BANDA DE THRASH A GREAT DUTCH, BANDA ESTA ALLA HOME BY 1986 UNDER THE NAME OF "ANGER" AND THE GENDER OF HEAVY METAL, NOT SURE IF THAT RECORD A DEMO IN STYLE THIS YEAR, WHAT IF I can tell you NOW FOR 1988 THE BAND IS IN ON THE GENDER OF THRASH METAL DEMOS Record 4 from 1989 to 1992, there's a live disc in 1998.
THE FIRST GREAT EFFORT OF THIS BAND IS THE WORLD LET THRASH AS Remastered by EP, GOZENLO AS NOT FIND IN ANY PLACE OF THE RED ..... THE LINK WILL BE READY IN A FEW MORE MOMENTS .........
BANDA FROM BELGIUM, RECORD A DEMO IN 1987 PRE-PRODUCTION FOR WHAT WOULD BE THEIR DEBUT ALBUM, WHICH RECORD IN 1988 AND LET THEM IS BELOW THE BANDA not record Nadaman, DISAPPEARED AND TELLS SOME RUMOR THAT WAS abducted by BANDA OVNI EN LA CIUDAD DE BRUSELLAS IN 1990, AND UNTIL TODAY THIS EVENT HAS NOT YET BEEN CONFIRMED BY THE CASE OFFICER IVESTIGADORES.
SO ENJOY THIS OVER Whiplash BELGIAN CULT THRASH METAL.
FEW DAYS LEAVE THIS POST ONLY PLEASED TO A FRIEND OF CHILE, ONLY WORK OF THIS BANDA CHILENA, do not record only offer. take it away IN THE NEXT WEEK SO WHO WANTS TO TAKE IT, IS GRINDCORE . DOWNLOAD HERE
more educated LORDS NOW A BANDA SWISS WITH THIS ONE, HIS ONLY RECORDED MATERIAL A late eighties ...... A MIX BETWEEN THRASH AND SPEED. Extremely rare and collectible!
another cult band and this their only recorded material. (original demo) includes 2 tracks that were included in the trailer brasileiro "headthrashers live" already posted here. Cova formed in 1984 in Sao Bernardo field, brazil, data are not precise year of their separation. , his style is a death / thrash metal highly recommended to lovers of filthy and dirty .
NOW FROM BRAZIL, a band formed in 1986, only record original material THESE DEMOS, AS RELEASED TODAY FOR WORLD'S EP' THRASH, NO COVER ORIGINAL ......... ... LA BANDA are crushed into 1990. BACK AFTER 20 YEARS WITH A DEMO, BUT NOT SEEM TO HAVE BEEN VERY ACTIVE TO SAY ..... Araguari THRASH METAL FROM MINAS GERAIS, BRAZIL.
Montxo Armendáriz Navarro filmmaker, author of great works of English cinema as Tasio (1984) and Secrets of the Heart (1997), returns to the card through the front door with Do not be afraid , delicate film about the nasty subject of pedophilia.
This interesting director, over 27-year career has shot only 9 films, shows great courage and wisdom movie in this film. The proof is that films about child abuse are rare, and achieve also get awe without falling into the coarse or vulgar, just why the film deserves to be on the pedestal of the best films of our recent film in its own right.
Silvia (Michelle Jenner) plays a teenager who has suffered continuous sexual abuse from childhood by her father (Lluís Homar). The film deals with Silvia constant interactions with the world around him, all such relations cut short by this terrible event. Silvia is not an ordinary person is unable to interact normally with people and lead a conventional life. Wandering the streets under vampirizante effect, totally dominated by loneliness. The slab of the past prevents him from owning of herself and her fears and at the same time is a misunderstood and that hides his secret to herself without revealing it to anyone.
