Asus P5x Scheda Madre

Before the Revolution

Director: Bernardo Bertolucci
Year: 1964 Country: Italy Gene ro: Drama / Politics Score: 08/10
Cast: Francesco Barilli , Adriana Asti, Allen Midgette, Cristina Pariset, Morando Morandini, Giuseppe Domenico Alpi and
Maghenzani

After his controversial debut film "Sterile Harvest" (1962) with script the great Pier Paolo Pasolini, Bernardo Bertolucci made with "Before the Revolution," his first movie author, recounting a story of inspiration strongly autobiographical in that combines the passion and ideology. The protagonist, Fabrizio (Francesco Barilli), has twenty years and is the son of a wealthy family of Parma, but rejects the bourgeois atmosphere that must therefore be committed politically to the left and joined the Italian Communist Party. In his new concept of life there is no room even for Clelia (Cristina Pariset), a bride almost imposed by the family, to which Fabrizio leave to pursue their ideals. But IE suicide of his friend Agostino (Allen Midgette) further exacerbated the ideological disorientation and existential Fabrizio, only Gina (Adriana Asti), his young aunt who has come to Milan to cure his nervous breakdown, understands the crisis of youth. Between the two, despite their profound diversity of temperament and outlook on life, comes a love story that is suddenly interrupted when Gina decided to return to Milan.

Bertolucci made with "Before the Revolution" a cult film, rich in literary evocations and suggestions, the "Charterhouse of Parma" by Stendhal , which mimics the principal characters Fabrizio, Gina and Clelia, Pasolini's poetry to the protagonist recites the beginning of the film Wilde to Proust, to Pavese, evoked in the character of Cesare (Morando Morandini). Furthermore, it is a profoundly musical film, both through the images that enhance the landscapes of Parma Area, and by the use of music by Ennio Morricone, the songs of Gino Paoli and "Macbeth" by Verdi before the end. While the stylistic level the work is fed both Pasolini film's poetic realism and the French, there are also numerous references and quotations with which the director outlines his own cinematic horizon, which includes authors such as Rossellini, Renoir and Hawks. Fabrizio and Gina did not seem to understand that this revolution passionate seeking must be personal, that wall is inside and that is unlikely to topple seeing it as something external, therefore embark upon a desperate search of activity and commotion, objectives and companies outside themselves, to keep always in motion, distracting the awareness of being stagnant.

Fabrizio, Gina, Clelia, operate in the manner of a love triangle that represents the metaphorical search of the ideal, the confrontation of two concepts of morality determined not to be understood. Bourgeois purposes as opposed to the communist motivations determine the attitude of Fabrizio, which resignation and mold conformity final reading of history which applies, in large part to the times. Parma is a character who has inherited the humanists, their representative will outline Clelia, nonexistent, inseparable from the city and receives by far the spectacular manifestations typical of the city, church and theater, in the mass and Opera. Parma will be all which is the "Tower of Parma" for Fabrizio and Clelia is also the jailer's daughter. In this town-jail-cell family, the old bourgeois apartment, filled with aisles, crammed with his horrible upholstered furniture that are a cut inherited and occupied by relatives living as mere furniture and taking daily naps like a death.

is understood that in the eyes of young Parma Fabrizio change changing the world be equally tempting to hunt the white whale through the five parts of the world. But the revolution is a white whale? That is the whole problem. God knows if Fabrizio is displayed with goodwill! But a prisoner of his environment, will never be the man again, his future lies in its bourgeois past, he is the victim (after all consequential) of certain life comfortable this sweetness comparable to that of the old regime before 1789 and what Talking Talleirand (cited by Bertolucci as evidence for his film), "who has never known life before the revolution has not known the sweetness of life." It depends, because obviously that Fabrizio is enjoy it, that nasty, this sweetness paralyzing. Numbed by the feeling of failure, although it has been sensitized to their story of impossible love with Aunt Gina, is poisoned by the nostalgia of this. Hence the vertigo, especially fear and helplessness that leads to his friend Agostino to death, and he, Fabrizio, marriage as a suicide. The final triumph of Italian bourgeois order is symbolized by the sound of a Verdi opera, the "bel canto" becomes in the sign of a class culture, the "nec plus ultra" of a fun class, as most of the art and the mundane.

