Clean My White G Shock

La smagliatura (The third degree) 1975 Peter Fleischmann

Content: Georgis (Ugo Tognazzi) is arrested in his small hometown sports cafe and taken to the headquarters of the secret police. In a travel agency working, unassuming man has all his clothes and change is the chief of police for questioning brought. This asks him only after his release, but Georgis do not know what he is talking to him this concrete faced with the accusation of being a member of a banned underground organization. As Georgis still protested his innocence, ordered the police chief, have transported him the next day in the capital to continue to interrogate him there.

After they had given him back his clothes, he is in the early morning by the inspector (Michel Piccoli) being received, with him in the car of the "manager" (Mario Adorf) enter, who immediately towards capital departs. But the desert journey is not long because the car is a breakdown in a small town located by the sea. While the manager tried to repair, accept the relationship between the inspector and Georgis friendly features. The inspector seems to believe his protestations of innocence ...

in yet thought of his girlfriend (Adriana Asti), with whom he had just sex, paints Georgis (Ugo Tognazzi) two circles with a dot in the middle on his napkin in the sport - Caf'e, where he filed a small pause before he plans to return to his job in the travel agency. Suddenly he is pulled out, as it another guest, who came from the toilet, occurs on the foot. After a brief dispute, the Georgis calms down and decides to go to his job. But there he will not arrive, because even in the café, he was arrested by the secret police and taken to the headquarters of the Greek town.

Greek town? - "Greece" is never mentioned in the French - Italian - German co-production from 1975, but in the real context in which the action took place, there is no doubt. Director Peter Fleischmann, had filmed a year after the end of the dictatorship in Greece, the Roman writer of the Athens Antonis Samarakis on-site with mostly local actors. Only the three protagonists - Georgis and him in the capital (Athens) accompanying intelligence - were represented by three Italian-born actors, including, in addition to Ugo Tognazzi, Michel Piccoli, Mario Adorf, each producing countries are represented.

Fleischmann's intention seems to be critical in the first scene to manifest, while still running the credits. Two police cars stop in front of a multi-storey residential building. While the police go down the staircase, a man climbs up onto the balcony and throws himself in front of the crying wife to death. The camera remains on the site an impartial outsider who only sees the effects. Internal processes are not clear, but it is obvious that the husband dear to his death, rushed to leave when arrested by the troops of the inspector (Michel Piccoli). And no one took notice of it, much less intrusive.

The reasons for arrest Georgis fit into this dictatorial arbitrariness and disregard for human rights. He is accused of being a member of a banned underground organization, which the police chief (Dimos Starenios) founded with his circle drawings. have been the kick on the foot is also a prearranged signal. Despite Georgis humble attitude and Protestation of his innocence act, the police chief to let him take the next day in the capital. Georgis know what that means, because the methods used there have been any made to speak - whether he knew anything or not.

1975 was Peter Fleischmann in good company of ambitious politicians - Films. Director Costa - Gavras had already shot the late 60s with "Z" an exemplary film about the dictatorship of his native country Greece, and 1973 with " The Invisible Insurrection conditions in South America exposed. Damiano Damiani, Elio Petri and Francesco Rosi had also fundamentally superior works on the gradual deterioration of civil rights in favor of political and economic power interests in Italy are carrying, but Fleischmann chose an independent path, the less illuminated the classic consequences of dictatorship, but from the time when the Two police officers of the CIA and Georgis leave the town, some bizarre traits takes.

It starts with the fact that Mario Adorf as Marciallo "(German" Manager ") with his tuned car drives off, as if he were at a rally. The way the three men together on the front bench sit, has little of the appearance of a prisoner transport. This also applies to the conduct in which the quiet, very friendly with Georgis immediate Michel Piccoli, gets increasingly armed with the rough, slightly plebby Mario Adorf, which are relentlessly driven car promptly in a small village remains. During the "Manager" can be transported by truck on to organize a repair, the inspector and Georgis stay behind alone and start making friends.

