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henryx's Reviews

Displaying Review 1 - 5 of 6 in total

  • Written by henryx on 29.11.2011

    This is the story of a evil man, ugly, slimy, stingy beyond belief, named Geremia de Geremei (Giacomo Rizzo). His real source of income is the usury, strictly deposited in safes.
    The filmmaker Sorrentino takes a journey "inside man" by analyzing its miseries, its deep solitude, the human drama of a being obsessive, sick with life.
    Geremia, who calls himself Geremia from "heart of gold", uses the power of money to redeem its position in relations with the world.
    He is not interested so much money, but rather to keep people subjugated that caters for every kind of loan.
    A dreary life, lived with his paralized mother in a dilapidated house. Geremia has almost every kind of deprivation necessary for a dignified life, bordering on the mask of horror as a human being.
    Giacomo Rizzo is extraordinary in its entirety.
    The soundtrack very careful, with games of electronic music that give strength and narrative tension.
    The film has a quite good script and good shots of the scene, technically unsettling, but also rich sequences.

  • Written by henryx on 11.02.2013

    Titta di Girolamo is a middle-aged man, who lives in a hotel of an anonymous Swiss town, estranged from his wife, alienated from his kids.

    He works on behalf of the Mafia, his life goes always the same between the rooms of a hotel and a visit to the bank every week to deliver a suitcase full of cash.
    He is grumpy, lonely, unfriendly. But at some point in his life, he is completely overwhelmed by the need for love and ties that for too long had rejected... thus an encounter with a charming bartender which will lead to a tragic end.

    Despite being populated by gangsters, this film is not a film about the Mafia, rather a meditation, with no real moral implications, the mechanism and implications of the awakening of a man emotionally drugged.

    A screenplay by manual cinema.
    Meager dialogues, but the characters tell with his eyes, without ornaments or smearing lexical interpretation.
    Cold faces that alternate and collide on the screen, you fill the eye and make themselves known slowly, gradually.

    Remarkable interpretation of Toni Servillo.

    It is a valuable and crucial stage of the Italian cinema of the last decade.

    Highly Recommended.

  • Written by henryx on 12.02.2013

    “L’uomo in più" is not just a football tactic but the story of homonymy. Two protagonists with the same name and with two similar destinies, successes and tragic fall.
    The film tells the story of Tony Pisapia, very successful singer of popular music, and Antonio Pisapia, a football player of great promise. At the height of their careers comes the defeat: Tony, cocaine addict and unapologetic womanizer, is caught in bed with a minor, by his wife and mother, while Antonio breaks the cruciate ligament during a game.
    Fallen into the abyss of loneliness and estranged from all, the two men initially are able to continue to hope, to have the energy to find success of the past, or a new realization of their existence. But fate is against them and the epilogue only marks the difference of their personalities.
    A story of double and reflections, but protagonists are fundamentally different and opposites: the player is a sad man who is not integrated in the football world, however Tony is a passionate, amoral, driven by his instinct towards excesses.
    Dark and sordid atmosphere, a sense of loneliness almost constant, alternating by light rhythm of 80’s.
    Sorrentino describes the human soul as voted to excess. The human being, free to express themselves, it is prone to overindulge in the pursuit of impulses, passions, feelings. But often this freedom is nothing more than a social label, which has nothing to do with its essence. Lost everything they owned, the two protagonists have a great opportunity to rediscover themselves, free from any label. But the illusion of being "someone" wins on chance to finally be themselves.

  • Written by henryx on 13.02.2013

    An impenetrable mask and inevitably grotesque. A great enigma. This is Divo. This is “Il Divo Giulio”.

    The film tells about the many shadows embodied by political Giulio Andreotti, a living symbol and enigmatic of the many Italy mysteries, referring to the Moro kidnapping, the collusion between politics and the Mafia, weaves political and financial involving the state, the Vatican and Freemasonry .

    It is not only a historical film: the director tries to unravel the the most fascinating and enigmatic mystery: the one represented by the politician Andreotti and the man Andreotti. Try to recount psyche, to show skills and weaknesses and to hypothesize the inscrutable motivations.

    Il Divo, however, is not just a film about Andreotti, but tells about power and a character who becomes an abstract symbol of a powerful closed in a mystery impossible to solve.

    In sad and sumptuous halls of the Power, always dark illuminated by artificial light almost blinds, the events are reconstructed by flashback and combinations of characters.

    Sorrentino is a visionary, a true director, attentive both to the cinema as audiovisual art as the story it tells, able to surprise with visual choices creative and bizarre. The music by Teho Teardo are opposed to the slow movements of protagonist, his silences, preferring to play with words.

    Once again, the director works with Toni Servillo, one of the best actors of Italian cinema.

  • Written by henryx on 21.02.2013

    Peppino Profeta is a strange dwarf. He works as animals’ embalmer. His life is flat and monotonous, but occasionally he works for Mafia to get money for his vices. In a zoo meets young Valerio, animals lover and keen to learn the embalmer’s art.

    Between the two men comes a deep and sincere friendship, an intense liason that will bring them together to share all kinds of experiences, to build a solid and visceral relationship of trust and complicity.
    Through their daily contact with death, the two protagonists are able to perceive the true meaning of life, made of light-heartedness and smiles. The one becomes dependent on the other, their stability is certainty in their symbiosis visceral and emotional.
    This union inevitably is split by a woman, Deborah: she is engaged to Valerio and has a child, taken him away from Peppino forever.

    Peppino's affection towards Valerio is indeed a murky mix of love, jealousy and unbridled carnal attraction, so he try to remove Deborah in every way.
    A tragic end, inevitable and predictable.

    This is a strong and intense film, unequivocally noir, where cynicism feeds in any way the development of the story and characters that are paradoxically innocent.

    Friendship here is an ambiguous feeling: it perceives immediately a dramatic aura, as the giant personality of the dwarf oppresses fragile and uncertain of Valerio, who is great only for its appearance.

    Morbid, deliberately eerie and disturbing, always accompanied by the shadow of death, this movie transforms the current events in a romantic-aesthetic dimension based on the axiom between love and death.

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