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Tron


(It. Tron)

color, USA / Taiwan, 1983 , Steven Lisberger

Length: 96 min .

Genre: Science Fiction

Cast: Jeff Bridges (Kevin Flynn / Clu), Bruce Boxleitner (Alan Bradley / Tron) David Warner (Ed Dillinger / Sark / Voice of Master Control Program), Cindy Morgan (Lora / Yori) Barnard Hughes (Dr. Walter Gibss/Dumont), Dan Shor (Ram/Popcorn Co-Worker), Tony Stephano (Peter/Sark's Lieutenant)

Sceneggiatura: Steven Lisberger, Bonnie McBird

Concept Art: Syd Mead

Musiche: Wendy Carlos

Produzione: Donald Kushner

Distribuzione: Walt Disney/Buena Vista

Kevin Flynn (Jeff Bridges) è un talentuoso programmer of the multinational Encom. His is the code of the best games created by the company, potential hits that would make him famous and rich, but Ed Dillinger, corporate climber, steals the source of all his creations, merited. Flynn was sacked for his accusations of plagiarism, while Dillinger was promoted to manager of the company.
Meanwhile, Dillinger has created a very powerful program, called MCP (Master Control Program), which soon spread itself by absorbing other programs and infiltrating computer networks around the world. While the MCP gets to develop a cold, cynical and self-determinism, he became Dillinger the best ally. Between the two of them there is a precarious balancing act, as to who is really in charge, but soon the MCP threat to its creator to publish his misdeeds, if they do not lend faithful service. While the MCP program to take control of the Pentagon and the Kremlin, Alan (Bruce Boxleitner) and Lora (Cindy Warren), two programmers Friends Flynn, they discover that the MCP has excluded from the system. Concerned contacted Flynn, who has never stopped groped for justice for himself. This results in a night attack to Encom, after which Flynn is, by deception, MCP scanned into the system, to eliminate it. Part of the program now, the only hope for Flynn is to find TRON, the monitoring program created by his friend Alan, a brutal dictatorship to destroy the MCP, which has made the world a program of prison regime, dark and violent.

Write a review for Tron is a thankless and difficult, thankless because, with the best will in the world, is really a challenge to bring words to the extreme visions of a brave and daring project, the limits of human imagination; difficult because, always with the best will in the world, this is a film that is based on a conceptual world, such as computer programs, outside of our plane of reality.
Tron is the brainchild of brilliant Liseberger, the director, who, fond of computers and video games, decided to create something completely new, radical film that goes beyond the sense that the public had until the time of the movie. Indeed, it was so revolutionary that the same result can not quite grasp the whole kaleidoscope of surreal and unreal metaphysical reality of Tron.
The story, simple enough, imports from the world of many more words and situations, then it could absorb. It was a time, that beginning of the eighties (or the end of the seventies, if you want), in which computing and graphics capabilities of video games, were in their infancy compared to our current and unexpected standard. The very concept of sending the viewer into the world of computers, made up of specific programs, electronics, energy flows and mechanical alien man, was something extremely revolutionary. It 's a world where everyone has a very specific place, where death occurs for removal from the system, and where the staple food is pure energy (represented poetically as a stream of water). But it is also a world where the strongest can still override the weaker - as happens in the story the MCP, establishing a dictatorial regime on the network that hosts the programs, creating a rigid hierarchy, a system which is impossible to escape from the suffocating. The similarities between our and the world of Tron are more than you can find at a first superficial examination. Find it difficult to identify in a world of vectors and pixels, but if it does not seem so, if through our imaginary magnifying glass cutting our reality, we find that nature has created a world very similar to that of square and angular Tron, made of porous surfaces, polygonal, pointed. We will be amazed to learn all the irregular, pock-marked and squared is actually the surface of the most perfect spheres that our eyes can see, in the real world.

