Friday, February 18, 2011

Exterior Red Brick Ideas For Shutters

Roma violenta 1976 Renato Savino

Content: While one of them an orgasm just playing on the pinball machines presents, preparing Marco (Gino Milli) have the next item on the program for its neo-fascist followers before. Ironically, Enrico, his friend and club member, should have become involved with a young woman who comes from a communist family. This is a severe violation of internal rules and must be punished.

Gianna (Christina Businari) and Dido are to follow the two and caught them having sex. But as they observe them, they are themselves victims of a robbery in which Gianna is raped by gorilla (Gino Barzacchi). Marco knows that Gorilla is part of the passage of Schizzo (Emilio Locurcio), which - unlike the from wealthy families coming fascists - comply with petty theft of water. After Marco gorilla has beaten is Nerone and his girlfriend brought to their internal court ...



As Renato Savino 1976 "I ragazzi della Roma violenta" (literally "The youth of a violent Rome") he made, he was on the amount of time, which he in the opening minutes with a documentary paints still wanted to emphasize. The survey of citizens for a response to rising youth crime, brought next to helpless responses only called for a harsher punishment. Multiple of the passer was the reintroduction of the death penalty.

are representative such statements are not, of course, but they fit in one phase, the mid-70s, in the terrorist attacks, student protests, labor unrest, free sexuality, and to emancipating youth to a deep uncertainty contributed to the population, had provoked in the minds of the most adventurous speculations. It was a conglomerate of realistic tendencies, such as the resurgence of fascist thinking, a post-war youth, who could careless living from the fruits of their parents and a rising crime rate, which - mixed compacted to the image of a brutalized, decadent youth - with wild sexual fantasies. Especially popular was the type of the offspring of wealthy parents, who raped and murdered out of sheer boredom.

While intelligent films like "Fango bollente" traces this development in an increasingly jaded citizenship recognized, or "ore San Babila 20 UN delitto inutile" Carlo Lizzani into an incisive eye on the neo-fascist youth accused made use of other movies these tendencies to either sex comedies, such as L'tutor " , or crime movies like " Roma l'altra faccia della violenza " (The bloody games of the rich), which not only has the title already significant similarities to "I ragazzi della Roma violenta". Even there, the senseless killings and rape of a decadent youth is discussed, but additionally embedded into a classic police story.


holds itself with such trivialities Renato Savino not even on that pretty much everything packed into it in his film, which was just announced - fascism, rich and poor youth, torture, physical violence, and lots of sex. The sheer number of naked women's bodies would have been enough for the glory of each sex film, only that it does not Savino celebrated in a quiet, longer settings, such as when consensual sex, but almost exclusively with violence.

Even the opening scenes give a foretaste of the coming events. While the group of young neo-fascists, led by Marco (Gino Milli) gather in their marked with swastikas and pictures of Adolf Hitler premises, leading from one of them, as he gets the game on the pinball machines orgasm. The beautiful Gianna (Christina Businari) who feels aggrieved in their honor checks to himself that her friend actually prefers the device a real woman. A little later she is on an observation post to jointly review with the pinball lover, the love affair of a club member with the daughter of a Communist - a crime worthy of punishment according to the strict rules of the neo-fascist group.



As they get turned on by the sight of the loving couple, she is the victim of an attack from Gorilla (Gino Barzacchi) and two companions, they rape, which Gianna does not come quite inconvenient. Gorilla is part of the passage of Schizzo (Emilio Locurcio), knows the Marco from jail and is friends with him. While gorillas still with his actions and does not mention that indicates how well Gianna had fallen, appears to Marco at Schizzo and suggests Gorilla together in a duel, which interferes with the other band members do not continue, including the masochistic assessed Nerone (Marco Zuanelli), the mutilated likes himself. When Marco is a cozy gathering briefly explained his right-wing political views (the only time in the film), it's back to business as usual. In an internal trial, he condemned his breakaway companions to Enrico, to flog themselves, while his girlfriend and uncover must sleep before Enrico's eyes with another member of the fascists must.

