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Sterile Harvest

Director: Bernardo
Bertolucci Year: 1962 Country: Italy Gender: Drama / Mystery Score: 08/10
Cast: Francesco Ruiu, Allen Midgette, Gabriella Giorgetti, Giancarlo de Rosa, Marisa Solinas, Vincenzo Ciccora and Romano Labate

In a park in Rome is discovered the body of a murdered prostitute. Police arrest those who passed by that night, including the marginalized (thieves, vagabonds, pimps) and is interrogating one by one. The versions of what happened differ and even contradict openly, for all suspects (especially the murderer) have something to hide. After a year of working as an assistant to director Pier Paolo Pasolini in the film, "Accattone" (1961), Bernardo Bertolucci assigned with Sergio Citti making a script based on a story by Pasolini. Tonino Cervi as the producer was impressed with the script, this offered the young Bertolucci (aged 22) the opportunity to direct the film. During the film, Bertolucci changed the script several times because he was uncomfortable with a story that dealt mostly with low-class characters, and is set in the streets of Rome, which was quite different with environment from which he came, the bourgeois spaces of Parma, "Little Paris" located in northern Italy. For this reason, Bertolucci began looking for space to come closer to its provincial roots while trying to compress the city of Rome in a sort of large provincial town.

Bertolucci The main change he made to the script, was the inclusion of police questioning, and have selected a type episodic narrative style to tell this tale of crime and punishment, which recalled more than one way the master Akira Kurosawa's film, which is their wonderful work "Rashomon" (1950). Bertolucci presents a series of police interrogations with their flashbacks, in which each of the suspects and witnesses, they tell each of the moves that made the day of the crime, and ended up taking them to the place where he committed the murder. The suspects are thieves, prostitutes, vagrants, or pimps, all of which tell stories of poverty, little and have nothing to do with the crime being investigated. However, "Sterile Harvest" is a story about the concept of time, according to the same Bertolucci, "The images attempt to communicate the basic idea of \u200b\u200bthe passage of time, the passing of the hours, the quiet work of death." The then young Italian director temporarily league each of the stories by heavy rain which is repeated on every occasion. Whenever it starts raining, the principal advantage of showing the actions of the last day of life of the prostitute.

When the rain stops, Bertolucci takes up the story of the respective suspects. In this way, the director manages to compress all the stories between the time a woman wakes up in his apartment located in the middle of nowhere, after which he prepares for what will be his last night, until his death. The interviews appear only as a pretext to use the narrative style chosen by Bertolucci; of Indeed, in order to differentiate this film from Hollywood works of a similar theme, the director stands on a stage interrogations abstract, almost theatrical, where we see the suspect surrounded by an environment shrouded in darkness, and where we can only hear the voice the inspector in charge of the investigation. "Barren Harvest" research shows without a central star, where in addition there is no clear moral discourse. At times we could say that the streets of Rome are the real star of the film, which is dedicated to hosting this series of unusual characters who are involuntarily involved in a murder. Likewise, it is clear the influence of Pasolini The film, which is mainly manifested in the study of more humble strata of society, and the use of non-professional actors in real locations.

Perhaps the greatest failure of making the film is the fact that one expects the different testimonies help us to discover who the real murderer, none of the witnesses provide data about life victim, and in almost all cases what they tell contradicts what actually happened. In addition, the director decides to hide the testimony of the only true witness to the murder to make way for a relatively surprising final. In this dynamic of truth / lies, leaving some unfinished details in each of the stories. The completion of this film must have been a very difficult process for young then Bertolucci, a debutant director, who still lived with his parents and was the youngest member of the crew. In fact, according to the same Bertolucci, "could not think of the first day of shooting without feeling chills when a cameraman asked me where he was ceremonially positioned the camera, I experienced one of the most tense moments of my life." Despite the great pressure he felt, the director did a great job that earned him international critical acclaim, that labeled with Bertolucci as a major young talent. However, a number not less than critics charge noted that the tape had too many similarities with the Pasolini film, despite the efforts of Bertolucci to develop a distinctive style.