Throughout the film we see the characters desperate for his revolution, trying to force and try a thousand ways, but that never comes, so comes the assurance that we have peaked, "always is before the revolution when you're like me, "and of course come to despair. The complaint policy is not worth more than its absolute objectivity, and documentary, of unquestionable honesty. Or the absolute sincerity. The truth, the harsh truth, we will get through more Beyond the distortions imposed by the lyricism. One of the strengths of the film is its lyrical strains help us understand. The impressive close-ups to exalt faces painful lucidity of psychological analysis, the beating of the camera, its lapses, its sometimes frenetic agitation "sing" the development and impatience with the spell, before the march in pose, the regularity of some tracking shots that do not indicate the return of calm and resignation. The beauty of many shots, often beautiful refinement (glare, very white soles in early spring, light hits adolescence) "sing" grace "to civilization "in a dying society and indestructible, and is famous sweetness before the revolution.

"A desperate search for the meaning of life"

Nursing With Long Nipple In Viedo

Marni, THE THIEF (Marnie, 1964) Alfred Hitchcock

Marnie, the thief is a strange film that could be considered as a review Color Remember , film addressed the teacher in 1945 and which already made use of psychoanalysis to develop a story based on a clinical case. But it would be unfair to stay Marnie there and see as a revamped version of that simple black and white film, although the homogeneous elements of both films are more than evident.

We're probably talking about the last great Hitchcock film, after the masterpiece that was Birds (1963). Again returned to work with Tippi Hedren very reluctantly, because for the role you always wanted to Grace Kelly, in what would have led to his return to cinema through the front door. For the male protagonist chose Sean Connery, very fashionable at the time, especially the films of the saga of James Bond, to serve as "doctor Freud "with Marnie. If You psychoanalytic sessions were conducted by Ingrid Bergman for your patient / loved Gregory Peck, here is the opposite, is the male role who seek release of the beautiful female neurosis.

Marnie, the thief is not a Hitchcock film to use. British film director does not use theft Marnie to create the suspense about whether or not it will be discovered by the police as would be common, this fact is transparent to the viewer, but focuses on the mystery of neurosis Marnie from the premise: Why need to steal this beautiful woman ? Moreover, one of the best interests of this film is Sean Connery's character. The love he feels for Marnie is very peculiar, because the question as if it were a caged animal, showing a fetishistic love reflected especially in the sequence of rape in the boat. What attracts you to it is precisely because he is a thief, so the sexual desire, and it is unusual for the time the deal dominating and humiliating sometimes performed with her, coming to blackmail and make you marry him for not disclosing his secret police.

therefore makes a Hitchcock film and a plot purely psychoanalytic suspense away from police. In this way makes your work in a drama about a tormented and sexually repressed woman who needs to steal. It would still have a splendid thriller, for example, that brilliant and famous sequence in which Marnie steals in the office where he works and has to flee without being discovered by the cleaning lady.

Hitchcock returned to work once more with Bernard Herrmann, who composed a soundtrack haunting and powerful body, accentuated especially in times when Marnie is prey to fits of hysteria that makes you red and storms. Photography by Robert Burks is fundamental about this film, where the color is so important.

And, finally, a story not without interest to the end result that Hitchcock wanted his film. The original writer was Evan Hunter, who wanted to dispense with the aforementioned rape scene with the excuse that Sean Connery's character would become unpleasant to the public. Hitchcock declined sharply and the script ended up being signed by Jay Presson Allen, based on the novel by Winston Graham. Bravo, once again, Sir Alfred.

