a true Texan Hillbilly...
jueves, agosto 13, 2009
miércoles, agosto 12, 2009
A Fellini Lexicon
En el tercer dia de un miserable resfrío
me dedico a la lectura de un libro
SUBLIME
sobre
Federico Fellini.
'I'm a Born Liar' por Damian Pettigrew
(Bah... el libro es por Fellini, ya que son sus pensamientos (desde la A a la Z ) sobre la vida, su cine, el cine, las mujeres, el futuro, la muerte, el misterio..... y (para quien ya lo conoce, MUCHO más...).
Estoy feliz!
abajo algo sobre el documental del mismo Pettigrew sobre el Maestro.
A Unique Film, Oct 3 2004
As a professional film editor and Fellini enthusiast (I own over 150 scholarly texts on Fellini published in English, Italian, French, German, Spanish, and Portuguese), I feel well equipped to assess whether a documentary on Fellini is remarkable or mediocre. I have viewed this film several times on DVD and conducted extensive research on the critical reviews it received in America and internationally. In my opinion, I'm a Born Liar is a remarkable feature-length study that takes the scholarship of Fellini and his complex personality forward in many subtle ways. There are several reasons for this assessment but I would like to share the seven most significant points with Amazon readers (and to refute the clueless editorial nonsense provided above): 1) Anyone with a good knowledge of the great director's work will be impressed by the extreme rigor involved in "the paring down to essentials" that this film displays: and it does so without sacrificing content or clarity. 2) It is strikingly edited by one of France's best editors, Florence Ricard (she won the coveted French `César' for her work on Microcosmos). Ricard not only tailors the rhythm to capture Fellini's physical presence in long sequences filmed with two cameras, she deftly manipulates the interviews and archival footage so as to interact with the film clips in such a way that meaning is blended with ambiguity, a cinematic quality that Fellini himself would have appreciated. 3) Lavishly produced, the film is an archival goldmine. It exploits haunting imagery of past film locations interwoven with film clips and rare documentary footage rescued from the archival obscurity of Europe's major television networks. These lengthy clips showing the Maestro at work are a major attraction that will appeal to experts and novices alike. Footage includes behind-the-scenes of Satyricon, Amarcord, City of Women, Juliet of the Spirits and Casanova as well as a fabulous scene left on the cutting room floor where Donald Sutherland (Casanova) leans forward to kiss a Moor. An uncanny sense of poignancy builds as we watch even rarer footage of Mastroianni on the set of La Dolce Vita and realize that the interviews with Fellini are the last recorded before his untimely death in Rome on October 31st 1993. (To my knowledge, there is no DVD on the market that offers such varied behind-the-scenes footage or exceptional ephemera as the newly discovered portrait of Fellini as a baby.) 4) I'm a Born Liar is an internal dialogue of a movie (which is why clips and interviewees are not identified until the end credits) whose main theme is Fellini's obsession with women to the detriment of his long-suffering wife, Giulietta Masina. Marriage and infidelity are given perceptive treatment in abundant clips from Fellini's masterpiece, 8 1/2. Hanging the film's narrative thread on this central theme allows the film's director (Damian Pettigrew) to shape and control the unbelievably rich material: all the archival footage, all the clips from other Fellini films, all the interviews including Fellini's eloquent meditations on aesthetics, women, memory and dreams, all the locations shots, are made to reflect back upon the Maestro's obsession with the feminine, both sacred and pagan. David Denby's New Yorker review accurately sums up the film's qualities: "I'm a Born Liar is an extraordinarily controlled piece of film in its own right... Pettigrew and his colleagues provide a surrounding texture of film excerpts and freshly shot footage that has the density of one of the Maestro's own movies, without the excess." It is precisely this question of density that initially confounds the casual viewer but the film is nothing if not controlled in its narrative shaping. 