Armendáriz Silvia's story shows through the years, always from his point of view, since she was a girl and her father began abusing her. His ways are so delicate they are so great filmmaker, who takes the trouble to leave your camera out of field, with the viewer who imagine such terrible situations. The silences abound in the film, like the shadows, in which one imagines the worst. The images suggest are much worse than they would have shown, such is the power of cinema in the hands of a great director.
not afraid is a film about the human condition and therefore everything is in the hands of the excellent performances of the actors and a script to remove the hat. It is not easy to find samples as evident in the contemporary film scripts as exemplary as this film, which creates the specific situations at the right time and getting the story progresses smoothly. It is a true prodigy. Even if during the viewing of the tape will appear suspect boredom, that is, the unnecessarily long and that cries out for resolution, Armendáriz the final finishes creating a brilliantly coherent and credible weight.
easy thing these films have been falling in topics: show the father as a monster, the mother as protective ... But everything is told from a lot of credibility by the characters. Lluís Homar (what portent of actor) plays a father with two faces: one is loving and protective of his daughter and the other hides a real devil. For its part, the mother of Silvia (Belén Rueda), does not see or will not see the reality that happens at home and believes he Silvia are imaginations. The other characters are on the same line, also built wonderfully, bringing out the good work of documentation by Armendáriz real cases of people who have suffered in the flesh pedophilia.
not be afraid is a jewel of our film, a breath of fresh air on a bulletin board full of mediocrity. And for that matter, how could it be otherwise in this country full of culture, the day of its premiere at a cinema in central Madrid in the room were watching her four cats. As glimpses of a looming quality films lacking efectos especiales y que trata un tema extraído directamente de la pura realidad, los espectadores eligen el cine de evasión. Esto sumado a los prejuicios que existen ante el cine español hará que casi con total seguridad (espero equivocarme) esta película no reciba el éxito que merece y pase sin pena ni gloria, sería lamentable. Ante tan penosa situación, permítanme la ironía, a uno sólo le cabe decir: Perdónales Señor, porque no saben lo que hacen.
Director: Francis Ford Coppola Year: 1974 Country: U.S. Gender: Drama / Gangster Score: 10/10 Cast: Al Pacino, Robert De Niro, Diane Keaton, Robert Duvall, James Caan, John Cazale, Lee Strasberg, Talia Shire, Mariana Hill, Danny Aiello, Harry Dean Stanton, Troy Donahue, Roger Corman and Morgana King
Master continuing saga of the Corleone family with two parallel stories: the election of Michael Corleone (Al Pacino) as the head of the family business and the origins and rise of the patriarch, late Don Vito. "The Godfather, Part II" hit the screens in 1974, just two years after the first delivery, a record time for what it is today and became, almost immediately, in one of the best sequels of all time (if not the best). It's a moving film, hard, dark and passionate focus on the real protagonist of the series: Michael Corleone. I must admit that, how critical "amateur" film, the face of a work as perfect in all respects as is "The Godfather, Part II" goes so far as to embarrass me, because the greatness of the work can end up dwarfing any comments you make, however accurate it is. The masterpieces are like this, at once so clear that light can reach inside each one, and yet so hypnotic that eventually settling in some hidden place in the mind, which always, in one way or another, our report back from time to time, both to encourage and cheer, how to wake up and hit us with all the forces that the footprint of the film really left us impressed upon the mind. How sweet melancholy waltz or shot at point blank range and fire spitting blood.
Coppola, who built his spectacular trilogy very similar in conception chronology is concerned, especially the first and third of the series, opens "The Godfather, Part II", in flight from Sicily Andolini Vito Corleone, whom the mafia boss Don Ciccio, has sworn to kill, after kill your whole family (hardness and dryness of the film is clearly expressed in the brutal murder of his mother, projected backwards with great force, resulting from the impact of the bullet in his stomach), to a new promised land, America, in a boatload of Sicilian immigrants. Held by smallpox at Ellis Island, the young Vito, sing a song through her window, where you see the Statue of Liberty. Vito sings the song that is based on church music, while we attended the first communion of his grandson, Anthony Corleone, the same guy who played with his grandfather in his garden, just before he dropped dead. Of course, there is a big party in honor of the young Anthony. And one does not avoid remembering the wedding of Connie (Talia Shire) and the late Carlo Rizzi years ago, where Don Vito received one by one to all your friends to grant favors. But now his son Michael, the only one able to take over the care of the family, died when the temperamental Sonny (James Caan) as Tom Hagen (Robert Duvall) is also taken not Italian and Fredo (John Cazale) is too stupid (how to get to call Michael, something that his father suggested) not seem to follow the footsteps of his father. The respectability of the family seems settled, but something is rotten in the Corleone residence.