EDUARDO MUÑOZ

Pressing Breastsof Womans

1988 AFTERMATH A.D. "devouring the dead" (l.p.) 1988

rREGRESO SERUM WITH BANDA shook FORGOTTEN THAT BEAT WITH THAT OVERWHELMING YHRASH / DEATH JUST AS AMERICANS CAN DO ALMOST CONSIDERED OF WORSHIP, AQUNQUE DEMOS HAVE SOME GOOD, THAT THIS IS THE BEST PRESENT ....

from using (Raleigh, north carolina)

formed in 1987 under the genre of thrash / death metal

only 6 demos recorded between 1987 and 1993.

after touching a new year concert of 1993, separated in 1994.

They met again on October 21, 2008 for a presentation at the festival of rock monster bash in his hometown, and apparently still active.

1st training:

ABE QUINN-(bass and vocals 1987-1994)

Dalgo RONNIE-(guitar 1987-1994)

MCLAMB TREY-(drums 1987-1994)

S. Smola-(guitar 1987-1989)

REPLACEMENT: KEITH Fairweather (guitar 1989-1994)

Discography:

1987-BASEMENT TAPES (DEMO)

1988-devouring THE DEAD (demo)

(re-masterizadoe by thrash world as full length en 2011)

1990-Mindless HAVOC (DEMO)

Kates Playgrond Clips

Clerks

Director: Kevin Smith
Year: 1994 Country: U.S. Genre: Comedy Rating: 8.5/10
Cast: Brian O'Halloran, Jeff Anderson, Marilyn Ghigliotti, Lisa Spoonauer, Jason Mewes and Kevin Smith

The plot is a day in the life of Dante Hicks (Brian O'Halloran) counter an employee of a small convenience store, the legendary " Quick Stop." Dante spends the day dealing with situations ranging from farce to tragedy, including several that combine both approaches. With "Clerks" (titled in Latin as "ATM"), Smith created a brilliant film, extremely low budget, but with a biting script as innovatively captured the unanimous approval from critics and the public. It appears that the prestigious Sundance independent film festival every year comes a child prodigy with his supposed new love to the specialized public view and the legendary executives Hollywood, eager to find (and exploit) something that gives them new credibility and prestige within the film community. Sometimes such a talent emerges, as in the case of Steven Soderbergh, in many cases (I will not mention names) we are never heard of the miracle. In the case of Kevin Smith, for better or for worse, there was a mixture of both situations, his first film, premiered at Sundance, was "Clerks" and was so well received that he predicted a bright future in film study. However, the sensitivity of Smith is so particular that, outside their small but fanatical cult of fans, has had difficulty in achieving economic success (synonymous with prestige in Hollywood) who predicted that insurance expected success.

When you start the movie, Dante gets the bad news that has to work, albeit part time, on his day off to cover the absence of local owner who has some things do. Dante comes reluctantly and with their eternal mantra "I should not even be here today!" faces his friend Randall Graves (Jeff Anderson), an employee of the neighboring counter establishment "RST Video", a tiny video store that caters to people with the worst possible taste. This duo, from the start, representing opposite sides of the same coin. Both have the greatest contempt for the customers who come to health facilities, but at least pretends Dante courtesy and competence, while Randall is actively rude and aggressive towards customers. Throughout the day the two friends engaged in a series of talks under the vulgar humor, hide a genuine analysis of the popular ideology of our times. From romantic relationships to "The Return of the Jedi", any excuse is good for the vocal sparring between these two characters. Eventually the story takes a different turn with the appearance of Veronica (Marilyn Ghigliotti), Dante's girlfriend. It is clear that she really cares about him and his future suggesting that he return to school and does not consider the "Quick Stop" as his lifelong career.