Tron is based solely on its field of vision, literally breathtaking, even for the day: it is hard not to gape in front of the style of the film are, of true hyperbole concetrati art of pure madness and visionary by genius. Its key feature is its visual language, the way it communicates with the viewer, through a form of art photonics, based on bold colors, composition built on a concept that can only be metabolized or rejected - there is no middle way . The lines of light against a black background, which characterize the boundaries of materia fisica, sono gli unici elementi che tratteggiano le forme di un mondo composto da realtà vettoriali e asettiche, nel più veritiero degli stili essenziali che una macchina adotterebbe per rappresentare il proprio mondo interiore. La luce e le fonti di luce, gestiti in maniera eccezionale, sono i mezzi che distinguono la materia della realtà; attraverso i colori (ciò che è rosso è solitamente minaccioso e da evitare, ciò che è blu positivo e benefico), e attraverso le forme, abbiamo un immediato riscontro, un messaggio chiaro sulla natura di ciò che ci sta di fronte. L'utilizzo dei colori, soprattutto, è tipico del linguaggio della natura incontaminata; e la natura e il mondo digitale hanno entrambi i propri specific languages, which go beyond the logic of man, and we throw in a semiotic system to which we must inevitably adapt.
The digital world is a mainstream endless horizons and no boundaries, built by the programs in which the Believers put their trust: they are the programmers of the system, the same men, a message that Nietzsche's Tron wants to hand down to posterity, or that everything he tries to play other intelligence intelligence. So we become gods ourselves, in the same proportion that characterizes our current relationship with God.

Tron is also an important step forward for the industry degli effetti speciali: costati trenta miliardi di lire dell'epoca, una cifra impressionante dovuta a quelle grandi quantità di computer graphic industriale, che prima di allora non erano mai state visualizzate sul grande schermo con così tanta nonchalance. Si tratta di vettori ricoperti da una scarna ma spettacolare (per l'epoca) superficie poligonale, che creano i primi modelli 3D che gli spettatori vedranno mai al cinema. Da quel momento, importantissimo nella storia dell'arte, la computer graphic fa il suo ingresso esplosivo nel mercato dell'intrattenimento, offrendo un'anteprima delle magie che essa è in grado di fare, delle infinite possibilità che può dare all'uomo creativo, per espandere la fantasia, per liberarla dai vincoli of reality.
The effort of the visual representation is exhausting and alienating, and for those who made the film for the viewer, which is called a challenge with their ability to understand a conceptual reality. Tron is by far the first example of cinema that takes into account the virtual reality, and a fundamental step in the sci-fi film that deals with artificial intelligence, anticipating issues that will be included in any other situation (we could also cite Matrix, The Lawnmower Man, The Terminator), but, more importantly, ahead of its time on things that in the very immediate future, we would see in real life every day. The videogame industry has provided us with a little spark of heaven in every video game Tron Digital bought, though this was achieved in this industry the ability to create a disruptive force imaginative as that of Tron. Not surprisingly, the official sequel of the movie is just a video game, or Tron 2.0, which incorporates and expands the themes and the charm of the film very effectively.

Another interesting side of Tron is your relationship with video games. The film shows more often than the affinity with the world of video games, which go beyond the all too obvious in common that can be found, because of the medium that is used per renderlo vivo. Già fin da subito, vediamo che la Encom diventa un leader nella creazione dei videogame a carattere mondiale, fatturando milioni di dollari ogni anno. Ci viene presentato un mondo inedito, fatto di soldi e avidità, un mercato che prima di allora era difficile da immaginare.
Il videogioco, inoltre, è l'anima pulsante di Tron: la sfida ai dischi tra Flynn e un altro programma, mostra quanto sarà offerto in futuro, quando il videogiocatore sarà chiamato in prima persona ad interpretare i suoi eroi nei futuri e avanzati giochi, quelli della nostra epoca. Il gioco è l'espressione innocua della natura predatoria dell'uomo, ne rivela gli istinti sopiti, agisce da valvola di vent, and sometimes as in Tron, is the strength of those who can become a hero, if only for a day.
Common features of the video game, Tron, are highly detectable even in the final showdown between Sark and Tron. This is an extremely compelling duel and furious, finally showing a serious comparison, not very long nor short, making clear the obvious difficulties that arise when two forces of equal size are compared in a challenge to the last shot. It 's a typical feature of the game, this, when the forces of the enemy artificial intelligence, are usually such as to bind the human challenger to a long and epic battle. The phase Sark which, after an initial defeat, he returned stronger than is typical: in video games, the final boss has not a single embodiment.