And in "The Godfather, Part II" we are witnessing the birth and funeral of the family. There will never be peace for the Corleone family. On the feast of the baptism, Michael more than welcome to listen to your friends, get enemies and when you get to friends, these will get no respect, how her own sister had with a stranger saying he is going to marry him. There is no respect or love. In this Michael Corleone and nothing left of innocence presented in the early stages from "The Godfather " (1972), when I played college as a young soldier in love with his girlfriend Kay (Diane Keaton). Now Michael is an ice floe, their anger and pride, are more powerful in him than any other feeling. So when trying to assassinate him at the request of clueless Fredo, there is no more output into a spiral of violence leading to the tomb to anyone who dares to stand or deal with it. Vito (Robert De Niro), meanwhile, forty years ago, is a hardworking and intelligent young man, who befriends his future would-be enemies Clemenza and Tessio. The step that will make him "Don", will be murder in the representative of the Cosa Nostra in Little Italy, Don Fanucci. The murder is filmed in a completely hichcockiano (similar to the murder of sob and Captain McCluskey in The Godfather "), representing the baptism of fire of a Vito, which more than a gangster or a mobster, is presented as a new Robin Hood. Of course, a Robin Hood who ends his enemy with a third shot in the mouth, blood staining the wall and then, after disposing of the weapon, walk the streets stained party and fireworks (Vito beautiful image wrapped in festive fireworks, moving with feline a huge Robert De Niro on the screen) to return embrace with his and her newborn son, Michael.
Michael Corlenoe attend Havana, with a dual purpose, to unmask the traitor in his family and kill Roth (enemy that threatens his life.) A time of revolution and Fidel Castro threatens to oust Batista from power and making Cuba a free country. The revolutionary wave and night year-end, get to overthrow the dictator. The same night that Michael, contorted and collapsed inside, he discovers that his brother Fredo, the son of his mother and the son of his father, he has been betrayed, in a grueling sequence, which is betrayed Fredo loudly and Michael, framed in a corner of the screen, raises her hands to her face and winces in pain clear signal. The rest is history film. A hug, a kiss of rage , an "I know it was you Fredo! Broke my heart! Broke my heart!" and some Al Pacino and John Cazale so magnificent that eventually freeze your blood in the seat of cinema. To make matters worse, on his return to Nevada, he discovers that Kay has had an abortion and who will testify against him before a court that wants to imprison. And Coppola is making it all the art that comes out of the hands, Michael, who starts to look vfuriooso, sees Kay also wants to leave him and discovers that abortion was induced. If his father saw him! Italian never commit such an offense. Michael unleashes his wrath, and for the first time, hits his wife in a blow that hurts to the viewer. The family disappears. Same Vito comes in Sicily and kill the elderly Don Ciccio (and a couple of thugs the same in two sequences that were eliminated in the final assembly), it is now slowly dying, under the sponsorship of Michael.