Dante appreciated the advice, but it is something more urgent in mind: just found out that his ex-girlfriend, Caitlin (Lisa Spoonauer), is about to marry another man. Despite his affection for his girlfriend, Dante still harbors strong feelings for Caitlin, and this new situation unleashed another string of semi-deep conversations with Randall. Additionally, there are several occurrences in the day that show the idiosyncrasies of the young people of Red Bank, a small town in New Jersey where it develops history and where the director grew up. As you hear, "Clerks" is basically an hour and half of parliament and discussions, limited to a few locations. Call it a sort of "My Dinner with Andre" (1981) for contemporary young audiences. The characters are as colorful and as fiercely incisive dialogue that we do not need decorations to keep it interesting film. Although the performances are generally poor and not very polished, the general tone of the film and his attitude, but subversive kind, resulting in a film that strikes a good balance between humor and drama, realism and absurdity, between aggression and melancholy. In his first film, his already mythical characters are born Jay (Jason Mewes) and Silent Bob (Kevin Smith himself), which function as observers and commentators of the events they witness, and his appearances mark key points for the characters in any of the tapes in which they appear ... but I'll talk about that in future posts.

The direction and cinematography are minimal and perfectly complement the simple story. Which is filmed in black and white is a business decision, but also helped the narrative, as the coarse grain and poor lighting lend a documentary tone that emphasizes the realism of the characters. The flat direction of Smith seemed a decision art, but as demonstrated in his later works, such simplicity is because it is a bad director. He himself has acknowledged this, so trying to adapt their scripts to their particular style (or lack thereof). In the context of the entire film career of Smith's "Clerks" proved to be the first in a series of films dealing with the same family of characters and places. This decision goes far beyond being a small private joke. Smith has created a rich mythology, characters and relationships, while retaining the simplicity of life in a small town, but emotionally are an epic which should be studied thoroughly to appreciate the detail and attention that has been applied the brilliant scripts. Which brings us to the ineffable couple Jay and Silent Bob. This pair of thugs form the junction between all the movies of Kevin Smith. I still remember wanting to sneak a schizophrenic Jay his cousin next to Bob since then and knew no longer be so silently. And every character is a world in this most excellent pachanga between buddies, each with their concerns, desires, phobias and problems. The fact is that life really is just as chaotic as in "Clerks."

addition the strength of "Clerks" lies in its ability to shape a whole generation with a humor shares soaring. The easy joke here occupies a fairly large hole, but not in any way, but seamlessly integrated into a dynamic story, agile, full of pace and crude and scatological situations. And it all ends here, no way, because throughout the film our heroes and the whole troop of fanciful characters that come and go in the store, are participants in dialogues full of culture "freak." No matter how many times Ben Stiller claimed that "The Harsh Reality" (1995) had filmed the movie is more representative of "Generation X" because in reality the same year a certain Kevin Smith would take the honor with "Clerks," his first feature. But what is Generation X? It is one of these terms without a clear definition, but to understand, every time someone uses this term, talks about some young teenager who lived in the 80's. A generation characterized by a radical break with their parents, thus also coining the adjective "Forgotten Generation", thus referring to all young people driven by a deep sense of disappointment, saw myths television / film / music of the time the closest thing to a father figure.

In the film there are constant moments of reflection, because Dante looks completely undecided with what to do with your life, do not know whether to continue with their studies or continue working in the store. Randall is different, is accommodated and is fully aware of their situation in life, because he knows no more. Are two opposing positions in more than a spectator will be reflected. For this reason, despite its comic tone, "Clerks" is also bitter in that regard. If this were not enough budget for a decent mount more, better lighting or a photograph with fewer defects, little can matter, since "Clerks" is benefiting from the independent scurfy appearance that characterizes it. "Clerks" is a modest work of art, which combines the vulgarity, the humor and drama to get a deep result , aware of the inherent contradictions of the human condition, and eminently enjoyable. I think the debut of Kevin Smith is laudable, who under the inspiration of Jim Jarmusch and Richard Linklatter (independent film icons), to make a film still lack the proper training, and managed to succeed despite their obvious limitations. Widely recommended by both their own and achieve the important part played in the future work of Smith. It is definitely a work of vital vision for the movie buff, almost the best movie of Kevin Smith, along with the second part of the same title, the outstanding "Clerks 2", which I will later in the blog.

"A milestone in the Independent Film"