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Bullit

(or. Bullit)

USA, color, 1968 , Peter Yates

Duration: 113 minutes
Ge black: Crime / Drama
Cast: Steve McQueen (Lieutenant Frank Bullitt), Robert Vaughn (Walter Chalmers), Jacqueline Bisset (Cathy), Don Gordon (Delghetti - Delgado in the Italian version), Robert Duvall (Weissberg), Simon Oakland (Captain Sam Bennett), Norman Fell (Captain Baker), George Stanford Brown (Dr. Willard) Justin Tarr (Eddy), Carl Reindel (Detective Stanton), Felice Orlandi (Albert E. Renick), Vic Tayback (Peter Ross, is listed as Victor Tayback).
Production: Philip D'Antoni
Distrubution: Warner

far from the headlines you find the style of this film of the late 60s - original, dynamic and surprising. Bullit launched an era, a trend, that of the police over the top, out of the norm, tend toward the game of social conflicts and intolerance towards a hierarchy controlled by the classism, the immobility of free will and the cancellation of ' individuality - especially in reference to certain institutions. They may be gli anni della contestazione, ma questo genere di visione del mondo prende piede anche nel cinema, in maniera prepotente, e da qui in poi sarà tutto un susseguirsi di personaggi scomodi, di “all guts and no glory”, come si dice in America, la patria del dissenso e della ribellione dagli status sociali imposti. Ma Bullit non è soltanto questo.

Frank Bullit (Steve McQueen), un tenente della polizia di San Francisco, viene incaricato di provvedere alla sicurezza di un importante testimone, un mafioso fuggito dalla cosiddetta “organizzazione” dopo aver rubato dei soldi ai suoi superiori. Chalmers (Robert Vaughn) gli affida questo compito, fiducioso nella decantata durezza e risolutezza Lieutenant, and is confident that after the testimony of the surveillance is in fact hides a powerful springboard for his political career. Chalmers is, in reality, only a ruthless social climber, capable of any type of cheap shot to reach his goal, including the use of all available power to annoy the people who get into trouble.
Bullit reluctantly accepted because, in the words of his immediate superior, the captain of police, he was chosen for the job and not much else to say. As a good cop trained on the streets, Bullit realizes that the situation is more dangerous than we think, but accepts the job and performs its job.
Il testimone verrà comunque assassinato, la colpa del fatto scaricata al tenente da un fuorioso Chalmers, che vede così sfumare la sua possibilità di fare carriera in politica. Ma ci sono troppi punti oscuri nella trama e Bullit vuole andare a fondo. Il testimone non era chi diceva di essere e per di più aveva aperto la porta ai suoi stessi assassini di sua spontanea volontà. Bullit decide di infrangere le regole, esponendosi ad un rischio che pochi vorrebbero correre, di mettere in gioco tutto il suo modo di essere per una questione di principio, forse, di testardaggine. Va contro tutto e tutti, capito e a malapena sostenuto dai suoi compagni di lavoro e dalla sua ragazza, che occasionalmente però gli si rivoltano contro anche loro, situation he faces with the Stoics. Will eventually lead to complete his investigation, at any cost.

Bullit made history for the central sequence of the chase car in downtown San Francisco, up and down the streets by the particular to the gutter - a dramatic ups and downs became emblematic for all subsequent detective. This scene, in fact, has made the history of cinema, as imitated over and over again to infinity, for its innovative recovery, its realism and its dynamics - factors wholly unique and unprecedented for the time . It is not, however, only in this present film school to have done. The figure of
Bullit, police decided, all in one piece, insensitive to the upper echelons of power games and totally intolerant of the hierarchy, has become a classic film of some kind, especially the 70s. We are in a period of profound social change, and examples of films like Dirty Harry Eastwood ("Dirty Harry" Siegel is the best prosecutor in the figure of Frank Bullitt), the Redford of "Three Days of the Condor" and other examples on the same line, they reflect deeply on some universal themes. I am against people who fight the tide by challenging, often opposed to the same forces that created them. There's a cynical view of the world in this film, combined with bitterness base that supports the whole, a review of the fund with which things are destined to remain so in this society, immutable you can only fight for their individuality, not only weapon left to become the sons of all this corruption of the soul. But this struggle is often high price to pay, such as loss of sensitivity and ability to deceive themselves, to ignore that things go wrong in the world. Often, the love and luck abandon these people, making them appear alone in the world - a world that despises them and isolates them, preferring to lie down on our laurels while the media manipulate, the powerful government with questionable means, the authorities prevail.

