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Archive for August 6th, 2015

amarcord

by Pedro Silva (Camolas)

Mankind has always struggled to transform into words every expression of the human soul. In Portugal we imagined a word, saudade, to define an enigmatic yearning of the heart, a word to express a feeling so connected with our history that is impossible to translate it into any other language. In a similar way Fellini had to find his own neologism. Supposedly Amarcord simply means “I remember”, but we know Fellini was a great liar. I’ll go with the ones that presume Amarcord means the way he remembers the past, whether the memories are true or fake.

Amarcord, the film, is a recollection of those kind of surreal childhood memoirs, delivered as a guided tour through a year in the life of the town of Rimni, from one spring to the next. The cinema of Fellini is always autobiographical in one way of another, degenerated bits of his life and his fantasies.  Such courageous personal expression, rarer in cinema than in literature, contributed to his major achievement, he made himself an adjective, “Felliniesque”. The old dictionaries did not have enough words for his genius.

“… and in the end, it’s all about sex!” In a very Freudian approach that is how an old friend use to end our late night adolescent dissertations, no matter what the subject we were on. Fellini feels the same way. Small-town life and adolescent sexuality were already portrayed in Il Vitelloni. Sex can’t be absent or hidden even in a childhood tale, Rimni is filled with muses that inhabit the fantasies of youngsters and adults, offering us an amusing quantity of big curvy butts and outsized breasts. The men’s minds diverge from the sexual repression religion tries to impose. (more…)

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happ 2

by Allan Fish

(USA 1998 140m) DVD1/2

Die, die, die, die!

p Ted Hope, Christine Vachon d/w Todd Solondz ph Maryse Albertz ed Alan Oxman m Robbie Kondor (including “Soave sia il Vento” from “Cosi fan Tutte” and “Requiem” by W.A.Mozart) art Therese Deprez

Jane Adams (Joy Jordan), Dylan Baker (Bill Maplewood), Philip Seymour Hoffman (Allen), Lara Flynn Boyle (Helen Jordan), Ben Gazzara (Lenny Jordan), Jared Harris (Vlad), Cynthia Stevenson (Trish Maplewood), Louise Lasser (Mona Jordan), Jon Lovitz (Andy Kornbluth), Elizabeth Ashley (Diane Freed), Justin Elvin (Timmy Maplewood), Rufus Mead (Billy Maplewood),

It’s a traditional notion that American movies are all about entertainment. By and large, this may be true, and when so-called ‘cinema to make you think’ comes along, it’s so calculated to make you think a certain way, so cynically designed to win Oscars as ‘message films’ as to verge on moral propaganda and make you want to heave. These are then the twin cities of American film, so where does one place Todd Solondz in that? Not an easy question, for Solondz wouldn’t be found dead in either city, places so foreign to his outlook as to need a passport to travel to and from. His cinema is the cinema of discomfort, of squirming in your seat, of inadvertently smiling against your better instincts in embarrassment. Forget Oscars, forget takings, come to wince. (more…)

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