The great visionary of Tron is due almost entirely to the genius of Syd Mead - conceptual artist for movies such as Blade Runner, Star Trek - The Motion Picture, which gave us the most beautiful and scenic images of fantasy ever seen on the big screen. Certain ideas, like that of solar sailing ship (already rare to find a niche in science fiction), or with records of competitions, are the basis for a new way to harness the creativity. The scene of the race with the bike is also the apex lightcycle di questa nuova creatività. Le moto sono una potenziata rappresentazione del concetto alla base del famoso gioco "snake", espanso in un contesto del tutto nuovo. La capacità di andare oltre i sensi dell'uomo, di visualizzare in un linguaggio a noi vicino ciò che non potremo mai vedere, nè comprendere, rendono Tron e il lavoro di Syd Mead uno sforzo di puro genio artistico, che va a collocarsi, a mio avviso, all'interno della storia dell'arte a pieno diritto.
Menzione d'onore anche per gli effetti sonori, in piena armonia con l'epoca della musica digitale e sintetizzata, e per la colonna sonora di Wendy Carlos, capace di interpretare il mondo atipico di Tron fatto di bit e pixel in forma musicale, con temi elettronici discendenti and parents are not accredited by the prog new wave.

Video on Web:


New trailer


The scene of the race on lightcycle


Album Web:

Tron

Links:

Tron Tron Sector

Gallery

Syd Mead

Landscaping Company Slogans

The Departed

(it. The Departed - The good and bad)

color, USA, 2006 , Martin Scorsese

Duration: 149 minutes
Genre: Crime / Drama / Hard boiled
Cast: Leonardo DiCaprio (Billy Costigan), Matt Damon (Colin Sullivan), Jack Nicholson (Frank Costello) Mark Wahlberg (Dingam), Martin Sheen ( Oliver Queenan) , Alec Baldwin (Ellerby), Ray Winstone, Vera Farmiga .

Screenplay: William Monahan

Photography: Michael Ballhaus

Music: Leslie Howard Shore

Screenplay: Thelma Schoonmaker

Distribution: Medusa

Billy Costigan (Leonardo DiCaprio) and Colin Sullivan (Matt Damon) are two very different men: one forced by life to cross the territories delimited by evil, but the other choice, the first come through difficulties and sacrifices to the dream of working for justice, the other hand, you get there to pollute and corrupt it for the purposes of the underworld, he works for, and (as always) to their own. It seems that fate has chosen for their parallel lives, though fundamentally opposed, they complete their similar choices, but otherwise, mockingly putting them one by the side of evil (but for justice) and the other the side of justice (but for evil).

Billy becomes an undercover cop, without even having become the first policeman, at least unofficially, to protect the coverage - something the latter, which will require even end up in his cell for a given period, to be better accepted by the crime. Paradoxically, on the other side of the fence, Colin becomes a criminal infiltration, entering on behalf of the criminal police of the putative father Frank Costello (Jack Nicholson), and soon the hierarchy ladder, coming to occupy a place of importance throughout the department.

E 'a twisted game of mirrors and lights and shadows, through which, slowly, the two lives of the protagonists / antagonists are to crack, crushed by the weight of their respective duties, a place that in both cases it is uncomfortable and exhausting, a game of duplicity and deceit that leads dangerous consequences and suffered loss of identity.

Touched by Martin Scorsese is imposed on the plot of the original Hong Kong "Infernal Affairs". Here is the story of two parties ordinary Americans from below, from the sidewalk, and joints, like it or not, clean or stained in consciousness, in the presence of justice. The complex relationship between the world of legality and illegality here is fundamental and fatal, as in any other Scorsese film. We have two men from the ideals and morals are completely different but parallel paths of life, defying the laws of geometry, do not go on without ever touching, but contaminating each other, touching and sometimes dangerous intersection. This duality is based around the construction of the film, in a crescendo of tension and anxiety.

