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The Dream Mediterranean. Ludovico Corrao. Interview Baldo Carollo






Ludovico Corrao, Carollo interviewed by Baldo, this book traces six decades of life and history of Sicily, from the Fifties onwards: the Milazzo, the case of Frank Viola, the Mafia, the earthquake of Belice, reconstruction of Gibellina Foundation Orestiadi, friendship and cooperation with some of the greatest artists and intellectuals of the twentieth century, from Leonardo Sciascia Peter Consagra, by Carlo Levi in \u200b\u200bDanilo Dolci, by Mario Schifano of Alberto Burri.

Senator Corrao outlines the project that has so inspired his political commitment to the revitalization of Sicily Island-like oasis in the center of intercultural dialogue among peoples of the Mediterranean.

Without Panties On The Public

Quizshow

c olor, USA 1994, Robert Redford

Duration: min. 133

Genre: historical drama

Cast: Ralph Fiennes (Charles Van Doren), Rob Morrow (Dick Goodwin), John Turturro (Herbie Stempel ), Paul Scofield (Mark Van Doren), David Paymer (Dan Enright) Hank Azaria (Albert Freedman), Mira Sorvino (Sandra Goodwin), Christope her McDonald (Jack Barry)

Screenplay: Paul Attanasio, based on the book by Richard N. Goodwin

Twenty One quiz show is a success for NBC , in America in the Fifties. Herbert Stempel, a clumsy "common man" in Queens, from IQ and an amazing memory, is the defending champion. It is to be dethroned Charles Van Doren , after a heated response to the last challenge. Stempel seems to fail too simple a question, and this raises suspicion. The quiz is in fact rigged by its curators, forcing one to fail Stempel request to allow the handover to the most charismatic Van Doren. Son of Mark Van Doren , a member of a family of intellectuals, renowned professors and academics, is a professor at Columbia University has an extraordinary background of the culture, and a remarkable stage presence.

The sponsor of the transmission, Geritol, is urging Van Doren just replace the exciting Stempel, to boost viewing figures in decline, and Dan Enright, producer for NBC's Twenty One, the accont enta.

Van Doren becomes too important to the economy of the network and the sponsor that, despite his intellectual capacity, be provided with all the answers to quiz in antemprima.

While Van Doren becomes a public figure in the eyes of more than fifty million viewers, earning the cover of the Times, Dick Goodwin , investigator on behalf of the Congress is interested in the cause Stempel brought before a grand jury, which denounces the serious irregularities and counterfeiting of the show Twenty One.

So begins an investigation that will lead to a national scandal.

History of Twenty One is turned to the grand screen and with great effectiveness by Robert Redford, always attentive to the scandals and untold injustices and do not stir in American culture, history and more recent.

dramatic Decade for America, that of the Fifties, the bearer of scandals of major events that had worldwide impact, then radical changes that involved all over the world and our entire culture. In a suspended time between the end of McCarthyism beginning of the revolutions of the sixties, the Am erica addresses the scandal of fake TV, made-up, another illusion that is a cad ages, the last in a series of awakenings for the American people that will lead to an era where val gold, perhaps never existed, is lost slowly.

Van Doren is the prototype of the perfect American intellectual: his passion for wide-ranging subjects, his great culture, its being the scion of a family setting rtante and great cultural heritage and his presence of mind, make him a superstar, which is almost impossible to miss the target. The man is easy to replace the low-class, which is common and anonymous Stempel, d the Jewish origins and potentially unpopular with the general public and forced to make a caricature of himself by the representation concept of network.

Van Doren's fall is the loss of American innocence, once again, and the realization that now the new media, television in the first place, have a power of influence and manipulation of reality to it is difficult to counter.

investigation for the scandal of Twenty One, most of those involved comes out clean, undamaged, unconsciously. The enstabilishment NBC is hardly scratched from each other, but as often happens when "exposed" to the expense, the heroes who put their own face and the person in the window to move economy potente e riempire le casse degli sponsor e de i network. Van Doren vedrà la sua carriera di professore distrutta, il buon nome della famiglia macchiato.

È sul rapporto tra Van Doren e Goodwin che il film si concentra in molte parti, mostrando l’uomo dietro lo scandalo , il suo errore fatale, la sua a volte capibile u manità. Ralph Fiennes tratteggia un person aggio notevole, incastrato tra il mondo accademico, fatto di tangibile sostanzialità, e quello vac uo ed effimero della televisione, del mainstream, della cultura a buon mercato e volatile. Il contatto con la ma ssa at first meets him, but it seems to soon realize that it brings empty, the lack of real connection between him and his admirers viewers - and it is impossible here to do the comparison between the Van Doren superstar / viewers and Van Doren professor and his students , including the few scenes where this connection is visible, including those with Mark Van Doren's father.

