certain temptations discovered americanizzanti Rosi. Nor can it rely on the ambiguity of the hot matter, for an episode in some ways already praised as one appears as unresolved separatist and most of the others. If Rosie is essentially intended to evoke the face of Sicily, and a page and still red-hot drama of Italian history, identifying the crucial focus of the dominant forces, banditry and lower classes, it must be admitted that he failed to achieve the balance necessary for his film is devoid of the complexity of design and installations essential. There is no example to those who do not see how the external business of Julian, shot by that operator who is sensitive and rigorous Gianni Di Venanzo, betray the mechanical nature of some readings and American assimilation of the filmmaker. But when Rosie has to accede immediately to despair and revolt of the plebs dispossessed and rejected the edge of the country office will have the most beautiful and memorable sequences of his film: the pain and the desperate protest of women nell'aspra and vigorous sequence of raking Montelepre, the tragic silence that lies at Portella Broom field of the massacre, the rebellion of the young shepherd who unwittingly finds himself involved in the undertaking to find disbelief in the cage of Viterbo.
Adelio Ferrero 
Nove anni dopo il successo "Il Pianeta azzurro, Piavoli Franco becomes the cinema with "Nostos - Il ritorno" dove, partendo dall'Odissea, imbastisce a nuova visione dell'Ulisse omer. L'Ulisse di Piavoli eroe è a spietato and crudele but, at some point, he dreams of returning home. And his journey is a return not only in the arms of his wife, but also a cathartic journey that sees our hero purified by misdeeds of the war thanks to the intercession of Mother Nature. It is no coincidence that Mother Nature has appointed either that Penelope, both mother figures "Nostos - The Return", more intrinsically, it tells us nothing but the path of a man who wants to regain his status as a newborn (and thus of innocence). The director expressed it with at least two sequences, one set in the cave, where Ulysses is nothing but the shadow reflected in the womb of the Earth, and that of a breathless swim to the moon reflected in the Sea, which compares (not too subtly) with a sperm Ulysses and the moon with a giant glowing egg. The images that tell us about the journey of the protagonist seem to come directly from "The Blue Planet", but in this case we assume the strong commitment not only to excite the viewer but to become a particular kind of psychological description of the protagonist of the film, choosing that seems to take up the subject of German (although of course, with different visual results). 
Rondi 
52 min. 