That sounds not only crude, but is in such a fast pace in a row away told that you could easily recognize in it an ironic exaggeration when Savino would take in between is not always so damn seriously. So it is completely mistaken, that Marco suddenly at night in bed the girl from the Communist family shows up and sleeps on the ground with her that she would now include all group members. It still looks like she puts her arms around him and kisses him, but why throw then the next day, suddenly the train? - Considering-catching, run by one of the events that has such a drama set up completely, even if it - look at things seriously - is understandable. could

focuses After these events, the film more on the characters Marco and Schizzo, not their lives be more different. While Marco is in the new Jaguar driving, rumärgert with his parents, who are to give him money without having to annoy him further Schizzo hardly know how he gets something to eat. This situation raises the film to the abstruse, if Schizzo lends extra a harpoon, in order to catch a roasted chicken, is caught and the dealer's sister, a prostitute for the evening has to promise to eat the chicken should. Their pimps agrees to the deal turn on only when Schizzo a negligee for her concern, which succeeds because the slitting his buddy Nerone in the clothing business, the arms with razor blades. This entire sequence is wrong so that it no one can take seriously, and culminates in the tooth to still Marcos harassment of an anarchist professor, his students should no longer influence with leftist slogans. During that cries out in pain, the film is constantly changing for sex scene with Schizzos sister, so the groans of the professor replaced the groans of the suitor.


But instead the story continues drive in this absurd form of progress, the film lapses back into clumsy sincerity. Increasingly, developed Marco Kill - fantasies during sex, which converts the film also detailed image. Parallel start both Schizzo and Marco to pursue a plan that will end in a specific rape. This approach lacks any irony or cannot, but is still unpleasant. But by no means realistic in a confrontation, but in the manifest, to be satisfied with this voyeuristic needs. This hypocrisy tops Savino finally look so by returning again to the nature of the journalistic survey of the beginning and the viewer with a text panel responds directly to what this is going to do against this type of youth crime - as if there had been any serious work in this film with this subject.


From today's perspective, it is relatively easy, "I ragazzi della Roma violenta" as absurd sex violence fantasy with a trimmed political message to dismiss, which can be viewed much in the spirit of the times out and is more unintentionally funny. This does not change the fact that Renato Savino his concoction quite serious, not commenting on the critical demands of the passers-by for the death penalty with the content of his film and ultimately to no prejudice on an allegedly completely out of joint youth waived, the fascist element rather folkloric works. Is finally revealing itself to the film but in the fact that he wanted to meet, especially the sensationalism and voyeurism of its viewers.



"I ragazzi della Roma violenta" Italy 197 6, Director: Renato Savino, writer: Renato Savino, ; Starring: Gino Milli, Christina Businari, Emilio Locurcio, Gino Barzacchi, Marco Zuanelli, Duration: 87 minutes

Monday, February 14, 2011

1996 Dutchman 30ft. Travel Trailer

État de siège (L'Americano / The invisible insurrection) 1973 Costa-Gavras

Content: Uruguay 1972 - in the entire country there is a state of emergency. Feverishly looking for the police and the army after the kidnapped Americans Philip Michael Santore (Yves Montand). But while the roadside lead to any results, it is a lonely parked car, the knowledge brings - in his fund is the body of an aid worker who was killed by the "Tupamaros", after the government had not responded to their demand that jailed members the underground movement in exchange to leave.


When a few days earlier, Santore, together with the Brazilian ambassador was kidnapped, aroused the wonder, for they turned the general question of why the "Tupamaros" for their interrogation, the results to the public later used to inform a development worker was kidnapped. Above all, the journalist Carlos Ducas (OEHasse) begins to investigate with responsible authorities react visibly nervous during the police force under the command of Captain Lopez (Renato Salvatori) is putting on Santore get free as soon as possible. Parallel interrogate members the "Tupamaros" the Americans and confront him with his real task in the South American country ...