5) Right from the opening credits, the viewer is given to understand that the film is not at all conceived as an introduction to the Maestro's work or intended as an overview of his career. Pettigrew wisely avoided using an off-camera narrator to comment on the Italian filmmaker's historical background (virtually every bio on Fellini has mined this familiar territory anyways), an intelligent decision as it allows him for the next 105 minutes to focus squarely on Fellini's unique temperament and his ferocious insatiability. In the words of America's foremost Fellini scholar, Dr Peter Bondanella: "There is no question that Pettigrew's film on Fellini represents the most detailed and lengthy conversation with him ever recorded... and few viewers of this fascinating documentary will remain untouched." (Cineaste Magazine Fall, 2003). 6) The film has had a very successful career: it was shown on the Sundance Channel and sold to television worldwide; won the prestigious Banff Rockie Award for Best Arts Documentary (it won over stiff competition from PBS, BBC, and NHK); was nominated for Best Documentary at the European Film Awards; made several lists as among the Top Ten Best Non-fiction Films of 2003; has been shown theatrically in over 14 countries; screened at Cannes, Edinburgh, and over 35 major festivals worldwide. 7) I'm a Born Liar functions not only as a clever posthumous couch-trip, it also serves as a "thrilling master-class in aesthetics." (A.O. Scott, The New York Times) In fact, Pettigrew's achievement is to have crafted a documentary fantasia on film aesthetics that retains the authority of a valuable historical document. While the film undoubtedly makes demands on the viewer and forgoes analysis of Fellini's exceptional work of the 1950s (no doubt due to problems of international copyright), the rewards are many. Highly recommended for the aficionado.
me dedico a la lectura de un libro
SUBLIME
sobre
Federico Fellini.
'I'm a Born Liar' por Damian Pettigrew
(Bah... el libro es por Fellini, ya que son sus pensamientos (desde la A a la Z ) sobre la vida, su cine, el cine, las mujeres, el futuro, la muerte, el misterio..... y (para quien ya lo conoce, MUCHO más...).
Estoy feliz!
abajo algo sobre el documental del mismo Pettigrew sobre el Maestro.
A Unique Film, Oct 3 2004
As a professional film editor and Fellini enthusiast (I own over 150 scholarly texts on Fellini published in English, Italian, French, German, Spanish, and Portuguese), I feel well equipped to assess whether a documentary on Fellini is remarkable or mediocre. I have viewed this film several times on DVD and conducted extensive research on the critical reviews it received in America and internationally. In my opinion, I'm a Born Liar is a remarkable feature-length study that takes the scholarship of Fellini and his complex personality forward in many subtle ways. There are several reasons for this assessment but I would like to share the seven most significant points with Amazon readers (and to refute the clueless editorial nonsense provided above): 1) Anyone with a good knowledge of the great director's work will be impressed by the extreme rigor involved in "the paring down to essentials" that this film displays: and it does so without sacrificing content or clarity. 2) It is strikingly edited by one of France's best editors, Florence Ricard (she won the coveted French `César' for her work on Microcosmos). Ricard not only tailors the rhythm to capture Fellini's physical presence in long sequences filmed with two cameras, she deftly manipulates the interviews and archival footage so as to interact with the film clips in such a way that meaning is blended with ambiguity, a cinematic quality that Fellini himself would have appreciated. 