Character, that of Mark, beautifully sketched by Paul Scofield, who will receive a nomination for Academy A ward for this, more than justified. He is the academic side of the personality of Van Doren, that world from which he is wanted for second popularity, perhaps because of complacency, perhaps really to promote the cause of its class, the intellectuals who reach great goals through their knowledge. But, as Charles himself said in his statement of confession before the commission of inquiry, failed to even reach this goal, probably causing the opposite effect: "[...] by Appearing on a nationally televised program I would be doing a great service to the intellectual life, to teachers and to education in general, by Increasing public Respect for the work of the mind thr ough my performances. In fact, I think I have done a disservice to all Of Them. I Deeply regret this, since I believe nothing is more of Vital Importance To Our civilization Than education ".

are always those of Mark and Charles of the best lines of el film, their way of facing reality through their cultural baggage , managing to perfectly frame. Just close to the exchange between father and son quotes Shakespeare Van Doren to define the true nature of what is happening, television, than the sense of right and wrong may be diluted under the powerful spotlight.

History, in Post-scandal, was soon forgotten and burned the stars visible and less visible, they resume their activities, some before, some later.

Robert Redford decided to resurrect this story because, in spite of today no specific laws prohibiting the falsification of competitions and TV shows more or less all over the world, television is still the gold of fools. Even knowing that does not correspond to reality, many people are convinced that what they see is genuine, and often have the illusion that it is - a suspension of credulity c he actually corresponds to the literary, as it produces light-heartedness, but unfortunately, based on much nobility and generating less scarce opportunities for cultural growth.

is also a wonderful opportunity to reflect, as often happens in the history of our civilization, nothing is really new, especially when the mass illusion. Someone has already tried, somebody is already successful, but the historical memory of the public is always conditioned by decades, new editions and , episodes and seasons. Our own sense of temporal sequence is altered: it is as if everything started from scratch every time, in the beautiful, muted, unreal world of television.

Equipment:

Scheda di "Quizshow" su IMDB

Quiz Show Scandal su Wikipedia

Van Doren contro Stempel - la puntata di Twenty One

Trailer di "Quizshow Scandal" di Michael Lawrence

© Copyright 1994 - Hollywood Pictures Company - All rights reserved.

Congraulate Smeone In Arabic About New Baby

The Orphan




colore, USA 2009, di Jaume Collet-Serra

Durata: min. 123
Genere: thriller

Cast: Vera Farmiga (Kate Coleman), Peter Sarsgaard (John Coleman), Isabelle Fuhrman (Esther), Aryana Engineer (Max Coleman), Immy Bennett (Daniel Coleman) CCH Pounder (Sister Abigail)

Screenplay: David Johnson and Alex Mace

A young couple, after having two children and lost the third before he could come to light, they decide to adopt a child, inexplicably, thus accepting Esther in their home. A background of ill-concealed sin, renunciation and disappointments, hover around the figure of the two parents - a pair bound for the instability and seeks redemption in una nuova opportunità. Ma, tuttavia, “There’s something wrong with Esther”, come recita il motto da trailer, qualcosa di sbagliato sì, che non tarderà a venire a galla.

“The Orphan” si colloca direttamente all’interno della categoria dei thriller/horror con bambini diabolici, malefici in generale. Si tratta dell’ennesimo tentativo di dire la propria in un ormai inflazionato genere, di un inflazionato cinema, che ormai non riesce più nemmeno ad inflazionarsi più.

Fin dalle prime riprese, ci si rende conto di come il tentativo di costruire un quadretto familiare normale ma “spezzato” dalla tragedia, è debole, as the plot in general. Naively, the basic plot should be able to recreate a familiar but slips into a monotonous amalgamation to the mainstream. But it is dull and ordinary situations that arise the best thrillers, is the section with cruelty or maim with the daily violence that generates a great history of terror.

Unfortunately, this is not the case with "The Orphan".

I can not hear a lot of identification with the protagonist of the film, Kate Coleman, however, brilliantly played by Vera Farmiga a good . Can not you hear almost nothing about her husband, a character remarkably flat, only useful as Esther's shoulder. Only the acting of children in general, can not keep up everyone's attention: Max, Daniel and Esther il'intero film can stand on their shoulders and small but capable, perhaps, if he had taken a decision more interesting than to focus the story on them and not on the mother and chopped his sense of emptiness for the loss of the unborn child, to his former alcoholism, and his mother-in-law, history would surely have been the height of intentions.