The decision of the new Don against Fredo is unstoppable. Al Neri is commanded to kill Michael Fredo, after his mother dies. Thus, after shutting the door to Kay when you just want to hug her son Anthony, in what would be a comparison of a shot in cold blood, and deceive with a false Fredo embrace at the funeral of the matriarch, leads to one of the most memorable sequences server has ever seen in a penumbra desperate, Neri Fredo murdered while this says a Hail Mary, as did small, along with his brothers, while fishing in the middle of a lake solemnly sad. Michael, alone in the distance, looking down, wrapped in darkness. The darkness and horror ... Fades to black. Recover a postal family, all brothers, Sonny, Tom, Connie, Fredo and Michael, along with Carlo Rizzi and Tessio, awaiting the arrival of Don Vito on his birthday. Carlo flirts with Connie. Fredo and Sonny simulate a fight. Michael says he enlisted in the army, Sonny and Tom reproach him. Don arrives. Everyone runs to greet ... less than Michael, who turns to be alone. Is King Lear, Macbeth, Richard III and Hamlet, seated at a table full of ghosts, tinged with blood and bullets and pain. So much pain. So ... everything in "The Godfather, Part II" exudes beauty and pain. His expertise reaches beyond the first film, is that if this film is more akin to a gangster film, the second part is pure Greek tragedy. If "The Godfather" Coppola reinvented a genre with almost no need to resort to classic how Hawks, Curtiz, Walsh and Huston, in "The Godfather, Part II" will notice some viscontiana footprint of "Rocco and His Brothers" (1960), this film also leave its mark around the future of the genre, or be filmed De Palma, Ferrara, Scorsese, Tarantino Hanson or Mendes.
Francis Ford Coppola, the hand of the master Gordon Willis, whose camera is not only portray the Corleone trilogy, but it would also be directly responsible for some of the best films of Woody decided not to vary the neoclassical style of filming and shown in the first Godfather, and keep the camera slowly as possible, despite the great domestic violence which is in the pictures. The minimum tracking shots of frame to emphasize the decisions of the characters, the ghost of light use, both for the lack of it (home of Michael in Nevada) as the games offered in the crepuscular tone that runs throughout starring the young Vito, and how the slow final kill, which killed far fewer people than the other sponsors, only three people (Roth, Pentangelli and Fredo), but certainly more relevant dramatic, do, in the background, the first two parts of the trilogy. With "The Godfather, Part II", it reaches such a level of great opera, which pretty much isolated any other film made before and after the Coppola. Not even the beautiful imperfection that is "The Godfather, Part III," which Coppola had been called "The Death of Michael Corleone" can get close to the feeling of its prequel, is also worth noting the presence of the majestic soundtrack to Nino Rota is on the same level of presedesora. Tradition, family, murder, power ... the story of the Corleone, in the end we are offering a portrait of the new America, the flood of immigration following Italian, Irish and Jewish, and it pursues ways to settle in the new country, even at base of corruption, extortion and murders. In "The Godfather, Part II", Michael summarizes his philosophy of business owners when he says that "if something history has shown us is that you can kill anyone", however the story ends by showing that there is something Michael worse than being killed is to survive with remorse.
Pathologist - Putrefactive and Cadaverous Odes About Necroticism
This album is one of the best fucking goregrind albums has been done after he left the Symphony Of Sickness, not Carcass merit can only be removed earlier, but was changed a little style and a year following out this wonder.
This album, along with the Show Off Cadavers Lymphatic Phlegm, The Sound Of Rancid Juices sloshing arround LDOH Your Coffin and the aforementioned Symphony Of Sickness, Goregrind form the elite, and who says otherwise does not deserve life.
Set list:
1. Introduction Malignant
1:01
2.
Open the Dissection Ward
02:59
3.
Reek with Suppuration
02:53
4.
Cadaveric Metamorphoses
03:04
5.
Genital Pathological Perversity
01:20
6.
Tumorous Defects and Diseases
04:13
7.
Anatomical Necropsy
03:16
8.
Progression of Putrefaction (Part 2)
04:02
9.
Decomposition of Corpses
02:55
10.
Carcass Dismemberment
01:16
11.
Vomitory Corporal Dysfunction
04:45
12.
Rotten Outroduction
01:02
Lineup:
Tom K. Miller - Bass Stanley - Drums Hary - Guitars Cyklo - Vocals
D-Bat Beat Discharge from Barcelona. Music with attitude and balls. Needless to say, nothing more, anyone who knows what's going on royo know what you'll find inside. Those who do not know, this album is a unique opportunity to start seeing what is real music.
Everything I could find on their formation that are associated with bands like Anti-Clinex , Angry Mob, Mobcharger and Violent Headache. That's nothing.