3) Lavishly produced, the film is an archival goldmine. It exploits haunting imagery of past film locations interwoven with film clips and rare documentary footage rescued from the archival obscurity of Europe's major television networks. These lengthy clips showing the Maestro at work are a major attraction that will appeal to experts and novices alike. Footage includes behind-the-scenes of Satyricon, Amarcord, City of Women, Juliet of the Spirits and Casanova as well as a fabulous scene left on the cutting room floor where Donald Sutherland (Casanova) leans forward to kiss a Moor. An uncanny sense of poignancy builds as we watch even rarer footage of Mastroianni on the set of La Dolce Vita and realize that the interviews with Fellini are the last recorded before his untimely death in Rome on October 31st 1993. (To my knowledge, there is no DVD on the market that offers such varied behind-the-scenes footage or exceptional ephemera as the newly discovered portrait of Fellini as a baby.) 4) I'm a Born Liar is an internal dialogue of a movie (which is why clips and interviewees are not identified until the end credits) whose main theme is Fellini's obsession with women to the detriment of his long-suffering wife, Giulietta Masina. Marriage and infidelity are given perceptive treatment in abundant clips from Fellini's masterpiece, 8 1/2. Hanging the film's narrative thread on this central theme allows the film's director (Damian Pettigrew) to shape and control the unbelievably rich material: all the archival footage, all the clips from other Fellini films, all the interviews including Fellini's eloquent meditations on aesthetics, women, memory and dreams, all the locations shots, are made to reflect back upon the Maestro's obsession with the feminine, both sacred and pagan. David Denby's New Yorker review accurately sums up the film's qualities: "I'm a Born Liar is an extraordinarily controlled piece of film in its own right... Pettigrew and his colleagues provide a surrounding texture of film excerpts and freshly shot footage that has the density of one of the Maestro's own movies, without the excess." It is precisely this question of density that initially confounds the casual viewer but the film is nothing if not controlled in its narrative shaping. 5) Right from the opening credits, the viewer is given to understand that the film is not at all conceived as an introduction to the Maestro's work or intended as an overview of his career. Pettigrew wisely avoided using an off-camera narrator to comment on the Italian filmmaker's historical background (virtually every bio on Fellini has mined this familiar territory anyways), an intelligent decision as it allows him for the next 105 minutes to focus squarely on Fellini's unique temperament and his ferocious insatiability. In the words of America's foremost Fellini scholar, Dr Peter Bondanella: "There is no question that Pettigrew's film on Fellini represents the most detailed and lengthy conversation with him ever recorded... and few viewers of this fascinating documentary will remain untouched." (Cineaste Magazine Fall, 2003). 6) The film has had a very successful career: it was shown on the Sundance Channel and sold to television worldwide; won the prestigious Banff Rockie Award for Best Arts Documentary (it won over stiff competition from PBS, BBC, and NHK); was nominated for Best Documentary at the European Film Awards; made several lists as among the Top Ten Best Non-fiction Films of 2003; has been shown theatrically in over 14 countries; screened at Cannes, Edinburgh, and over 35 major festivals worldwide. 7) I'm a Born Liar functions not only as a clever posthumous couch-trip, it also serves as a "thrilling master-class in aesthetics." (A.O. Scott, The New York Times) In fact, Pettigrew's achievement is to have crafted a documentary fantasia on film aesthetics that retains the authority of a valuable historical document. While the film undoubtedly makes demands on the viewer and forgoes analysis of Fellini's exceptional work of the 1950s (no doubt due to problems of international copyright), the rewards are many. Highly recommended for the aficionado.
martes, agosto 11, 2009
Lucio Dalla, "Com'e Profondo il Mare"
