In another age we would have defined the focus of our naive youth "a protest film." A story that recalls the films of Rosi, not to be missed.
Paolo Mereghetti
In the great deception Parmalat Pool Servillo and without remorse
is not just a "chance" Italian, is also a "lesson" of Italian cinema. In the sense that a show of respect to the mechanism put in place by the traditionally American cinema (the last example is Margin Call, seen at the Berlin festival, which condenses into a night - horde - the collapse Lehman Brothers), compared to an entire drama effects and plot twists as well as demand in Hollywood, Andrea Molaioli has taken a antithetic way, more controlled. Almost subdued. A road "Italian"? Perhaps the name geografica è un po’ forzata perché si tratta per prima cosa di una scelta di stile,ma l’aggettivo può aiutare a capire le differenze di base.
Del fallimento Parmalat, per l’occasione chiamata Leda, l’azienda «gioiellino» cui fa riferimento il titolo, qui si racconta non il processo penale o le conseguenze sui risparmiatori italiani ma piuttosto i prodromi, le origini. Come si sia potuti arrivare a tanto, cercando (e filmando) all’interno degli uffici, delle sale riunione, dei meeting con le banche, per scavare dentro la testa di chi quell’inganno l’aveva pensato e progettato. Agli utilizzatori finali delle azioni gonfiate e dei bond tarocchi non pensa mai nessuno: nessuna concern on the part of anyone in the film and could not miss that. With an absence for this is stronger than any presence of any scene.
What the director wants to film and explain it is the rational path that leads an industry and its accounting officer to fall one after the other steps dell'imbroglio of moral and, without naming names or easy allusions. So much so that in the scene of the visit to those who should be concerned about the debt of the company (according to the logic that a debt of one million is a personal issue, one of ten million is a problem for banks and a debt of one hundred million is a problem of state), the allusion in this scene direct to the 'Prime Minister' ends for Stone, seem to underscore a pleonastic. It was enough (and advancing) the board to laugh at jokes ...
Molaioli's challenge, then, is based on the exemplarity more than the script on the effectiveness of the actors, their ability to enter characters (because it is still Amanzio Rastelli Calisto Tanzi, Ernesto Botta is unambiguously Fausto Tonna) without slipping in need of imitation, in Noschese. It must be said that Remo Girone Toni Servillo and fully support the challenge of the director. As sorrowful and overwhelmed by the facts Girone, ready to to listen to everyone but at the same time ambitious and stubborn; Servillo rather unpleasant and pointed, "rigid" in his neck that organizations such as the effort to bend, capable of the worst cheating without feeling the slightest remorse morale. Italianissimi both in this, as the youngest and therefore most outrageous granddaughter Laura (Sarah Felberbaum an equally good), the symbol of the new spreads, of course, with degree and master - while the 'old' stop at a diploma in accounting - and perhaps The more we come to this, more relaxed, more cynical (which justifies, at least initially, the contract 'seems to make sex with Botta. Then, when he gives the impression that he had also fallen in love, the bond is a little 'too).
Thus, as the story progresses, you eventually forget the references to the Parmalat case (which are many) and one becomes drawn into the story of these "Dangerous Liaisons," which can confuse the company with the attachment right to make up the budgets and then also to deceive investors. Without ever feel the need to rely on some "Jiminy Cricket" the joke illuminating dialogue didactic. As in real life, where there is no one who does the moral first. If anything comes after, but at this point the film is already finished and leaves the viewer with the task of pulling the money alone. This linking up fully to its previous style choices Girl of the lake where the core of the story (beyond the murderess Anna, the financial scam here) ends up taking second place, opposite the description of the world and a hidden po'misterioso Italian countryside and its ambiguous humanity.
(From: The Corriere della Sera, March 2, 2011)
Paolo Mereghetti
In the great deception Parmalat Pool Servillo and without remorse
is not just a "chance" Italian, is also a "lesson" of Italian cinema. In the sense that a show of respect to the mechanism put in place by the traditionally American cinema (the last example is Margin Call, seen at the Berlin festival, which condenses into a night - horde - the collapse Lehman Brothers), compared to an entire drama effects and plot twists as well as demand in Hollywood, Andrea Molaioli has taken a antithetic way, more controlled. Almost subdued. A road "Italian"? Perhaps the name geografica è un po’ forzata perché si tratta per prima cosa di una scelta di stile,ma l’aggettivo può aiutare a capire le differenze di base.
Del fallimento Parmalat, per l’occasione chiamata Leda, l’azienda «gioiellino» cui fa riferimento il titolo, qui si racconta non il processo penale o le conseguenze sui risparmiatori italiani ma piuttosto i prodromi, le origini. Come si sia potuti arrivare a tanto, cercando (e filmando) all’interno degli uffici, delle sale riunione, dei meeting con le banche, per scavare dentro la testa di chi quell’inganno l’aveva pensato e progettato. Agli utilizzatori finali delle azioni gonfiate e dei bond tarocchi non pensa mai nessuno: nessuna concern on the part of anyone in the film and could not miss that. With an absence for this is stronger than any presence of any scene.
What the director wants to film and explain it is the rational path that leads an industry and its accounting officer to fall one after the other steps dell'imbroglio of moral and, without naming names or easy allusions. So much so that in the scene of the visit to those who should be concerned about the debt of the company (according to the logic that a debt of one million is a personal issue, one of ten million is a problem for banks and a debt of one hundred million is a problem of state), the allusion in this scene direct to the 'Prime Minister' ends for Stone, seem to underscore a pleonastic. It was enough (and advancing) the board to laugh at jokes ...
Molaioli's challenge, then, is based on the exemplarity more than the script on the effectiveness of the actors, their ability to enter characters (because it is still Amanzio Rastelli Calisto Tanzi, Ernesto Botta is unambiguously Fausto Tonna) without slipping in need of imitation, in Noschese. It must be said that Remo Girone Toni Servillo and fully support the challenge of the director. As sorrowful and overwhelmed by the facts Girone, ready to to listen to everyone but at the same time ambitious and stubborn; Servillo rather unpleasant and pointed, "rigid" in his neck that organizations such as the effort to bend, capable of the worst cheating without feeling the slightest remorse morale. Italianissimi both in this, as the youngest and therefore most outrageous granddaughter Laura (Sarah Felberbaum an equally good), the symbol of the new spreads, of course, with degree and master - while the 'old' stop at a diploma in accounting - and perhaps The more we come to this, more relaxed, more cynical (which justifies, at least initially, the contract 'seems to make sex with Botta. Then, when he gives the impression that he had also fallen in love, the bond is a little 'too).
Thus, as the story progresses, you eventually forget the references to the Parmalat case (which are many) and one becomes drawn into the story of these "Dangerous Liaisons," which can confuse the company with the attachment right to make up the budgets and then also to deceive investors. Without ever feel the need to rely on some "Jiminy Cricket" the joke illuminating dialogue didactic. As in real life, where there is no one who does the moral first. If anything comes after, but at this point the film is already finished and leaves the viewer with the task of pulling the money alone. This linking up fully to its previous style choices Girl of the lake where the core of the story (beyond the murderess Anna, the financial scam here) ends up taking second place, opposite the description of the world and a hidden po'misterioso Italian countryside and its ambiguous humanity.
(From: The Corriere della Sera, March 2, 2011)
scheduled at: New FilmStudio Savona
4 to 7 March 2011
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