Setlist:
01 - pumps 02 - conforming 03 - diswater 04 - controversy 05 - grandpa tell me your 06 - asphalt murderer 07 - SGAE combat 08 - Lead 09 - tears ( Angry Mob cover) 10 - discult 11 - Gunmen 12 - dyscontrol 13 - disc anti 14 - last stronghold dis 15 - abducted 16 - nightmare of reality 17 - ass (Kuro cover) 18 - generation Xibeca sheet 19 - cry 20 - dung ia
First of all I would point out the similarities between the original cover of this disc with the cover of Sepultura's Arise. Coincidence or not the resemblance is obvious.
Well, Cryptopsy, a band that just hearing the name is impressive. These people are like a step higher than Atheist, tan (or more) technicians like these and infinitely more brutal. Cryptopsy is synonymous with BRUTAL DEATH, neither more nor less, all damn discs are pure blasphemy ... The Unspoken King except his metalcore sinning. In so that's life. We will wait to see them live to see if they behave and earn the public, like Carcass ... that after Swamong Exhume To Consume still playing on Live and we still love them all. In short, I feel how it comes out of the phallus, but give us our share of Brutal Salami, to take out a disc en tant drinking so I'm content ...
Line up:
Lord Worm - Vocals Jon Levasseur - Lead and rhythm guitars Steve Thibault - Rhythm guitar, backing vocals Martin Ferguson - Bass Flo Mounier - Drums and Backing Vocals
first and only Over the Carnage. Pioneer band as far as concerns Swedish Death Metal. To get an idea of \u200b\u200bwhat you hear on this album just need to see the references of its parts, neither more nor less than foturos members and former members of bands like Carcass, GENERAL SURGERY, Entombed, Dismember, CENTINEX ... I think there is no need to say anything more.
Line up:
Johnny Dordevic-Bass Fred Estby - Drums David Blomqvist - Guitars Michael Amott - Guitars Matti Kärki - Vocals
a complete work LORDS OF WORSHIP, FROM THE DARK LAND OF THIS BAND COMES TO SWEDEN immortalized IN THIS BLOG, a frightening and AMETRALLANTE Whiplash OF DEATH / THRASH METAL . Morbidity
BORN IN 1988 AND THIS ONE WAS ABORTION OF SATAN What it engendered. (originally recorded as a demo, kcte original image within the link).
1988 WAS THE YEAR OF CREATION OF THIS BAND FROM BELGIUM UNMATCHED, A THRASH METAL DEMOLITION AND VERY OWN, BE SPREAD IN 1990 AND NEVER RETURNED TO MEET OR NOTHING RECORD MAS. only record what follows I LEAVE .... ENJOY THIS Whiplash OF THRASH BELGIUM.
KNOWN IN 1988 THE MAGAZINE HEAVY ROCK OF SPAIN LAUNCHES ALTERNATIVE PROJECT CALLED "THRASH METAL" they were supposed AN ALTERNATIVE FOR Headbangers, HAVE AN EXCLUSIVE OF THRASH METAL REVA (THING IN MY 28 YEARS OF HEADBANGER never existed, NEVER HAS BEEN OR WILL BE QUALIFIED TO THRASH METAL ANYTHING, EVEN THE RECENT DOCUMENTARY INTERVIEW WHERE PEOPLE HAD NOTHING TO DO WITH THE GENDER, AND JUST WANT TO QUIT ARE OPPORTUNISTIC and fly a flag that never has belonged) BUT BECAUSE NOTHING IS PERFECT and never will be (within marketing),
MAGAZINE GUSTO (AS TO BE AND TO THE COGNIZANT LITTLE) AS THE BLACK BEAN INCLUDE THE ITEM WAS bands like HELLOWEEN, RAGE, CROM, EXCITER, AND KING DIAMOND (THE CABRON PLEASE Make me!) WITHOUT THAT HARDCORE BANDS AS YET TO HAPPEN, BUT THOSE BLACK SPOTS THE MAGAZINE HAS BEEN PERFECT.