"Sterile Harvest" Bertolucci brought fame to the scene of Europe's most international filmmakers, and not yet settled in the controversy later films as " Last Tango in Paris " or incursions of Hollywood " The Last Emperor." Despite the limited dialogue, the film at any time it becomes tedious. The soundtrack by Piero Piccioni, Carlo Rustichelli, is well used by the director to emphasize certain situations in each of the stories. As mentioned above, one of the things that strikes the film, is the way in which Bertolucci is responsible for presenting the city of Rome, interspersed with desolate places tourist sites and slums. Although none of the actors had any experience in film, the interpretations are completely credible, causing much of the characters prove to be obnoxious, especially the soldier who is by far the strangest character and perhaps the most interesting. "Barren Harvest" is a interesting film, with some imperfections of the work of a first-time director. Anyway, this is a film of black Italian film highly recommended and is a good starting point to begin to know the work of this renowned Italian director.

"Great debut of one of the most controversial directors"

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A Scanner Darkly Goodfellas

Director: Richard Linklater
Year: 2006 Country: U.S. Gender: Animation / Science Fiction Score: 08/10
Cast: Keanu Reeves , Robert Downey Jr., Woody Harrelson, Winona Ryder and Rory Cochrane

"A Scanner Darkly" takes place in the near future, when the fashion addiction is the "Substance D", a psychotropic drug with strangers bipolar effects. There we find the officer Fred (Keanu Reeves) and continue the research conducted around a low-level drug dealer named Bob Arctor, who spends the day in his squalid home, using drugs and inconsistencies chatting with friends. But , to work in the underworld, and Fred might be addicted to "Substance D", which will make it much more difficult to research, although Bob is closer than you imagine Fred. In general, the highlight of the film is the effect of "rotoscoping" technique had been used by Richard Linklater in the masterful " Waking Life," but this time applied with extreme beauty, which makes I spend the hour and a half watching the movie just move the drawings. Some approaches of the film are also interesting, and by the end of the film we'll be wondering who the good and bad, what is behind the play of appearances, masks, shadow play, in that great theater of the world I think Linklater. However, to get to the central and really important to the plot.

When I saw the film first, I was with some trepidation, because even in the hands of one of my favorite directors, I feared that the legendary novel by Philip K. Dick was not well adapted to the big screen, as has happened with almost all films based on his work {other than "Blade Runner" (1982) and "Minority Report" (2002)}. In the case of "A Scanner Darkly", the result is true to the book, also the director brings originality to the story. The novel in question is one of my favorite titles of Philip K. Dick it not only tells a story of unusual strength and intelligence, but take on a delirious that surrounds us in the unstable state of mind of the protagonist. With this, simultaneously experiencing the "alternative reality" and immerse ourselves in the context of the book, allowing for greater identification even if the character is highly dysfunctional, or if the situation is incredibly bizarre. Despite my fanaticism, try to be as objective as possible. Do not expect much. I understand the enormous difficulty of bringing to the screen the books of Philip K. Dick. Their arguments are brilliant, but usually so exuberantly original if not for its unique narrative style (simultaneously profound and prosaic) seem ridiculous or even incomprehensible.

The point is that "voice" of the author is the first thing you lose when adapting a novel to film, so the director Richard Linklater had to find the balance between form and substance, between situations who narrates the book and the way Dick and reinterprets the account. I think that's the justification for the visual style that Linklater used for this film. At first glance it seems that the "rotoscope" (drawing pictures on videotaped footage) is a simple trick to decorate the belt, but is actually an emulation of the fractured perception of the protagonist, which can never be sure of the supposed "reality." And, of course, the technique of "rotoscoping" is as old as cinema itself, but its digital interpretation has become more economically and efficiently, allowing Linklater create exotic landscapes and unusual images that otherwise would have cost too much for this experimental semi-independent production. However, a negative consequence of this technique is that somehow mitigates the actions of the cast, and only the most frantic performers (Robert Downey Jr., of course) manage to give life to their characters. Keanu Reeves, Winona Ryder and Woody Harrelson to lose considerable expressive power (well, maybe not so much Keanu), which definitely affects the emotional level of the film. In other words, if not "feel" like the characters is difficult absorbed in the plot.