Looking at Costa-Gavras major works of contemporary political thriller, based on the 1969 turned "Z" about a year later formed "L'aveu" (La Confession / The Confession) to its first American movie "Missing" (Missing) in 1981, then you can feel his search for an answer to the same question - how can a totalitarian state emerge and persist, even though he is going the liberties of its citizens limits and against all resistance by force?


be as clear as detailed analysis can not hide that Costa-Gavras unmasked with his films, although the motives, strategies, and internal relations of the perpetrators, but not the reaction of the bourgeoisie. So exactly one conspiracy and propaganda methods can also search, so little can be inferred from this causal implications, because the people always remain an unknown. Its very different approaches to basically the same theme, apart from the contemporary and geographical references at once, are therefore only of a general intention to - the viewer a possible complex Description of the development of a democratic state to a dictatorship way to keep in mind that such an occurrence in the future, at least more difficult.

The development that took his political thriller in their production form, but also the intended target group, according to an image of her time. "Z" was his most personal film, in spite of his general, avoid private details of analysis, could not hide the fact that Costa-Gavras here to tell his own story and that of his home country Greece. How much he confronted it, can be calculated from the conclusion of the film be read, resulting in subsequent films, which also gives the first could. In order to get funding at all for the film, Jacques Perrin founded specifically for this production company and Yves Montand took a starring role without a fee (like most other actors).

In "L'aveu" Costa-Gavras took a complete turn in the staging, by relying on a political character (again played by Yves Montand) as victims focused on the example he interrogation - and torture methods of a totalitarian regime - here the Stalinist USSR - analyzed. After the production of this film for the first time participated Italian firms, this group extended to "the invisible Uprising "on a German production company. It is also the parallels to the political films of Italian directors clearly, for the Italian production company EIA is equally active in Damiano Damiani's film" Il giorno della Civetta (The Day of the Owl) and " Confessions di un Commissario di polizia al procuratore della Repubblica (The clan that einmauerte his enemies alive), and in Elio Petri's "La classe operaia va in paradiso" (The working class comes into Paradise). W when he also produced Italian-German-French political thriller La Smagliatura " (The third degree) of 1976, three actors took over from the respective countries of production one of the leading roles - Yves Montand as the kidnapped victims, the American aid worker Philip Michael Santore, Renato Salvatori as Uruguayan police chief Carlos Lopez as a journalist and OEHasse Dukas. The Costa-Gavras not - as usual today - back to authentic country people attacked, but only filmed in French, was due to the team that the production of films for the first allowed.


That changed with "Missing", which was produced in the United States and occupied exclusively with the native speakers was. In this film portrays Costa-Gavras, the consequences of dictatorship from the perspective of a victim, plus an American who falls almost by accident in the mills of the (Chilean) police force. This has earned him the unjust accusations of trivialisation. It can be seen in "Missing" is the attempt to reach a target group by the first time not only those directly involved - whether on the political side or in the resistance - in the center of attention, but described a private, also an emotional experience fate.

"The Invisible Insurrection occupies a special position in this series, although superficially the film in his production of" Z "oriented and a similar Kaleidoscope developed, consisting of the views of the different stakeholders and their methods - politicians, journalists, businessmen, diplomats, military and police. Amidst this ever-changing, of eloquent speeches, accompanied locations, is a haven - a center of the Uruguayan urban guerrilla "Tupamaros", in which there is a trial, that principle of "L'aveu" (The Confession), remembers only with the opposite sign . Here the state power is not questioned, but the underground movement hijacked their victims, which is becoming a perpetrator of the actual out. The later consequences for the American Santore (Yves Montand) hidden Costa-Gavras, because the film begins when his body is found, before the events of the beginning of the abduction, it winds up slowly.


For the public, it is surprising kidnapped why with Santore a harmless aid workers was that also calls for journalists Dukas (OEHasse) on the plan, carrying out parallel to the interrogation of the resistance group's own investigations. Combined with further expansions, in part, rigorous scenes when trained as in a lecture hall on a living example of torture methods were developed, Costa-Gavras in an exciting process a coherent, from different Angles resulting document about the actual role of the Santore development worker alleged that the overt support of totalitarian systems to maintain their own commercial interests by the United States reveals.