AS YOU FOLLOW THIS ACCEPTABLE AS MANY BANDS MAKE HIS APPEARANCE HERE RELIGIOUS AND OTHER THAN THAT THEN START, SO GENTLEMEN THIS IS A GREAT TRIP EVAR IN TIME, REMEMBER wonderful moment when we read the REVIEWS OF NEW DISKS DE: KREATOR, METALLICA, OVERKILL, ANTHRAX, EXODUS, DRI (which for this year and was distilled over in the thrash-core), AT WAR, MEGADETH, Anacrusis, FUCK OFF, HYRAX, Death Angel, Vio-lence, Sabbat (uk), and many more,
MADE HISTORY AS WELL AS TO SEE THE BAND AS FINAL AND CELTIC FROST VOIVOD THROW IN THE SHIT-ALTERNATIVE GENRES DID WE GIVE BACK.
IS ALSO INTERESTING TO READ REVIEWS OF BANDS DEMOS NACIENTES IN 1988 .......
GOOD AS IS THE LEFT IN IMAGES JPEG, had no time to PDF files, ALSO CAN ENJOY THE WORLD OF MEMORIES, we threw WHEN YOU BUY A NEW RECORD HEREIN, OR ANY LOSS IBAMA CUATE TO WRITING WILL ANY CASSETTE Whiplash OF THRASH THE PAST IN QUESTION. EVERYTHING WAS A DELIGHT AND GET AN EVENT OUR ROOM, AND LYING ON OUR WALKMAN, and into those worlds atmosphere where BANDS SUCH DEMOLITION transports us with Blastbeats ...........
Director: Federico Fellini Year: 1976 Country: Italy Gender: Drama / Historical Rating: 7.5/10 Cast: Donald Sutherland, Tina Aumont, Cicely Brown, Carme Scarpita, Clara Algranti, Daniela and Mario Gatti Cencelli
Giacomo Casanova (Donald Sutherland) is a old librarian at Dux castle. Immersed in the bohemian, old, lonely and desperate youth recalls his life full of love stories, adventure and exciting trips for all the capitals of Europe. Federico Fellini's filmography is, without doubt, one of the strangest that European cinema has over its history. And not only by the division between a first stage marked by the most unorthodox neo-realism, and a second doomed to exorcise personal ghosts. His inclination towards a kind of conceptualism colorful, extreme, not only provides links idiosyncratic, but it reflects on the society with a look as captivating as questionable background, seems to be the most suitable for mass acceptance. In 1976, Fellini had just won an Oscar for " Amarcord" (1973), had full power in their industries, and interest (and subsequent acclaim) that raised his work was almost unanimous, in this context is embarking on the character the literary and made this movie Casanova which proposes a complex reflection on the vanity of lust. Converts the original story, saturated with a fresh sense amoral, in a dubious moral fable, according to their ideological convictions.
This brief outline of the mood of the filmmaker is, of course, a collation of the Casanova and as a warning because you can not understand the end result and stylistic approaches to the film launches the intellect the viewer, without assuming that it is a work "of" Federico Fellini and all that it shows and events is not more than 35 mm projection radically imagery personal narratives and guidelines beyond all logic. Now, we are in an eighteenth-century Italy that the filmmaker makes his own immediately. Hyped all iconographic elements of a period marked by the rejection of the postulates baroque and classicist reinterpretation of the guidelines, Fellini (by the grace personnel) away from both styles and essentially builds a futuristic universe. Indeed, there is no return to the past in the imagery of filmmaker, far from rational elements that tie the film to a specific historical moment, not a calculated and cold reconstruction of the eighteenth century, but neither one interpretation. "The Fellini's Casanova" is a journey into another world and, therefore, a film much closer to science fiction than a hypothetical film historically accurate.