Costigan and Sullivan (note certain similarities and the same number of consonants of the names and last names) have the same tutor and teacher - a bad teacher, or Costello. If Billy the thing is forced and unwanted, but Colin is the only way to live, even if in the end learns to walk on his legs, making her the great fundamental rule to survive in any environment ruthless as that of the world crime and its selective hierarchy: never trust anyone.

While Billy, however, learns the hard way and through suffering and trauma of an unhappy childhood which are the true values \u200b\u200bof life, through the tear that comes from belonging to a family involved with crime (especially the father ). The character played by Leonardo DiCaprio in a confrontation with all of this, imposing a morality opposed to the distorted values \u200b\u200bthat have marked the growth - deep sense of justice, loyalty and determination. Colin, in its strong opposition, navigating in the meanness and treachery and has a somewhat vague sense of how certain values \u200b\u200bshould be integrated into the life of cold calculator, mean, vile and suffers from impotence sex, outlining a portrait of a loser but has the knife on the side of the neck ... a merciless portrait but fitting for the role he occupies. The paradox is precisely the respective positions of the two, reverse, pace of the merits and value, emphasizing how unfair this world and sometimes the rules that govern our society.

certainly one of the most successful film of Scorsese, punctuated by a rhythm very well groomed and dressed by his heavy touch (the guns blow up their heads in the finals are a classic Scorsese film now , and the public has got used to it). There are all advantages and disadvantages of belonging the crime to justice, with the little everyday problems of the criminal and the policeman, a touch that reveals a deep analysis on the man behind the categories, which ultimately is always a man. There is street life, which occurred mainly at the beginning here, with the formation of Sullivan condensed film in a few moments and then remained implied throughout the rest of the film - especially crossing the signs of the dramatic childhood Costigan.

Excellent performances by the actors are worthy choices on the side of the casting. Leonardo DiCaprio once again proves to be a good actor, that he had shaken forever the weight awkward adolescent icon, providing an effective test. Matt Damon is unbearable enough, exploiting its ability to be at the same time with a touch of good guy and (if necessary) an ability to irritate, with those same traits, in an unexpected way.

Jack Nicholson Jack Nicholson is always. his face would be enough in a couple of shots and in the same way a couple of his lines and find yourself to make the film worth watching to the bitter end. His presence, the common thread that binds the two key protagonists the two opposing worlds, is an anchor without which the whole structure of the film would collapse irretrievably. That is why the choice of actor for this role is due to fall on someone of the caliber of Nicholson.

Honorable Mention to Martin Sheen, an actor who has recovered the dignity due to him in recent years through the careful selection of important but secondary roles like this - but also Mark Wahlberg. The latter plays the right hand Sheen at the top of the police department, a man exasperated by their work but that reacts release tension and violence in the next schiacciando chiunque stia immediatamente al di sotto della propria posizione gerarchica – condendo tutto con le tipiche, pesanti, espressioni triviali e dal linguaggio da camionista (con tutto il rispetto per la categoria) che sono anch’essi un marchio di fabbrica di molti personaggi scorsesiani. Attenzione a questo personaggio, perché, ad una superficiale prima osservazione su di esso da parte di uno spettatore non avvezzo al cinema di un certo livello, apparirà il classico rompiscatole propenso al mobbing più del dovuto – mentre bisogna dire che è molto meglio averlo dalla parte della giustizia che il contrario.

Concludendo, un ottimo film, even seasoned by a good fitting to bring the goal of Martin Scorsese when he started filming, and where there is more congenial, or at the level of the sidewalk, the street, where the stories are more raw, more real and more intense - a reality that is sometimes difficult to circumvent, who always wants to be told.

Web Albums:

The Departed

Jenna Jameson Beach Pink Thong

holidays

Ortueri: Festival of the year 1930
cork

Ortueri its festivals, its uses and customs, economic activities and everything is mixed

on holidays ..... ..........

