Thursday, February 24, 2011

Does Yogurt Have Milk Worms In It

gold-rimmed spectacles - Giuliano Montaldo (1987) Notes Of A Block



TÍTULO glasses gold
AÑO 1987 ;
subtitulos Si (separados)
DUREE 110 min.
DIRECTOR Giuliano Montaldo
Guion Nicola Badalucco, Antonella Grassi, Giuliano Montaldo, Valerio Zurlini (Novel: Giorgio Bassani)
MUSIC PHOTOGRAPHY Ennio Morricone
Armando Nannuzzi
CAST Philippe Noiret, Rupert Everett, Valeria Golino, Nicola Farron, Stefania Sandrelli, Roberto Herlitzka, Riccardo Diana, Anna Lezzi
PRODUCER Co Italy-France-Yugoslavia
GENRE Drama race and sexual orientation in Fascist Italy, 1938. (FilmAffinity)
descatga League (cut with HJ Split)
http://www.mediafire.com/?6no99fceb512kco

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subtitulos

http://www.mediafire.com/?5maa2babmn0ws5z

novel by Giorgio Bassani, the film today. Directed by Giuliano Montaldo based on a screenplay co-signed by Nicola Badalucco, who had worked at the previously signed a similar reduction by Valerio Zurlini and ever. Presupporti excellent, with inadequate results Peno.
The novel, which Bassani had written in the late fifties, returned to 38, under fascism, and tells the story of a doctor approved in the Ferrara environments even well-meaning in spite of his homosexuality until the day when her relationship with a dissolute did not lose all discretion, with consequences that would lead him to suicide.
on this story the film will also put another, drawn by another story by Bassani, which puts on the side of the narrator of the novel a young woman, a Jew like him, who loves him first then, when they begin the racial persecution , the leaves, was baptized and married an "Aryan." The idea is not wrong because in addition to not go all the spectacles of gold (which has not always pleasing and often tricky to read, especially when you put very strong emphasis on humiliation and descent Hell the main character), anticipating the times of racial strife in Italy and several consequences of emphasizing vegetables, you build, if not the movie, at least its atmosphere, especially around the intolerance towards diversity, in line with best aspirations "civilians" Film Montaldo. If these atmospheres, Peno, there are, and they are severe and dignified, the narrative structure that makes them a support is not as strict. Meanwhile, with some effort put into each of the two stories, and that the girl has hardly ever very vivid inventions, then, in character design, not just the outline, but also the main difficulty to get to genuine psychological insights, seeing quite outside that of the doctor and rarely able to give incentive to the size of the narrator, torn between her pity for the persecuted, the persecution and anxiety as a jew, which in turn begins to suffer and that in addition to creargli difficulties with studies, soon frustrate his romantic aspirations.

Montaldo, which is a fine director and attentive, has visibly striven to overcome these disorders, but is especially successful when he tried to watch with the same compassion 'de! narrator to the protagonist's case - pointing to each element with tact and discretion - and when, around these events "dated", supported by photo Armando Nannuzzi, from sets and costumes by Luciano Ricceri Nana Cecchi, he evoked a historic frame of a realistic and towards a more responsible, intuitive , at a distance of literature: to put the emphasis on remembrance. Less happy in the pages, replacing the hotels and the beaches of Rimini with views of 38 Dalmatians, also cause tearing of style, inspired, warm and sincere, however, when it moves and moves the characters in a gray and rainy Ferrara, elegant but already grim, to anticipate that sense of "leaden" first hint of the terrible years to come. This same leaden, but psychological, in the two main actors: Philippe Noiret, who designed deliberately understated and almost always from outside the character stepped down, resigned and increasingly confronted the doctor, Rupert Everett, quite capable of making us feel, the narrator, awareness of the sad events that are prepared and have that reflected in his painful personal cases in parallel with solidarity to those of the protagonist. Among the other performers there is Valeria Golino, the girl left the narrator. I've already said before: it has a face nineties. Here, in the costumes of the thirties, it loses momentum and polish, too much make-up as a woman of tomorrow than yesterday. Gian Luigi Rondi From Il Tempo, 27 settembre 1987


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