So it seems, but Fleischmann makes no secret of the fact that it is the many strange incidents to no coincidences. Only is never quite clear who here with whom and in what way does, because Georgis is not the harmless fellow traveler, as he seems a long time. Although are especially Michel Piccoli and Ugo Tognazzi in the center of the intensifying action while Mario Adorf plays the role as the immediate threat, but real protagonist is the police chief, before seem to have not only his subordinates hell of fear, but the Peter Fleischmann twice extensively with the opportunity to philosophize about the power of the state and the role of the police.

The dictatorship in Greece ended in 1975, but Fleischmann chose not aware of country referred to only as background for a general discussion of the internal structures of power abuse. Therefore, the German title "The Third Degree" - despite its allusion to a particular interrogation method - an unfortunate choice, while the Italian title "La smagliatura" (or the French equivalent of "La faille") refers to much more precisely what it was Fleischmann. It is the "laddering," or small errors that remain available, thanks to the human factor in operational system, such as the police chief running. The great achievement of police work is that - as he proclaimed in the style of an ambitious artist - Remove these.

La smagliatura " France, Italy, Germany, 1975, Director: Peter Fleischmann, writer: Peter Fleischmann, Antonis Samarakis (Amendment), Starring: Ugo Tognazzi, Michel Piccoli, Mario Adorf, Adriana Asti, Dimos Starenios, Runtime: 102 minutes

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IL deserto rosso (Red Desert) 1964 Michelangelo The band Vallanzasca

Content: Giuliana (Monica Vitti) had a few weeks ago in an accident which, although only small consequences moved, but she said such a shock that they are four weeks in hospital had to stay and is still suffering. While her husband Ugo, as the head of a factory also made by a strike by workers claim their attacks pragmatic terms, behaves Corrado Zeller (Richard Harris), a colleague of her husband, much more sensitive.

Buy smitten by the beautiful woman he wants them to know more and understand more their state of inner turmoil. But Corrado itself suffers from the pressure to conform and is in his reactions and mannerisms in trouble ...


Three Women and three men lounging in a small room on a mattress. Eyes meet, a dress is opened, contacts are indicated. The lewd conversation is about an aphrodisiac and its impact. After one of the women has spontaneously taken it to, she proclaims loudly, now want to sleep with a man.

This central scene is an example of the real theme of the film - the human emotions. That sounds contradictory, since Michelangelo Antonioni has a reputation to give the form in preference to the content. His graphic, accessible to every detail, images radiate a perfection that give a contrary impression - emptiness and feeling cold. In "La notte" , the central part of its previously incurred trilogy, he brought this look to perfection, but even in "L'Eclisse" , the final part, you could feel the bubbling under the surface that in "Il Deserto Rosso" to the inner storm intensified.

Antonioni used color for the first time in a movie, to emphasize this condition visually. Associated with the images of plants - which he on the design of his documentary from 1949 "Sette canne, un vestito" recourse - created an explosive mixture of noise, fire and smoke that is accented by a score consisting almost entirely of noise. The result of unrestricted Absonderns industrial waste is a destroyed environment, which has turned into an oil-contaminated, shiny red desert.


The only green seen on the mantle Giulianas (Monica Vitti) as she walks by with her son to the strikers, who are at the gates of the factory system. Her husband, Ugo (Carlo Chionetti) is a senior engineer of the plant, which does not stop them, one of the picket line to ask for the already half-eaten bread. Your little son is refusing to to eat them, but she bites into it eagerly. Your green jacket can not hide that it glows red in its interior.