Oruteri: Festa del sughero anno 1930






Ortueri : carnevale 1934

Ortueri : giostre 1949

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Morte di un commesso viaggiatore

Theatre, 2006, Arthur Miller

Director: Marco Sciaccaluga
By: Eros Pagni, Orietta Notari, Gianluca Gobbi, Ugo Maria Morosi, Orietta Notari, Aldo Otto, Barbara Moselli, Fiorenza Pieri, Stefania Pascali
designer: Valeria Manari

Teatro Stabile di Genova

We are in the early '50s. Willy Loman is a salesman, a man-made man in America in the Twenties and Thirties, following the American way of life and working into old age to come true. It has a docile and faithful wife, Linda, and two sons, who are all for him, Biff and Happy. Willy is an old man, missing the final installment to pay off the mortgage, but Willy is a man besieged by doubts and bitterness. The work is not suitable for a man of his age and is more than all underpaid, Happy is a hopeless womanizer, with a perspective of life as average employee without many pretensions, although he does everything to seem more important, Biff, the son that has always loved most, is in disarray, for occasional use around the homeless, without a future.
For this, Loman, sinking more and more often in the memories of the past, so deeply that they are unable to distinguish objective reality from the metaphysics of memories, and let it go at that time when his career was on the rise, when he and his sons were some of the brightest promises for him.
The confrontation with Biff, who brings him back to reality in a violent and brutal, placing it in front of the truth, and dismissal from work, Loman will face a situation that was not prepared for: the rude awakening from the American dream and fall of all illusions.
Paradoxically, Willy once again choose to follow his dreams, to think about a future that can never be, that with his death and its collection of the life insurance of $ 20,000 from the family, will represent the mocking epitaph of a typical common son of a capitalist world and enslaved the ruthless law of economics and progress inconsiderate. The fall of the illusions for him will be the end of life itself, which loses all sense but one that must give back to those who remain alive - if it can succeed.

"Death of a Salesman" by Arthur Miller, is a merciless dissection of the American dream analysis, fragmented in its entirety and put on display to the public, who can thus test the consistency and the charming but vanishing Office cruel illusion. Loman worked a lifetime to be forgotten, following a path laid out by a dream, a vision seen through a meeting with a colleague in his youth which was brought immense respect and to whom the funeral, after all his acquaintances were involved, remember and honor. Loman for that was the model of man who wanted to be, that he wanted to follow at all costs - a figure that success was not possible to deny, that you could not ignore, that would be remembered for years to come.
The collapse of the certainties of old age, more and more pressing debts, and the ingratitude of those who once honored that the seller was, this undermines its wishful thinking, that its steep climb to the pinnacle of society, through unsafe work , the uncertainty of tomorrow, the time passes inexorably, without giving any result. Fatigue is not paid, the game non vale la candela: come una beffa giunge l'ultima rata del mutuo della casa da pagare, una casa che come vien detto "diverrà nostra, sì, ma resterà subito dopo vuota".
Attraversano la fine del sogno degli elementi fondamentali che poi ne diverranno parte integrante: i suoi due figli, ed in particolare Biff. Il testo di Arthur Miller, infatti, non è solamente un'evidente critica contro il sistema di vita che ci siamo creati in quest'epoca moderna, ma anche una sottile denuncia familiare e sociale, che pone l'accento sull'importanza dell'essere genitore e del comprenderne il peso. Loman proietta sui suoi due figli le sue aspettative, il suo inseguimento di quel sogno inarrivabile di successo e di fama, appesantendoli not a burden to them. Especially Biff, is mythologized by his father to the point to be awarded that may not have, which is far from the pros. His son, in his memories as a child, looks like a guy with no vision, no leadership, in disarray, which would need to be taken to the road with his policy and loving patience. But this does not happen and, indeed, he is beset by constant illusions that his father built for him. Biff, on the other hand, sees his father as a strong man, a role model: this is the castle of illusions is to fall when he discovers his father, in Boston, with a lover in a hotel. Biff suddenly realizes that life is cruel and unjust, that perhaps there little to be believed and few things are worth being pursued with tenacity. Just then, Loman destroys the life of his son, depriving him of his own figure of driving, but he did not realize it until, in the future, after yet another failure of Biff in being able to find a serious and build a future, will come from the same place with the child back to the wall: Biff proclaims himself an incompetent, lacking even the smallest part of quality that the father gives the son also of an era and a traitor in the world recession, whose future is anything but certain.
I remember then return to oppress Loman, like an avalanche, permeating into reality objective, transforming it into a confusing patchwork that leaves only one certainty: what we have lost will never return and life, which revolved around a first pivot that now is as broken, can never turn it once was.
Loman, for all the work, go back and forth between past and present, slipping between two different time lines seamlessly. The scenes of the past merge with those of the present, subtly and gently. The main theme, as already mentioned, is the loss and disillusionment. Loman is always talking to his dead brother, who became a millionaire after the discovery of diamond deposits in Africa. Ben, his brother, gli aveva chiesto di venire con lui, ma Willy aveva rifiutato, cieco nella sua corsa verso il suo sogno illusorio. Anche nel presente, quando il suo unico amico Howard gli offre un lavoro, Loman, umiliato e frustrato sia per questa offerta che per l'aver perso il lavoro da poco, rifiuta sdegnosamente. E' l'ultimo atto di cecità di un uomo che ormai non vuole più rimontare, che sa di essere giunto al capolinea, di stare aspettando quell'ultimo treno che, lampeggiando con le sue luci nella notte, lo porterà via da quella grigia vita che ormai era la sua realtà... una realtà dove i sogni non esistono più.