Speaking of the plot, I think the adaptation of the book is sometimes too faithful, leaving intact scenes that change pitch without the aforementioned "voice" omniscient writer. For example, the discussion that arises when a car breaks down is as simple comedy, instead of getting mad atmosphere of one of those repetitive and inescapable nightmares that produce fever. Perhaps Linklater should further boost the creativity of its leaders in some of those moments, to emphasize image what the script and failed to generate action muted, despite that Linklater leaves us many messages hidden in an argument of drugs, betrayal, corruption, and that makes us questions like ... the end justifies the means? how we are manipulated by governments? what kind of society do we live? we are a society alienated? or else we are "alienated"? The movie is good even leaving aside the visual considerations. It would have been difficult to include in a normal movie hallucinations and changing clothes without retouching squeak and give kicks to the eyes (as is often done). The "rotoscope" fulfills its function, give an air of unreality to everything and easy to accommodate the "effects" from the rest of the image, and I get tired and makes me crazy. "A Scanner Darkly" is a bold film with a script to be structured as the film progresses.

Philip K. Dick was not living a recognized author on the basis of his written works, it is known by all who have read his works usually referred to consuming all sorts of drugs and had friends of questionable repute with whom he shared all kinds of experiences unimaginable . This partly autobiographical film is a part of that life as intense as it was degrading, but that gave us as short stories and novels heritage of unquestionable quality and imagination, the film immerses us in this world to show us in all its cruelty and personal decline, the failure of a social system unable to get solution to all this chaos, but if so the protagonist has become a sort of spy in the service of that system it is supposed to be and must be faithful to betray his fellows, thus entails sacrifice for himself. The feeling is watch the film in question is genuine thrill and anxiety as if into a dark tunnel where there is an entry, but no outlet or light where you see the end of the trap for our illustrious protagonist. The story is a manifesto full of philosophical dialogues and moral decisions that alter this unpredictable story of loyalty and betrayal, where nobody is what it seems, not even the same.

"A Scanner Darkly" far from being a masterpiece, proposes to see a man who faces his own personal ghosts, having to make a decision very moral. Some episodic moments are extremely funny and original, but its outcome is where it appears the drama and tragedy compounded by the previous history. His final turn gives some light to the darkness in his character has been drowned leading the viewer to analyze this idyllic future and our present reality. I can hardly make an objective assessment of "A Scanner Darkly" (No, really?). On the one hand, is a skillful and faithful adaptation of the book that brings to life the bizarre concepts of Philip K. Dick and his puzzling characters. On the other hand, tends to be so confused that I'm not sure to forward the eloquent message of the novel. As psychedelic band will surely be enjoyed by many people in the "alternative" consciousness, but as intellectual discourse on paranoia, addiction, and believe government control was a little short. However, I have to recommend it if only as a fascinating experiment that partially fulfills its potential targets. And if one of them was to promote the book so that more people read it, you can already consider that the experiment had a major success. With its faults and its virtues, is a strange and complex film, but if it means we will enjoy to the fullest and never be forgotten.

"It's a win, but it is a clever interpretation of the subversive spirit"

Indigo Airlines Motto

BEATS (2001) Juan Avellan

Beats is a short film written and directed by Juan Avellan, accredited the same as Juan Manuel Martinez, a fellow clerk wants What Coppola: Film Blog and faithful friend in and out of the blogosphere. It was produced for ten years but it reflected one of the many situations constitute the daily life of this terrible we all know and economic crisis calls himself.

Applying For our country, Juan Avellan shows the daily life of any family of lower middle class. Unemployment, frustration, education and social security are issues that we envision in the 11 minutes of footage. From a cinematic point of view are references to the universe Almodóvar, so that a housewife ironing at night is a direct homage to that character actor of What have I done to deserve this? (1984, P. Almodovar) played by Carmen Maura. And the phone which is expected to sound desperate for a heart operation needed by the parent seems derived from Women on the Verge of a Nervous Breakdown (1988). References inevitable in every filmmaker and artist in general, not one iota tarnish its own discourse, that of a young filmmaker with clear ideas about what you want to tell: a review wildly toward Social Security. And extrapolating the question beyond the English borders, oblivion of the system towards the disadvantaged.

The film is conducted with great realism. Looking at austere locations precisely because the social status of the characters, showing great knowledge of the speech that the Italian neorealist movement endorsed, which sought to show the plight of the most miserable, forgotten by an unjust system. The picture helps to get into that environment with the help of actors, although they may have been at times a more accurate interpretations.