At a technical level the film is worth directing flawless. It is undoubtedly the best film of the career of Yates, who was able to give an unmistakable imprint on all the work, making the movie a real milestone. You can see the high technical log when the film in the opening sequence shows us a perfect symbol in 60s style, reminiscent bondiane - a title scrolling on top of each other, and Lalo Schifrin, with his "Bullit theme" opens the scene. It 's a sequence studied in detail, in which they show themselves ordinary objects in an indoor environment, while the shadowy figure behind a glass wall, are preparing to hunt down a man, hidden in the shadows. From here begins the story.
whole film, then, is imbued with new scenes for the time, we show the other side of the police investigation. We are witnessing an autopsy, complete with a pathologist who recorded his report and dissects the corpse - a special section of the realistic cinema that we have only a few decades in '68 and that certainly was not common. Delgado Bullit and show us how to search the belongings of the suspects, step step, the scene of the bags of Renick, a move that many would cut as it is unnecessary. But it is above the scene of the corpse of Mrs. Renick and - even earlier - in the aggression of her husband at the Hotel Daniels, one realizes that the various prints of the film, compared to classic detective stories. The woman was found with his throat cut, in a pose very little built, messy, and the scene is worthy of this severity, but also the pathos of the testimony of Cathy, who came concerned about her husband, Frank, but then a collision which occurred With this hard reality that did not previously know. The anger, for he saw in his cold Bullit routine while a young woman lying lifeless at his feet, Cathy pushes to accuse Frank of having transformed into a being insensitive - which Bullit does not disprove it at all.

pride of the whole film is the famous road chase through the streets of San Francisco police, the typical and unmistakable. The Ford Mustang Bullitt is a powerful symbol and instantly recognizable, which leads us to identify quickly with Steve McQueen, racing car driver in real life, skills by which we can enjoy the view of the actor driving the vehicle even in most dangerous scene, where the stuntman not replaced it.
The ribs of a Dodge Charger R / T Black (another "muscle car" well-known), Bullit spends himself in a surprising performance, stunning realism to the whole scene, filmed entirely in direct contact and without rollers hairpieces landscape as a backdrop, typical of the post. The camera often takes us inside the vehicles in the race, making us experience the thrill of being inside while they bounce to the famous bumps of Frisco, about 80 miles per hour. It's a memorable scene, filmed with rare skill, which lasted more than nine minutes, as if it had been made was now empty of all poetry and realism, reduced to an empty spectacle unfortunately typical of the cinema of today. No sound only the roaring engines of the two custom vehicles, effectively commenting on the whole scene.
The chase was un'apripista road next to the police, launched a fashion to which almost any kind of film he managed to escape - remember "The violent arm of the law", and Friedkin's "Vanishing Point", on all.

Bullit surprising for its soundtrack: Lalo Schifrin, who became world-famous for its theme of "Mission: Impossible" series, signing one of his masterpieces here. The soundtrack is a mix of jazz, but also dark and frenetic percussion. The pace è fondamentale nell’opera di Schifrin, e qui ne fa sfoggio in maniera egregia. Memorabile la traccia del tema di Bullit, che accoppia perfettamente una melodia ad un personaggio, rendendo l’idea di ogni sua sfumatura psicologica. Ottimo anche “Shifting Gears”, un brano che, come s’intuisce dal titolo, è nato per accompagnare la premessa alla scena dell’inseguimento d’auto – operazione perfettamente riuscita. La musica, quindi, rappresenta un punto in più al film, che lo lega indissolubilmente ad un’epoca, con immediato riconoscimento dei suoni e del modo di fare musica di quel periodo, nell’insieme una piacevole sensazione.

Steve McQueen lega forever his name to that of Frank Bullit, giving us unforgettable interpretation. Its do not give a damn, minimalist and casual, winning right away. There appears to be an ordinary person, full of defects, stubborn and lacking in foresight, at times, and so terribly close to the viewer. It very questionable choices and complete his work, whatever the cost, although perhaps it may seem a futile manhunt that leads to fulfillment. For him, however, it is also a matter of principle: do not surrender before the blindness of the institutions, not let the ambitious nature of social climbers intrude in his work, which is to put you in prison after all the criminals, whoever they are and whatever political significance have their testimony in court. As is often said with eyes and a one-time items, at Chalmers in an exchange of views on the philosophy of life, "You work your side of the street, and I'll work in the mines." For Bullitt is just a matter of point of view, of being behind or beyond the fence, you can play what he does best without a hitch. Each with its own methods. His silence, his being laconic and detached, showing a clear attitude to the routine that has been built out of necessity, that does not deny the man who will pour back, as the last look that gives us the lieutenant, looking in the mirror, exhausted at the end of the film.