Siamo noi, siamo in tantiCi nascondiamo di nottePer paura degli automobilistiDegli inotipistiSiamo i gatti neriSiamo i pessimistiSiamo i cattivi pensieriE non abbiamo da mangiareCom'è profondo il mareCom'è profondo il mareBabbo, che eri un gran cacciatoreDi quaglie e di faggianiCaccia via queste moscheChe non mi fanno dormireChe mi fanno arrabbiareCom'è profondo il mareCom'è profondo il mareE' inutileNon c'è più lavoroNon c'è più decoroDio o chi per luiSta cercando di dividerciDi farci del maleDi farci annegareCom'è profondo il mareCom'è profondo il mareCon la forza di un ricattoL'uomo diventò qualcunoResuscitò anche i mortiSpalancò prigioniBloccò sei treniCon relativi vagoniInnalzò per un attimo il poveroAd un ruolo difficile da mantenerePoi lo lasciò cadereA piangere e a urlareSolo in mezzo al mareCom'è profondo il marePoi da solo l'urloDiventò un tamburoE il povero come un lampoNel cielo sicuroCominciò una guerraPer conquistareQuello scherzo di terraChe il suo grande cuoreDoveva coltivareCom'è profondo il mareCom'è profondo il mareMa la terraGli fu portata viaCompresa quella rimasta addossoFu scaraventatoIn un palazzo,in un fossoNon ricordo benePoi una storia di cateneBastonateE chirurgia sperimentaleCom'è profondo il mareCom'è profondo il mareIntanto un misticoForse un'aviatoreInventò la commozioneE rimise d'accordo tuttiI belli con i bruttiCon qualche danno per i bruttiChe si videro consegnareUn pezzo di specchioCosì da potersi guardareCom'è profondo il mareCom'è profondo il mareFrattanto i pesciDai quali discendiamo tuttiAssistettero curiosiAl dramma collettivoDi questo mondoChe a loro indubbiamenteDoveva sembrar cattivoE cominciarono a pensareNel loro grande mareCom'è profondo il mareNel loro grande mareCom'è profondo il mareE' chiaroChe il pensiero dà fastidioAnche se chi pensaE' muto come un pesceAnzi un pesceE come pesce è difficile da bloccarePerchè lo protegge il mareCom'è profondo il mareCertoChi comandaNon è disposto a fare distinzioni poeticheIl pensiero come l'oceanoNon lo puoi bloccareNon lo puoi recintareCosì stanno bruciando il mareCosì stanno uccidendo il mareCosì stanno umiliando il mareCosì stanno piegando il mare
medio encriptado por los misterios del Compumundo, pero...
que temazo!
medio encriptado por los misterios del Compumundo, pero...
que temazo!
lunes, agosto 10, 2009
Ah bueh...
The brilliantly talented Tunisian Italian Claudia Cardinale has to be one of the most physically perfect human beings ever created. She was born Claude Joséphine Rose Cardin in 1938 and had her break into films after winning a Tunisian beauty contest in 1957. Despite her very voluptuously feminine appearance, she had a very deep voice and had her voice dubbed in her early films. Cardinale made her film debut in Goha (1958) and later appeared in over seventy Italian and French films including a slew of Fellini films, most notable of which might be silver screen phenomenon 8 1/2.
Cardinale never made a real attempt to break into the American market since she was not interested in leaving Europe for extended periods of time. Her Hollywood films include Circus World (1964), The Pink Panther (1964) Blindfold (1965) and The Hell With Heroes (1968).
Bob Dylan obviously found her as perfect a creature as I do – her photograph appeared on his album Blonde On Blonde in 1966, but since the photo was used without Cardinale’s permission, it was removed from the cover art in later pressings. Keep Reading!!! Read the rest of this entry »
Cardinale never made a real attempt to break into the American market since she was not interested in leaving Europe for extended periods of time. Her Hollywood films include Circus World (1964), The Pink Panther (1964) Blindfold (1965) and The Hell With Heroes (1968).
Bob Dylan obviously found her as perfect a creature as I do – her photograph appeared on his album Blonde On Blonde in 1966, but since the photo was used without Cardinale’s permission, it was removed from the cover art in later pressings. Keep Reading!!! Read the rest of this entry »
Rod Steiger y Sergio Leone
Coincido con Pauline Kael cuando dijo que las GRANDES obras del Cine nunca son PERFECTAS.
Acá un momento de la filmación de "Giú la Testa!" (Duck,you Sucker).
En Steiger, Leone encontró un interesante alter-ego, o no?
Francoise ou Catherine?
La menos conocida de las hermanas D'Orleac
en una de las mejores peliculas del Maestro!
Roald Dahl
Grandes cuentos breves para adultos
y...
Charlie and the Chocolate factory (Willy Wonka),
James and the Giant Peach
Charlie and the Great Glass Elevator
y...
Chitty Chitty Bang Bang
y
MUCHO más....
Acá en su quinchito, escribiendo.
domingo, agosto 09, 2009
Across the Universe - I Want You (She's So Heavy)
La mejor sequencia de una peicula discreta...