The Costa-Gavras' sympathies of the "Tupamaros" belongs, can not be overlooked. It is not only the interrogation, which is characterized by fairness and convincing arguments that force Santore finally to admit its actual function, but also the other non-violent presence, from which they accept only distance in an emergency. Even the execution Santore (the other kidnapped victims are left blank) describes Costa-Gavras as a grass-roots act by having the members vote on it. Significantly, it shows the murder is not in the picture, as opposed to a large number of executions by the police under the leadership of Captain Lopez (Renato Salvatori). Behind it, while some legitimacy of assassination as a counter-reaction, but Costa-Gavras does not use this to glorification of the Resistance, but shows it is more than desperate, ultimately senseless act that is intended to prevent only to show external weakness, while even the successor Santor enters the stage.


Basically - and this is an outstanding feature of the film - Costa-Gavras was only possible with the reality - a reality that it finally caught up with itself. In fact, understood the "Tupamaros" long time as a peaceful movement, before the beginning of the 70 years of radical measures were abducted and forced victims to confess, they then have informed the public - without consequences for the government. In 1971 the leftists lost the elections and "The Invisible Insurrection" was filmed in 1972, were the most leaders of the "Tupamaros" already in prison. The atmospheric density and realistic impression of a South American country on the brink of dictatorship Costa-Gavras achieved not only by this fatalistic knowledge, but also by the location of Chile, then under the communist Allende government.

The film is much talk about Brazil and the Dominican Republic, which had been found prior to Uruguay as a good student of U.S. teaching methods, but was turned off only a year after "The Invisible Insurrection was , and Chile under Augusto Pinochet followed. By the same date had been "The Invisible Insurrection - No matter what position one takes in detail to certain details - legitimized in its general intent.


"État de siège" France, Italy, Germany, 1973, Director: Costa-Gavras , writer: Costa-Gavras, Franco Solinas, Starring: Yves Montand , Renato Salvatori, OEHasse, Jacques Weber, Evangeline Peterson, Running time: 115 minutes

Truimage Problem The Installation Was Interrupted

Today ... In the fog

... Is the second anniversary of the sky small Mirjam .
burn the land of the Frisians in this year a candle.
My thoughts are with her and her wonderful family.



Yes ... and a year ago today I took the step and started my blog.
The change that I've been through in this time is unbelievable.
me at the moment is not to many words to mute - is now probably a certainty that what we all feared for two weeks. The investigations are completed. Tomorrow is my mum to the hospital on Wednesday it will operate.
'is coming a long way with an uncertain outcome ...
For today's blog birthday only this: I thank you for your visits and comments last year, for your wonderful blog and inspiration ... that I may be a part of you - nice to have someone like you!

a good time!

ADDENDUM
Now we have certainty as feared, it is a malignant tumor.
Before 51 / 2 years it was already for me to deal with the diagnosis of cancer.
Now it takes us again. WHY?

Monday, February 7, 2011

Invitation For 1st Death Anniversarry

Riso amaro (Bitter Rice) 1949 Giuseppe De Santis


Content: Walter (Vittorio Gassmann) is on the run from the police who investigated him for stealing a valuable necklace. After he barely escaped, he hands over the jewelry to his girlfriend Francesca (Doris Dowling), with whom he had an appointment at the station. To disappear in the crowd, it closes spontaneously workers for the rice-planting schemes in large numbers on the road to the Po valley.

When she on the train Silvana (Silvana Morgana) is met, their first clear where they got involved. Because they do not contract with employers to has rice fields, it threatens the goal of the rejection. Silvana they calmed down, but that they pursue their own goals, because they had noticed that Francesca had something hidden in a cloth. Arriving at the rice fields, Francesca learns quickly that she is not welcome here, and when she then noticed that her Silvana has stolen the jewelry, it remains only a possibility before they disappear from there must be. Together with other workers who have no contract, it enforces the access to the rice fields ...


The "neo-realism", which like the phase - beginning with Visconti "Ossessione" (1942) to the mid-50s - known in the Italian film, which brought the Italian filmmaker relentless reality of their country to the big screen, has some key works - among them is also "Riso amaro (Bitter Rice) by Giuseppe De Santis from the year 1949, that may be missing in a little list.