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Stacking With Wheybolic

Le Lacrime Amare di Petra Von Kant

Theatre , 2006 , of Reiner Werner Fassbinder
Length: 110 minutes
Genre: Drama
Directed by Antonio Latella
By: Laura Marinoni, Silvia Ajello, Cynthia Spano, Sabrina Jorio, Stefania Troise, Barbara Schröer and facilitators of shadows and Massimo Arbarello Sebastiano Di Bella
Sets and costumes: Annelisa Zaccheria
Company: T host theater Stabile Umbria, Teatro Stabile di Torino in collaboration with the Théâtre National Populaire TNP Villeurbanne - Lyon

From the beginning, even before the curtain rise, this work reveals his heart showing what will be its center of gravity: it is dominated by the gargantuan women's absolute protagonist in a story which man is only mentioned - in an absolutely negative. It 's a giant totem pole, a statue from the basic feminine traits, slightly resembling the counterpart in the work of Petra, Karin, naked - naked as must be the truth and the evidence that will be shown. But still little is understood until the beginning of the staging, one of the best I've seen so far. From the beginning, the director puts into practice his way of representing a scene exploiting the creative imagination of those present, through the stresses that seem to the sophisticated invitations. We watch the scene long nightmare of Petra, to essentially mold film, despite its theatricality - seem duties titles - where we are given a clear idea of \u200b\u200bdizzying tumult hotels inside the mind of the protagonist. And then the phone call, the hysterical phone that will destroy the black magic of the nightmare, bringing light to dark in the morning shock Petra. A sophisticated foreshadowing that takes its cue from the film, as indeed one would expect from a script that just moves from the world of celluloid in his footsteps, despite his work first Fassbinder ports in teatro (1971) che sul grande schermo (1972).
E continua sempre su un ottimo livello, questa storia, attraverso il microcosmo di tre donne, tutte e tre intrappolate all'interno di un legame, che è impossibile da riconoscere come quello che è: una rete sottile, che stringe le sue maglie fino alla fine, travolgendo le sicurezze, le speranze, ogni sogno di felicità residuo, per lasciare tutto soffocare nell'amara, cruda realtà del tradimento delle illusioni e dell'amore. Tutt'attorno a loro c'è invece il resto di quest'universo femminile: l'amica pettegola e frivola, fastidiosa per necessità di stereotipo; la figlia, innocente e, come tale, tagliente nelle sue osservazioni; la madre, onnipresente starting point of any labor of children to adults, especially in the mother / daughter, a duality often difficult and a source of discomfort and suffering.
Petra, a successful fashion designer, has left the tougher life, or rather, is left to corrupt the soul by bad that his life has reserved. A story with a man who has left deep scars, the incentive to become cynical and disillusioned to every kind of love affair, but eventually discover that he in fact made only the most vulnerable - that his was only a barrier hard but at the same time, fragile facade. His being dismissive and deeply unfair against his home and collaborator, the taciturn Marlene, makes it even more odious in our eyes, unable to understand the hearts of others and be understanding towards those who are dependent upon him. But Petra is also a woman disappointed by life, not only deluded by it. This is shown with its expertly navigate through the sufficiency of the empty speeches with her gossipy friend - just who is perfectly aware that there is nothing behind this kind of everyday life.
The arrival of Karin, a beautiful and ambitious girl from the position certainly not as high as his, disrupts the lives of Petra. The result is an impossible love, lost youth that will flourish, and with it the equally forgotten illusions that promise what can not never keep, or the ever sought bliss absolute, unattainable chimera. Petra
sinking more and more, the degradation of this report is intended to make her suffer anything like this before. A report this, love and hate, highlighted by a comparison of dialogue-final, where she insult Karin, his ruthless careerism, his grimly using it for their own purposes - and then renew his words of love and all his unconditional love. But Petra knows that there can be no happy ending in this story - at least the story that he wanted her - as evidenced also in mourning his late, un'Ecuba as of today, a substantial difference in color after the unfolding a story on a stage set and costumes by completely white, blinding in their show without veils the light of a history sentimale raw. The reality is cut skillfully thanks to these spectacular devices that apply specifically to the psychological well-built theater. This play of color and personality is mainly due to the capacity of director, which highlights once again the difference between Marlene and the other protagonists, always dressed simply in black compared with white prevailing.
Marlene, as well as being externally diverse, so is within. He never talks, need a pack that detaches from it all, and makes a silent witness of the whole affair in his tragico consumarsi. Sarà lei, con i suoi piccoli gesti (come preparare il caffè, mettere della buona musica per svegliare la sua datrice di lavoro, scrivere una lettera), a creare una continuità tra tutte le situazioni, spettatrice come noi di un qualcosa di inevitabile. Sarà anche lei a rappresentare l'ultima negazione dello spettacolo: un voler essere vicina oltre che nel lavoro anche nel cuore a Petra - lei che, sola, sembra capace di capirla nell'intimo. E proprio Marlene alla fine saprà sopravvivere con la sua integrità, che verrà ripagata da un inaspettato gesto di Petra, che sembra, in qualche modo, infrangere la morsa del destino cupo in cui, sia lei che la protagonista, sembrano intrappolate.
Il coinvolgimento remains high, especially until the exciting climax, when the colossal statue of a woman-fetish is toppled. And then these same people that she had repeatedly clinging, as a prey to insecurity, now demolish the symbol of oppression, illusion, of false worship. The idol falls, and so, in a very dramatic scene backed by a sound violent, the story ends.