Dominador cinematic language he knows to squeeze the maximum achieved Avellán planes that are touched by a wisdom which is especially noticeable in the composition of them, looking just move from simplicity. Example of this is the final sequence, where the phone rings at last, but it's too late. The heartbeat of the protagonist, who already showed signs of exhaustion, no longer palpable and sound proof that there is a human life and give way to silence indicates death. The bureaucracy, represented in the short film by the doctor, has struck a more anonymous. "Bleak? Yes, but more realistic ... what can I say ... Not in a newscast.

EDUARDO MUÑOZ

Poster For Fire Prevention

Director: Martin Scorsese
Year: 1990 Country: U.S. Gender : Gangster / Drama Rating:
10/10 Cast: Robert De Niro, Ray Liotta, Joe Pesci, Lorraine Bracco, Paul Sorvino, Debi Mazar, Mike Starr, Tony Darrow, Frank Siver, Frank Vincent, Chuck Low, Frank DiLeo, Clem Caserta and Samuel L . Jackson

Henry Hill (Ray Liotta), the son of an Irish father and Sicilian mother, is fascinated by the life led by gangsters in his neighborhood in Brooklyn, where most residents are immigrants. The mob patriarch Paul Cicero (Paul Sorvino) is the protector. At thirteen, Henry, will leave the school and will become part of the organization as an errand boy. But will upgrade as it reinforces the confidence placed in him mobsters. With the complicated eighties coming to an end, years that made such remarkable works as " The Color of Money" (1986) or " Life Lessons" (1989), Scorsese meticulously prepared a long-awaited project a novel that had excited, and whose author (Nicholas Pileggi) would establish a great complicity and friendship. In fact, both were working on several versions of the script for several years and would be the first credit as a screenwriter for Scorsese since, precisely, " Dangerous Streets" (1973), which many ways is like a vibrant draft, much stammering, the movie finally premiered in late 1990, "GoodFellas." It crystallized all obsessions, all narrative and stylistic achievement, all thematic ramifications for two decades, Scorsese was hoarding and growing inside. For many it is the summit of scorsesiano film and perhaps his most personal film, and still continues its unique narrative force, its validity and its avant-garde aesthetic, and future film and therefore timeless.

We return, therefore, the gangster film that is often associated with creative figure its director, but as we have seen in this review of his career, from "Dangerous Streets" had stayed away from this topic. And although perhaps in "Raging Bull " (1980) the New York mafia appeared tangentially, this association is inevitable with so few titles, since very few filmmakers have explored with such clarity in that universe of fragile loyalties, few unscrupulous and savage daily. Scorsese spoke with great talent losers who want to regain their dignity, petty artists of great talent, self-destructive boxer, lonely taxi drivers and schizoid, but mostly he will be remembered, for many years, for his book of the underworld of New York, Boston or Las Vegas. So things are. However, I have no doubt that today we will talk about one of his greatest films, whose wake is still felt today with great intensity (a show like "The Sopranos" is unthinkable without its previous existence) and that Scorsese brought out his particular perversion of the American dream. It has often been said that "Good Boys" is the movie about the most important mafia from " The Godfather" (1972). Maybe it is, but Scorsese's film stands as the reverse of that tragedy, because while Coppola's fiction tends to mystify members of the organization of Italian origin, the story scorsesiano away from all idealism or scope tragic to tell, from a perspective that blends the nostalgic with the cynical, several decades of existence of Henry Hill (who really existed) and its traveling companions.

While Coppola told a story of power and blame the focus on large heads, Scorsese prefers to concentrate on middle managers, men of (dis) trust, for without doubt much more interesting to the idiosyncrasies and scorsesiano style, so prone to explore with passion and realism to characters that in their daily lives, are faced to frequent and unpredictable outbursts of violence. "Since I had use of reason wanted to be a gangster", is the first sentence of the protagonist of the story, a sensational Ray Liotta, begins to structure this perversion of the traditional American story of nobody who would one day become someone powerful ( even president of the country). Like other great characters scorsesianos, an obsession Hill leads the life: being part of the mafia in his neighborhood community. His magnificent voice-over (often a cynicism almost provocative), at the end of the story will have a partial narrative justification, is the perfect complement to a scene which prevents any orthodoxy film or classical presentation of events. That is, the rise and fall does not follow the rules of the classic tale of black cinema in favor of impressionism and realism that puts it another aesthetic level. The level of memory, nostalgia for a bygone era irretrievably lost, but with the clarity of finding the time and the reasons that everything was spoiled. And with a clear and unbiased view, Scorsese talks about subjects he knows very well: growing up in a working class neighborhood where the gangsters do what they please without anyone could ask for, inter alia, because the minimum that you can happen is that you open the head to death. The late fifties, the turbulent sixties, gray seventies.