Monica Vitti does this woman slowly emerge from the eye of the beholder. It begins with a story about an accident she had several weeks ago. It had been only minor injuries, but Giuliana had suffered a shock from which she recovered only slowly. It will always gripped by seizures, suffering from insomnia and tries desperately to get a sense of inner turmoil under control. For an outsider to do these reactions because of the accident even had little effect, hard to understand - and Antonioni had chosen just for Giulianas husband Ugo. He selected for this role a layman in order to emphasize his lack of empathy yet. Ugo is in accordance with pale, always factual arguments and soon disappears.

total contrast to his colleague Corrado Zeller (Richard Harris) who is immediately smitten by Giuliana, and tries to get to know them closer. This results in a first encounter in their new store that she has already rented, not knowing what they want to sell there. Antonioni made this sequence almost colorless - In a uniform gray to be gone from the each life seems. As Giuliana Corrado says she wants to paint it blue and green business, it is clear their desire for customization. These muted colors match the color-free environment.


Corrado has one hand have sufficient sensitivity to the internal state of understanding Giulianas, acts on the other hand inhibited strange. Even if he can articulate what motivates him, his body language is the opposite. Richard Harris This is the prototype of a visually strong, confident man, emphasized by his clear facial features and perfectly parted hair. Nevertheless, his attitude always slightly bent and his

missing Giuliana approach to the ultimate conclusion. In his piece, similar repression mechanisms show while trying to conform to social norms. Corrado manage this, better than Giuliana, but the love scene that occurs at some point between them is yet to bear in their tortured little awkwardness of, and ultimately a clear indication of his failure. If he really understood Giulianas inner state - and therefore his own - it should not have come to this.

"Il Deserto Rosso" so as a study of depressive Woman is to be understood, much short-sighted, because his co-writer Tonino Guerra Antonioni and understand the entire society to be depressed. Indeed, those most closely Giulianas reaction to their inner feelings, because given the pictures that Antonioni spreads exemplifies the state of human socialization before the eye of the beholder, gets her behavior

almost normal trains. But Antonioni Antonioni would not if it the possibility of human eruption would have considered. This remains the machines and factories reserved, while his protagonists go the way of adaptation.

Antonioni succeed in this great pictures, but the quality of the film to reduce it to its shape, would be insufficient. On the contrary, these images even though they show industrial plants and their effects, while of great beauty - a symbolic representation of the oppression of human emotions and needs.

In one of the best scenes of the film, Antonioni gives a moment for an alternative. Giuliana tells her son lying in bed sick the tale of a girl who spends her days all alone in a beautiful bay. She does not like their peers, because they are already behaving like adults. One day, approaching a mysterious, seemingly empty boat in the bay that backs off at that moment when the girl would have reached almost floating. Outwardly, nothing has happened, but suddenly, a voice that sings a strange-sounding atonal melody in a sequence of notes (the only accompanying melody of the entire film). The girl tried to find out where the voice comes and discovered that the rocks that she did not notice until now, have human characteristics. From there comes the more pleasant sounding melody. When her son Giuliana asks what rocks would have sung as she replies, "All".

"Il Deserto Rosso" Italy 1964 Director: Michelangelo Antonioni , writer: Michelangelo Antonioni, Tonino Guerra, Starring: Monica Vitti, Richard Harris, Carlo Chionetti, Xenia Valderiès, Aldo grottoes, Runtime: 105 minutes

further in the blog discussed films of Michelangelo Antonioni :

"Gente del Po" (1943)
"Superstizione" (1949)
Sette canne, un vestito " (1949)
"I Vinti" (1952)
"L'amore in città" (1953)
"L'Avventura" (1960)
"La notte " (1961)
" L'Eclisse " (1962)

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Antonioni (Vallanzasca's Gang) 1977 Mario Bianchi

Content: When she was responsible for the death of a prisoner wants to use Roberto (Enzo Pulcrano) and Italian (Gianni Diana) seized the opportunity to overpower two guards and escape from prison. While they may settle successfully, but when they get weapons at a Roberto's contact man, they get in trouble once again. However, not all fault, because her idea to rob the same or the wedding party comes quickly to the superior resistance of the bodyguard of the crime boss whose daughter has just married. When they do

make them ready, they come as a surprise to the aid of another gang, which frees them from the violence of the gangsters. Even this was not entirely altruistic, because their interests are the two escapees, which should provide a few jobs. When both freshly decked with suits and new papers on the way to their destination, they run into a police check ...