this excellent show, where we witness the staging of a story psychologically deep, surrounded by a very clever and original theatrical setting: with a white cloth are projected to be the masters of the shadows hidden behind the same. The play of light is such that creare uno sfondo dinamico che segue la vicenda in maniera perfetta, attraverso una magica creazione di figure e situazioni che rendono la fantasia dello spettatore parte attiva della storia. Memorabile il gioco di ombre violento e vertiginoso all'inizio, nella scena d'apertura (quella dell'incubo di Petra). Altri tocchi di classe sono da riscontrare nel modo in cui, attraverso questo sistema, viene rappresentata la vicenda "fuori scena": Marlene che prepara il caffè, che scrive una lettera in un vertiginoso pigiare di tasti di vecchia macchina da scrivere; ancora Marlene che modifica un vestito o lo fa indossare a Karin; o la pioggia, che scende su una vetrata, in un invernale cornice che sostiene il triste racconto della madre di Petra... There are many examples to mention the excellent work which is spectacular put on by the director and his staff. also very apt choice of music. He is concerned, for example, the "Sunday Morning" by the Velvet Underground that Marlene does listen to Petra, upon awakening, as if to wash away the shadows of the nightmare through the velvety sound of those notes, if made. Even the plaintiffs have proven themselves, first of all the Marinoni, an excellent interpreter of Petra, through all its facets, able to stand the scene without any problems, statuesque in her acting as much as the statue that dominates half of the stage. Brava also starred Marlene, who, without no expression except his own body and its mode of action, provided a great strength and resolve.

The Bitter Tears of Petra Von Kant

Can You Tan Before Waxing

Memorie dal Sottosuolo

Theatre , 2006 , of Fyodor Dostoevsky
Length: 100 minutes
Genre: Drama
Directed by: Gabriele Lavia
Con: Gabriele Lavia, Pietro Biondi, Euridice Axen
Scenografia: Carmelo Giammello
Costumi: Andrea Viotti
Luci: Giovanni Santolamazza
Colonna Sonora: Andrea Nicolini
Adattamento: Gabriele Lavia
Compagnia: Teatro di Roma