Assuming the enormous gaps in a history spanning many years, the eminent Italian-American filmmaker plunges accurately in the initial learning in the splendor and decay half end without the slightest drop of internal rhythm, struggling the most in a seemingly trivial detail, so much detail that becomes one of the greatest defenses of its direction: to recreate an almost documentary life, stopping at specific moments that can break the continuous stream, but that crystallize events highly expressive value. For example, the famous dialogue between Henry Hill and Tommy DeVito (Joe Pesci), where everything ends up as a joke, without the expected outbreak of violence, because it is not necessary to realize that Tommy is a dangerous and unstable character. Actually, it is a study of the fragile bonds of friendship, as the three character players (Henry, Tommy and Jimmy) form a kind of society is always on the verge of breakup, with the perennial threat of betrayal, moral duplicity of the stab in the back. Three well defined characters, on the other. Jimmy Conway, played with his usual shaft by the great Robert De Niro, would become the most vicious and cunning of all. But none of them really part of the family, even earning large amounts of money and see the need to play the type and consistently freedom. Therefore, it is actually another story of losers who somehow know the ephemeral nature of their existence, that everything can end abruptly with jail or shot in the head, and so enjoy life in this and try to squeeze the maximum time. From there I think Scorsese was born interest in portraying the most immediate life possible for these subjects, giving up mafia tell another story as they did his admired Hawks and Walsh.

the invaluable complicity of the German operator Michael Ballhaus (who and working under Scorsese's other films, and that he would repeat it in the future) Scorsese achieves mastery of very complex disciplines of directing actors and stage, initiating an era of maturity in addition to absolute stylistic consistency and aesthetic modernism in the nineties. A maturity that goes far to bring more than ever, behind a probable marketability, their own artistic needs. Consistency that except tripping may become necessary (as his next film), an ironic result of the disappointment of some of his followers. And avant-garde that has moved, and I think wrong, narrative film several decades with each of the masterpieces that filmed in the nineties. In the case of "Good Boys", one has the feeling that Scorsese films like breathe, without effort, when in fact its dramatic and expressive solutions elaboradísimas be guessed. Besides directing actors is also masterful, knowing out of every one of his interpreters as appropriate to their roles. We knew that De Niro in the hands of Scorsese's great, but here again leave us breathless as we got with Travis Bickle and Jake LaMotta. Restrained, tight, capable of transmitting a whole class of interpretation with a smile, a look, the way of walking, without the fuss and grimaces to now is so prone. Joe Pesci takes all his verbal and gestural flow disproportionately to compose a mythical character, which earned him an Oscar. And never was and never will be.

"Goodfellas" is the mature work of its director, a summary and a summary of a particular world and an original vision of friendship, work, social groups, life and values of each, which is also mature in the formal and door to a cinema where there's nothing left, where the adequacy and the showcasing of all members of technical and artistic impact on the perfection of all, a common goal, a goal achieved. In a word, absolute freedom. Dante episodes or funny, but always vibrant, alive. The number of anthologies sequences of this film is literally amazing, filmed with an almost adolescent energy, playful and serious at the same time. Scorsese had become a teacher. That year he competed at the Oscars with the wonder of "The Godfather, Part III" and "Dances with Wolves", and had to settle for the actor for the great Pesci. Meanwhile, Costner stood with best picture and best director, and other five, in another of the great blunders of California annual awards. Consider the stammering, though colorful, Kevin Costner's work as superior to Martin Scorsese deployed teachers in this masterpiece, is a hoax. Everything in the epidermal and "beautiful" work of softness and emulation Costner is more or less achieved, the great codes of the Western, in "Good Boys" is the establishment, flowering and splendor of a unique talent.

"Scorsese on top of his career