The year before, in 1948, had (shakes The earth) Visconti "La terra trema" nor a purist, strongly associated to the ideals of realism-oriented film out, while Vittorio De Sica "Ladri di biciclette (Bicycle Thieves), the biggest international honors received. Despite the growing reputation in the international consciousness, these films were not box office successes, but their recognition sparked desires, which was also increasingly in collaboration with Hollywood. As crosses at the end of this era is especially "Stazione Termini" by Vittorio De Sica's 1953, that came out in two versions - in addition to De Sica's "neo-realistic" interpretation, even an abbreviated for the American market.

So far it was in "Riso amaro" yet, but some details point to changes very little directly to the ideals of the phase to do at the end of World War II had. On the one ruled since 1948 with the Crist Lichen Party of Italy, a conservative force (very beautiful in Samperis Nene (1977) described) which, while exercising any censorship, but the distribution of production funds so affected that obviously Marxist embossed films were no more grants. This Dino De Laurentiis was not dependent anyway, brought the end of the 40s, especially period films ("Il cavaliere misterioso (The mysterious Chevalier)) or comedies (" Adamo ed Eva ") to the box office. He explained to here as a producer with a realistic scenario remained a long time Time proves an exception, but his eye for a mix of hip issue and what could entice the audience into the cinemas.

From today's perspective, it is quite striking that "Riso amaro" as a major work of "neo-realism" is, it proves that good marketing has a much better long-term effect, as the actual content. The closest one could "Riso amaro" call early sexploitation film, not so coincidentally came up next to De Santis Carlo Lizzani, who later in "amore L'in città" (1953) - but much more cautious - the prostitutes dedicated before in the 70's films like "Storie di vita e mala vita "(Street Girls Report) turned De Laurentiis' Killing in full because of the realistic background of the workers in the Po Valley, offered many opportunities to get them to a bare-legged in rice -. show planting, for other in their underwear at a later date together in the women's accommodation. The mass range of slightly pursed women had its effect not produced a cash fit for scandal in these prudish years.



This was especially Silvana Morgana due, which was moved as a young worker advantageous in the picture. Already in the first scene at the station, where the women are to be transported to the rice growing areas, she dances lasciviously to boogie-woogie tunes. The actual beginning of the film is yet to be determined by the voice of a reporter who is its presentation of the rice cultivation give a documentary touch, but the dance scene, however, is totally unrealistic. But, that Silvana (as they say in the film) has its own music apparatus of this is as unrealistic as her performance in the midst of people who have committed themselves for low wages under miserable conditions for several weeks to a hard work. This is Walter (Vittorio Gassmann) also tendered as a dance partner, given the attractive Silvana, yet understandable, but not given the fact that he is on the run from the police. He promptly be seen, but the stolen necklace to his girlfriend Francesca (oddly enough, by the American actress Doris Dowling played, whose face for a track is clear and intelligent), these rises spontaneously to the workers on the train.



From today's perspective, it is difficult to understand, praised why "Riso amaro" still for its realistic depiction of the situation of rice workers will, because this is hardly the function as folk influence beyond. Even Visconti Occupied pronounced in "Ossessione" attractive actors and Roberto Rossellini worked in "Stromboli" 1950 with his wife Ingrid Bergman, but the view of the post-war Italy was always larger than its actors, who - in opposite - increasing broke under the weight of reality. Of which, despite all, love suffering and crime in "Riso amaro" out of the question, because only the conflict of the four protagonists themselves (as the second man enters or Raf Vallone, the scenery), created here the drama that has been obtained towards the end, almost operatic traits.

The spectacle of the annual mass migration of workers on the rice fields of the Po valley here only serves as a background, is particularly evident in the lack of political relevance. The only rebellion is instigated by Francesca, because the management does not want to allow the women to work, which had previously signed a contract. Francesca's subject is not in the urgent necessity of having to get food for their family what they would accept the strenuous and poorly paid jobs, but because their Silvana had stolen the necklace and they would not otherwise have a chance to get it back . Otherwise produced only by the look a certain critical potential, while the women are singing together in solidarity and To practice but not a negative word about losing their employer.


probably lies the secret of success of the movie because he confronted the viewers only subtly with the then present, but used the label "neo-realism" for liberal views and a dramatic love story about the so seductive Walter as unsound. A certain entertainment value can be "Riso amaro" not deny, but the timelessness of parallel works such as Il cristo proibito " (with Raf Vallone) and" Cronaca di un amore "by Michelangelo Antonioni, who already of the original ideas of neo-realism had passed, the film has not - that he is both in its characterizations, as in the story structure based on the then very popular taste.