Mario Bianchi's intentions, more than 30 years after creation of the film "La banda Vallanzasca" to describe exactly, remains speculative, but there is sufficient evidence that the otherwise rather the easy erotic food facing director who later turned some hardcore porn, the real events in Italy in the mid 70s, also were not cold. Specifically he speaks

in the final Comment by a police officer's chaotic, and ultimately even the democratic polluting conditions in Italy provoked by a rampant and uncontrollable crime expectant. With this statement he ennobled an action, previously ranked in unrestrained form of a criminal act to another, without which the police were ever in control. That this is not a mere misnomer becomes clear in further details, especially on the title of the film.

When Renato Vallanzasca it was a criminal who in the 70s became famous in Italy. At a very young noticed criminal, he was nicknamed "The beautiful Rene," because of its pleasant Appearance and his success with women. In fact, he used the stolen money especially for a luxurious lifestyle, which earned him sympathy in the population. As a tough crime boss, he came to less, even if it because of several murders in which he might have been involved until now sits in jail. It sounds superficially odd that Bianchi's name for a movie, uses not located in the Vallanzasca occurs.

Surely he sat thus on the then existing popularity, but whose name is here symbolic of an anonymous Eminence, which pulls the strings in the background, while all other persons acting as chess pieces, can be waived if necessary. Although "La banda Vallanzasca" otherwise straightforward and not very mysterious, comes along, it remains concealed in this point, which stresses the paranoid atmosphere even Bianchi. How serious he is so is often interested in his standards very sparingly used, two soft - Adult - scenes clearly in some versions, the deal cut. In particular, the copulating couple, that just the refuge of the two escaped prisoners chose for his lovemaking is superfluous. Roberto's (Enzo Pulcrano) tantrum when he remarked, is not only counterproductive, but also not fit to his otherwise serene character.

He had previously broken out with his cell mate Italo (Gianni Diana) from the city jail when the guards tried them foist a murder of a fellow prisoner, who was murdered by order of a crime boss by hired criminals was. Bianchi puts in his film before an idiosyncratic pace, by scenes in which it before action crashes the only way, making it to their inner logic, sometimes hitch, with long passages connects, in which the protagonists are shown in detail here, how to drive a car or bus, or just go on foot. These are rhythmic, contemporary music highlighted that give the film a dynamic blend of reality and fiction, which is centered on Roberto, who tries to go its own way.

Ultimately it receives from the ominous gang the order to kidnap the daughter of good family, to extort a ransom - a scenario that clear parallels with the previous year published "La Orca" of Eriprando Visconti has, without having its psychological subtlety. Bianchi is - as the whole movie before - anything gross - the flaunted nakedness of the victim, horny, nasty sidekick, who always harassed (although completely unnachvollziehbar a female contact even with him going to bed) and the superficial lasting sympathy between the young woman and Roberto, promoting more for them . But the basic message they resemble each other again. As in "La Orca" , the kidnappers held out of the backers for weeks and received no information about the ransom handover.

"La banda Vallanzasca" has in the various action scenes certainly over a certain Trash - potential, but overall he gives a convincing paranoid atmosphere. Actor Enzo Pulcrano sympathies can acquire a lone soldier who has a criminal within society still has a modicum of morality. And even if the film does not completely deny Bianchi's other practices, surprised, "La banda Vallanzasca" consistent with his view.

"La banda Vallanzasca" Italy 1977, Director: Mario Bianchi , writer: Mario Bianchi, Starring: Enzo Pulcrano, Gianni Diana, Stefania D'Amario, Antonella Dogan, Franco Garofalo, Runtime: 95 minutes