It is a singular character the protagonist of "Notes From Underground," is to Dostojevskj is to Gabriele Lavia. Let displaced even more confused than before, unable to be able to frame it completely from one side or another. Del
"underground," it came from, that of the middle classes of the past - the location that generates social rebellions intimate secret - he is a worthy representative, at least for the face that shows the day, people around him and the judge. Brings with it conflict and instead contarietà, sadistic and cynical reflection concessions, like in a Pandora's box that is ready to open when the sun goes down - both in real-time context and in the innermost soul. It is therefore an ordinary, mediocre, insignificant but also feeds on his own suffering, of his being a misfit dowry and shows off a series of mental and verbal perversions of the first concessions incompatible with his status as a human person, of sadistic amusement at the expense of other people's minds - not guilty only to escape the cruel perhaps his game.
is an unusual character, we said, puzzled that, of course you feel sympathy for him from time to time, compassion, but we end up hating him, in his manner of doing and being, to feel pity even for its mediocrity and inability to be able to change out of that vicious circle of conflict and cruelty to which psychological and other subjects which you submit. Tightens the noose, pull the rope and then at the last minute gives a momentary grace, and then start the game on a next round of mixed feelings. His being subordinate to himself makes him pathetic at times, can not fail to make sense of what stirs the poisons in the body. Still, not too far from tradition, every time he leaves us pearls of wisdom that make you think. As long as there is love there is hope, he says, but then denied, then confirmed and then renegotiated, and then start all over. Not Believe it is unknown whether or not he or she may know that is true, and her unhappiness is caused by the very fact that he realizes the failure that forced him to not be able to change to enjoy this love, these emotions so intense and utopian to him.
sometimes says things that we would like to say, it does so rudely, maliciously, madly, and so we feel a sense of affinity, but are flashes in the darkness of a lost soul now no possibility of redemption, not because you want ... in fact opposed. It's a dog chasing its tail, but is aware of this, and then even more incomprehensible.
characters that gravitate around, Lisa and Apollon, suffer more or less aware, as appendages of its malaise, unarmed intentionally or unintentionally, forced to be affected by what he throws at them. The redemption quite false operation of the prostitute is forced so that the same protagonist laughs at himself, giving himself no way out of the pathetic. Lisa is at first incredulous and disillusioned, then enchanted by those words and his way of doing ... and then finally find even more incredulous and disappointed at the end. Apollon, conscious of his preferred victim status (but only because they are more accessible) the cruel whims of her master, you see almost fired only to be reinstated almost, almost deprived of his salary and then be paid almost ... in a constant game of highs and lows that it is precisely the mechanism of the dog chasing its tail in fact, that sometimes stops to catch his breath and then start again. He, too, in the end you will see little changed or will change its status as a single comma.
Even the protagonist finally finds himself forced to the same corner where he placed himself, with his same actions, always seeing the exact same failed and fallible character than before. After all, this is a story of missed opportunities, disillusionment and stagnation, as if the man's condition was hopeless, impossible to change, maybe just keen to get worse.

Gabriele Lavia proves very effective in bringing this character on stage, nell'istaurare a direct dialogue with the public, eliminating reconfirming the stage fiction. His way of acting in this case is over the top, of necessity, the tone is very conversational, connected to the spontaneity that has the character, his complete openness towards others - that is used here in a negative way, as exploited to hurt and rage, finding weaknesses and to ridicule and scorn. Able to report on the scene the character's internal crises, external monologues which show his insecurity beyond the arrogance that you use in judging others. One has the impression that should Lavia show a man who is evil and cynical because inept and mediocre, that is unable to be good and meek as perhaps his mood has prepared.
Brava also Euridice Axen, subdued at first then able to give the best in the scenes where stops to assume the role of the prostitute, almost changing personality and belonging, and then finally ricrollare limbo in the room of the brothel where he takes all his attributes with renewed vehemence and loss of innocence.
Good evidence also of Peter Biondi, that shows us the other victim of perverse game of Lavia, aware, however, able to handle it through its historicity and toughness of mind, unshakeable in a way and funny in his obsession to recite the psalms of the Bible in the face of all difficulties.
excellent set design, film, a stage divided into four different scenes, three of which are only used for the stage fiction itself, the stage, bathed in snow, she lends it to a contact between the actor and the character the public, with monologues that seem like dialogues in which the audience is silent, except for rare occasions - a kind of examination that Lavia ago to see if the message was heard, as if to emphasize what has just happened on stage.
lights play a crucial role, with the ability to recreate realistic atmospheres but also states of mind - the green spot that frames the main character when "transformed" into a Kafkaesque beetle to externalize its nature ... and maybe that's the kind of man he wants to show to the public.
A show so interesting, well acted and has built in rhythm in the dialogue, but also in terms of scenic representation. Remain as impressed by the opening words of Lavia, those of the scene that opens the work and that mark the progress of the story, dropping the last illusion of a possible redemption: the snow that falls from the sky, the white thing to which might think, is dirty, black, like lost innocence through awareness of the condition of modern man.

Free Playground Movies

Et In Arcadia Ego - Vadevecum

From the same seed that created "Et in Arcadia Ego" was born that his "sister caught," as he calls it, more controversial than his brother, and perhaps more personal. In this pleasant place art in every known form, will be the protagonist, through a temporally irregular in its spatial order. It too is a place of mind more than anything else that comes to mind where the spark of creativity, real engine that drove the man to survive all these millions of years in the world, hostility of nature and, if stesso. La creatività vista come l'ultima speranza dell'uomo, il lampo di genio che in pochi guizza e che ai molti porta vantaggi e conquiste. Quelle parole, visioni e suoni che hanno costellato il cammino dell'uomo di pietre miliari, che ci permetteranno, un giorno, di voltarci e di rimirarle; nel farlo capiremo le distanze di quel lungo cammino, cosa eravamo e ciò che siamo diventati oggi... e quanto altro c'è ancora da fare per fare in modo che la grandezza dell'uomo sia misurata da ciò che ha creato, non da quello che ha distrutto.