L'opera messa in scena dalla compagnia del teatro di Genova è molto ben realizzata. La scenografia si presta ottimamente al dramma di Willy Loman, con il suo grigio opprimente e il suo essere "circondante", dovuto alla forma a semicerchio. Le porte sullo sfondo rappresentano forse le mille possibilità della vita e i mille modi di potersele negare, nel loro continuo aprirsi e chiudersi mostrando altre parti della scenografia. Il palco, con una grande sezione mobile circolare, rende la situazione più viva, laddove sarebbe stata scenograficamente forse un pò statica.
Gli attori sono tutti degni del palco, soprattutto Eros Pagni (Willy Loman) e Gianluca Gobbi (Biff Loman), rispettivamente padre e figlio in scena. Pagni, da attore consumato, imposta un Loman grigio e spento, che si ravviva solamente quando s'illude that things can change, that "the Loman brothers" (as he calls his children, magnifying) can finally change the world and the destiny of their lives, taking advantage of those hidden qualities that may not even exist.
Remarkable Gobbi, depicting the doubts and uncertainties of a young man who could very well be born today, unemployed, unmotivated and in constant search of itself, certainly not helped by an irreconcilable conflict with his father, who attributes the majority of the evils suffered and its current gray situation. Also good
Orietta Notari, in the betrayed wife who endures in silence - a situation all too familiar - which runs with her husband on his way to sunset, while maintaining the side until the end without asking anything nor ask for anything.
The work, already merits endogenous to the original script, is very exciting, especially in scenes of heightened tension between the characters, like when Biff was young (in the memories of his father) learns Loman senior with a lover. One can sense what's going to happen, but despite all the emotion is strong in assisting at the time of fracture of the balance between father and son and the birth of that relationship of love / hate relationship which thereafter dominate the lives of both. It 's also the culmination of the work, in which everything is explained, the personal dramas that envelop the vision of a new consciousness psiche dei protagonisti.
Da notare alcune scelte, come il palco semovente, che rende bene l'idea del continuo spostarsi proprio di chi fa il mestiere del commesso viaggiatore, e - a corollario di questo - l'onnipresenza delle valigie che Loman all'inizio dell'opera lascia stancamente cadere sul suolo casalingo, di ritorno dal suo ultimo viaggio. Diverranno, verso la fine, addirittura parte della lapide sotto al quale Loman riposerà, in un ironico e quantomai appropriato parallelismo, un'ultima immagine che darà molto da riflettere.
Sicuramente, un'opera da vedere in tutta la sua interezza e da godere, nel suo pur lungo e lento svolgimento.

Album su web:

Death of a Salesman

Links:

Gianluca Gobbi

Interview with Eros Pagni