Involved in the amazing atmosphere of a nightmarish sets, the everlasting light of Giuseppe Rotunno in a state of grace appears based on antithesis, mixing the dark with transparent, rational composition of Jacques Louis David a tendency colorist to the last vestiges of the "Pop-Art , thus causing not only wonder, if not embarrassing. The embarrassment of seeing situated in a universe that is not subject to rules, but where it seems everything works with the precision of a Swiss watch. In "Fellini's Casanova", the concept of "space" no longer has its usual meaning and is forced to an unpardonable disappearance is devoid of reality, but no credibility and this is the reason that causes extreme concern the viewer. We agreed, not another dimension, if not the substance of the mind of someone who is directly responsible for the iconic parade passing before us. A universe in which we are special guests and witnesses of the doings of amoral characters, so bizarre and complex (physically and mentally) as the physical circumstances of the place that surrounds them. A rarefied universe, worse (more so the word) by the stunning costumes created by Danilo Donati, who seems to describe, with greater certainty that their actions or words, intentions or character traits of each character.
Tan visions away from the usual picaresque and gallant. The first thing is to settle accounts with Fellini's character of a double way. On the one hand, presents him as surely was, we must remember that the references we have are those which he himself gives in his memoirs and has a natural tendency to be good when reviewing his life, that is, an upstart in a world was falling apart and does not belong at any time despite his undeniable knack for social mimesis, the courtly compliment, of course, sexual seduction. On the other hand, it makes the character completely devoured the images. If anything distinguishes this film is to be a succession of fantastic scenarios by which the protagonist is drawn like an endless dream. The great inventor of plastic forms is Fellini makes a puppet with no will or initiative, condemned to serve as support the ongoing story of hallucination of a creator who staged a masked ball, sometimes fascinating, sometimes chaotic, which an inadvertent Casanova is the only guest whose identity is known to others. If Fellini uses the grotesque is by temperament, of course, also for moral antipathy. His version of Casanova is merciless, a pathos that never gives redemption, even at the last moment, when the hazardous journey ends, after which only the image of Venus trapped under the icy waters of a bleak poetry.
The pathos of the character is increased when the cynical view that inspires his amorous pursuits, the service which makes use of flattery, deception, intimidation, force or violence, according to best needs. "The Fellini's Casanova" is a work full loneliness, thoroughly theatrical and fatally ambiguous. The great Donald Sutherland, who wrote a memorable villain to Bernardo Bertolucci's epic " Novecento" (1976), plays the seductive Venetian as a tragic figure, a decent human being despite the futility of their existence. Fellini presents Sutherland effeminate, ridiculous object of admiration for the decadent European society of the time, which is whimsically like a lord or an outcast. But if there is in "Fellini's Casanova" a disturbing element that, by itself, places the work outside of time and space and closer to the exact dimension required by Fellini, it is none other than the work masterpiece composed by Nino Rota. Away from any reference classical music, the soundtrack to runs through a number of premises as closely linked to the formal aspect of the film that the union of music and image come to be indivisible, stressing the fictional context with an icy composition, fully introduced in the avant-garde century music XX, which not only complements the images created by the filmmaker, but it opens up new avenues of interpretation to it. In "Fellini's Casanova" is not only reflected all the dogmatic basis of Fellini's films since " Ocho y Medio" (1963), but it stands in the clearer the same paradigm.
Indeed, is not that director and lead actor expressing opposing views, but Fellini is so attentive to the creation of their world and the natural product Casanova as the former, which culminates a feat Sutherland to make your character a spirit quite misunderstood. Contradictory and fantastic, the film is, however, or exactly why, a real profile of its protagonist, and a notable social fresco. Also noteworthy is the presence of Tina Aumont that is singularly beautiful in the role of the mysterious Henriette. The baroque visual gives together with a massive accumulation of topics: voyeurism, solitary masturbation, public masturbation, homosexuality, sadism, masochism, group sex, exhibitionism, lust, gluttony, phallic worship, sexual frenzy, and so on. Besides URL includes irony, satire, mockery and farce in a package that is overloaded, long and rhetoric and is not without its awkward anachronisms (number of dragonflies). Clearly, Fellini can not (or will not) split their personal life experiences or his films and it is precisely in this film which best reflected these intentions, since, even without even the slightest glimmer autobiographical (unlike its previous film), this "New World" composed by Fellini, which goes beyond iconoclasm and the subjectivity of artistic standards, intellectual character defined with greater certainty than all their other films together. For better or for worse.
"Harsh, desperate and brazen tribute to the life poured"
first and only 