NO SE PIERDAN ESTA PARTE!
sábado, agosto 08, 2009
Il Dentone - esame 1
Lo quieren echar por su aspecto... pero el chabón es un capo en su trabajo, y no saben como m----a sacarselo de encima!
consideriamo queste parole di giacomo Leopardi
Se quei pochi uomini di valor vero che cercano gloria, conoscessero ad uno ad uno tutti coloro onde è composto quel pubblico dal quale essi con mille estremi patimenti si sforzano di essere stimati, è credibile che si raffredderebbero molto nel loro proposito, e forse che l'abbandonerebbero. Se non che l'animo nostro non si può sottrarre al potere che ha nell'immaginazione il numero degli uomini: e si vede infinite volte che noi apprezziamo, anzi rispettiamo, non dico una moltitudine, ma dieci persone adunate in una stanza, ognuna delle quali da se reputiamo di nessun conto. (pensieri LXXXIII)
1.jpg)
jueves, agosto 06, 2009
miércoles, agosto 05, 2009
ONO: Yes,I'm a witch
MEJOR Disco del decenio?
Con colaboradores de gran talento...
un DISCAZO, finalmente.
All songs were written by Ono.
Yes, I'm a Witch is a remix album by Yoko Ono released on February 6, 2007. Artists invited to contribute were asked to select a song from Ono's back catalogue, and were then presented with all the necessary elements to create a remix/cover to their desires. According to the press release, nearly every artist chose only the vocals, and created entirely new backing tracks to demonstrate the versatility of Ono's compositions.
The song choices span Ono's career from her early experimental work with John Lennon in the late 1960s through to her solo career in the 70s and 80s. The album draws its title from a 1974 Ono song featured on her album A Story, a track which is featured on the album in a reworked version by The Brother Brothers.
un tema? NOBODY SEES ME LIKE YOU DO con THE APPLES IN STEREO. (!)
Con colaboradores de gran talento...
un DISCAZO, finalmente.
All songs were written by Ono.
Yes, I'm a Witch is a remix album by Yoko Ono released on February 6, 2007. Artists invited to contribute were asked to select a song from Ono's back catalogue, and were then presented with all the necessary elements to create a remix/cover to their desires. According to the press release, nearly every artist chose only the vocals, and created entirely new backing tracks to demonstrate the versatility of Ono's compositions.
The song choices span Ono's career from her early experimental work with John Lennon in the late 1960s through to her solo career in the 70s and 80s. The album draws its title from a 1974 Ono song featured on her album A Story, a track which is featured on the album in a reworked version by The Brother Brothers.
un tema? NOBODY SEES ME LIKE YOU DO con THE APPLES IN STEREO. (!)
martes, agosto 04, 2009
lunes, agosto 03, 2009
1969: greg Heet inventa el E-Bow
Lo usó el grande Stuart Adamson, inovador Escocés de la banda The Skids
Bill Nelson
Adrian Belew
Carlos Alomar
Greg Allman
y, acá
lo re-contra usa
Germán Daffunchio de SUMO/Las Pelotas
domingo, agosto 02, 2009
Las maravillosas 'lyrics' de LOVE SONG (The Damned).
(lyrics Scabies, music Captain)
I'll be the ticket if you're my collector
I've got the fare if you're my inspector
I'll be the luggage, if you'll be the porter
I'll be the parcel if you'll be my sorter
(chorus)Just for you here's a love songJust for you here's a love songAnd it makes me glad to sayIt's been a lovely dayAnd it's okay
I'll be the mail, you'll be the guardI'll be the ink on your season ticket cardI'll be the rubbish, you'll be the binI'll be the paint on the sign if you'll be the tin
(chorus)
(chorus)Its OkayIts Okay
I'll be the ticket if you're my collector
I've got the fare if you're my inspector
I'll be the luggage, if you'll be the porter
I'll be the parcel if you'll be my sorter
(chorus)Just for you here's a love songJust for you here's a love songAnd it makes me glad to sayIt's been a lovely dayAnd it's okay
I'll be the mail, you'll be the guardI'll be the ink on your season ticket cardI'll be the rubbish, you'll be the binI'll be the paint on the sign if you'll be the tin
(chorus)
(chorus)Its OkayIts Okay
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