Try them all. All they want. All the call. Who? But the author, the author. The show is started with a hassle. where is Zazà, Author worthy of the name. To search for in the main event and side; even in independent reviews as are le Giornate degli Autori, always well thought out.
On the day of the “IDEs of March” by George Clooney and “CrazyHorse” by the great documentary filmmaker Frederick Wiseman at the ghost-author is connected, we here the link with the broadcast on La7 series discussed, and ben arrived: “the Kennedys”. To whom did nod. Malaparte I follow him.
The three titles listed are currently testing more and more acute than a “need” acute. This figure of super Director in exhibitions and Festival has always excelled, early editions in Venice as in Cannes; even with different styles and characteristics.
The great demonstrations of cinema are historically nate to celebrate authors who worked for the Nazi-Fascist cinemas-Soviet (Venice) and Hollywood entertainment dedicated capitalist class (Venice and Cannes).
The events that came after, including the exhibition of Nuovo Cinema di Pesaro was the scatenatrice, had its own independent authors, and not at the Centre of their desires and their proposals. Li sought, found them, li said.
To return to the Show this year, the idea of Muller & C to deliver the Leone d’Oro alla carriera to Marco Bellocchio by an author with the uppercase as Bernardo Bertolucci appears as a deserved recognition; but also as an act knowing that the authors with the capital latitano.
Why? Because the television with the tv movie, series, series, fiction, are changing in depth the substance of the story in pictures and sound.
The audience took-forced-into the habit of “choose” the directors, that is the figure of the author or author, and then to “suffer” professionals often valid but without the wing shot, personality, taste, the rigour or the madness, the aestheticism or the rawness and the sprezzatura of the authors.
“Kennedy” directed by Jon Cassar is a series that is discussed in candidate awards and came in glorifying the 7 that search spaces.
The first episode has confirmed the trend. Private appearance blends fact politicians but overlaps, and the facts of history are subordinates, subjected to the predictable direction.
As in the extraordinary show Americans that are made with a dynamism that have not, with a pace that our have not and will never have, with an eye to intelligent reactions that our will never have.
The screenplays are admirable, but communicate, by dint of repetition to continuous Jet, schemas, places and feelings common; become predictable, even discounted: the characters and events lack those heart beats and intelligence that make, made, attractive and powerful great movies of the great authors.
In Venice have passed “the IDEs of March” and “Crazy Horse”. Valued at half of its mouth. Typically, when you say “good movie”, according to the now long-standing practice, in the jargon of exhibitions and festivals today, means that the work is appreciable but it lacks something or anything to redeem it from mediocrity. A mediocrity that can also be aurea, super, but there it is, it causes no stimulates; and even manages to “have fun”.
Italo Moscati
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