The typical American family - typical, but perhaps not representative - Esther finds himself to choose between so many girls at the orphanage. Now Esther turns out to be more adult than normal, doing and saying things that you typically expect from a teenager. His passion for painting, his ability to play Tchaikovsky best of his adoptive mother, and how the child reacts to the world of elementary school, just put it into prominence. Here the script is in no way distorted: it fills the viewer through awareness discounted narrative clichés, such as forced scenes of tension - one of all, the classic evil bathroom cabinet showing Kate the face of her husband, terrifying, despite the 'married. In this manner, and follows the story knows what will happen and how. Esther will begin to make the poor even though less than might be expected from the premises, and is only a matter of understanding what you will be disappointed.

The first victim is the girl that makes fun of at school, which is precipitated in the snow, after a surreal scene of tension in the labyrinth of a wooden structure in the park, where the girl in question looks around terrified - not is unclear why, unfortunately - Esther reveals her true nature.

From here on is an escalation of wickedness and cruelty, crimes with unlikely the resolution - a turbine in which the two brothers acquired Esther sucks, Max and Daniel, accomplices and enemies of his foul misdeeds. Max, in particular, is under the thumb: the smaller her, has a deficiency hearing, and fails to perceive sounds without his equipment - and someone, of course, has already read a sad assist in this, to scenes in which she, unfortunately deaf, is the victim of the cunning of Esther.

Too easy? The whole structure on which rests the story is "too easy". The final revelation of the film, largely inconclusive because it does not add or detract from the character of Esther, slips away without a real sense, to the same ice that opens under the feet of the two wrestlers, the mother and daughter.

Not everything in this film is not very effective and an end in itself. The character of Esther, played by talented Isabelle Fuhrman, is a magnet towards which the whole attention of the film is focused, and closely, because it is really the only beacon in the night here. However, many are wrong to put this film tops the list of children with demonic thriller ... Wen, directly from the episode " Simpathy for the Devil" by Cowboy Bebop has a very similar nature, the soul an adult in pain, trapped forever in an unfortunate and seemingly innocent child's body. It is even more poignant as moral, the tale of Wen, compared with the raw epilogue "The Orphan", which does not teach anything that does not give anything. There is no reflection on human nature, about what we are and what we appear. But I realize that is far too much to expect in this case.

"The Orphan" fails to represent the dark side of childhood, the sense of alienation and the knowledge that something is deeply wrong in the nature of a child who acts as Esther. Its shares are too direct, and rarely effective in portraying the horror of his twisted mind - an example is the way in which the pigeon injured by Justice Daniel.

The film, therefore, failed in its primary purpose, whereas such masterpieces as " Children of the Damned "have marked the way, leaving deep scratches on the ground on which to continue the way others, like" The Omen .

addition to the main character, other rare touches of class emerge from history. One example is the final fight on the same thin ice that caused one of the many traumas of the Coleman family, the incident that saw Max fall into the icy water because of the distraction of the mother, arson, alcohol. It is a clear attempt to create a ring of redemption, especially for the mother, and a new starting point for his daughter Max

Also notable is the idea of \u200b\u200binvisible ink, true spirit of creative paintings of Esther, twisted and rotten as his heart, how beautiful and innocent outside, as it looks. Pleased to note style that affects all the credits, one of the few truly worthy of being seen today.

Unfortunately, these peaks, while significant, are not up to the rest, and you can not promote a work for only a few high moments that stand out on a consistent mediocrity and almost unchallenged.

can not be that close with a rebuke for the clichés in the film entered in force for the visual and narrative cliches, planted as nails on the whole story, and the unwillingness to deepen the characters, staining the past and not really easily and fleeting, and making them live. The story of Esther was discovered slowly, little by little, and his character was to grow in through its inability to grow outdoors: his soul was to expand and banging on the walls of his body, then to rebound ' internal force of circumstances, forced to sink into obscurity and madness, little by little, and the viewer had to be there to witness this slow and steady process, in a long and exhausting psychologically thrilling.

Another missed opportunity for a genre that is increasingly in crisis and that for once could draw to something more, renovating and restoring a classic theme lifeblood of a trend now almost extinct.

last bitter note to the director, Jaume Collet-Serra , which is the direct fault of its debut on the big screens Paris Hilton, with "House of Wax ," and other similar crimes. With "The Orphan" has certainly made a considerable leap in quality, which has almost redeemed by its uncomfortable past, but the road to Damascus, you know, is always long and fraught with pitfalls ...