"Riso amaro" Italy 1949 Director: Giuseppe De Santis , writer: Giuseppe De Santis, Carlo Lizzani, ; Starring: Silvana Mangano, Vittorio Gassman, Doris Dowling, Raf Vallone, Checco Rissone, Running time: 104 minutes

Tuesday, February 1, 2011

Smoll Wİgİna Pİc Gal

Banditi a Milano (The Bandits of Milan) 1968 Carlo Lizzani

Content: Commissario Basevi (Thomas Milian) to a journalist describes the rising crime rate in Milan and the increasing violence of the gangsters. Whether extortion, gambling and prostitution - increase in all areas, the police their efforts to continue to stay in control.

currently employs him, especially a gang of bank robbers who in their flight be not only the police but fired indiscriminately at passers-by, killing several innocent people. With hundreds, and the use of helicopters trying to police the leader Piero Cavallero (Gian Maria Volonte) to take, while the anger of the population, the situation heated up further ...






clear you can not name a movie title - "Banditi a Milano" (The Bandit of Milan) scores it to the point, because Carlo Lizzanis straightforward film focuses on a gang of bank robbers, led by Piero Cavallero (Gian Maria Volonte), their seventeenth raid into a bloody fiasco is. analyze

Instead psychological background or personal feelings of the perpetrators, Lizzani begins with a semi-documentary introduction to the film, the Commissioner Basevi (Thomas Millian) at its center, which depicts an in OFF position Reporter conditions in Milan. The camera glides from a lynch mob on the roofs of Milan, between displayed a gangster, an old school, who reported that today's criminals have no nursery more, which he glorifies violence Comics blames before Lizzani the destruction of a nightclub with the comic drawings garnished.

Total leave this first 20 minutes with a reference to the later gangster story to tell after the fact, an absurd idea, in its mixture of the description of increasingly violent crimes, and comic relief, such as when a crime boss with violence its just at the table losing bet repeated and it takes the opportunity to be the better, also have a cheaper price, racketeering offer, if ever burst a man in any interviews or interrogations, because he had stolen 100 000 lire by the authority wants to have, or have a woman Commissioner with their erotic fantasies as an alleged witness holds the phone.

is interesting to note the ironic parallels to the then student unrest and changes in Italian society, because even the people - Accrual at the start might just as an escalating demonstration can be taken from the conservative comments of the older gangsters are representative of the attitude of his generation, night clubs and free sexuality for the loss of morality and not least, there are Gian Maria Volonte, mimes instead of his usual role as a revolutionary and fighter for justice, with not one bit less committed to the ruthless gangster.

This combination purifies the subject in an impressive way, because thanks to this "foreplay" is sufficient to have shown here is state of society, to allow the conduct of the bank robbers seem plausible. Even as the violence escalates and Piero Cavallero (Gian Maria Volonte) on the run from the police shot indiscriminately into the crowd, Lizzani no need for any kind psychological superstructure. He can even afford to snatch the innocent victims of their anonymity to take a quick look at their previous lives and their families, without a moment in order to get the suspicion, emotional resentment of stir up the gangsters to do.

the contrary - it is quite striking, as the smug, loud-mouthed Cavallero exist on its criminal acts to murder no doubt, still remains the most colorful figure. Subliminally violent stresses occurring bourgeois, uncomfortable grip on to women and without any doubts about his intelligence, Gian Maria Volonte is a revolutionary and bourgeois in a person. His playing is so variable that details of his past are not necessary - this man is as much a part of this society, as it makes fun Volonté, his character is free to rampage. Lizzani emphasizes the still of the opposite Representation of his opponent, the Commissioner, the boyish Milian, intellectual, always a cigarette holder in his mouth, extremely ration
al and is dominated. Further away can hardly be a Commissioner of its population to be protected.

be why the Verfolgungsjadgen the police, with long car ravings by Milan's streets, hundreds, the scan heavily armed every square meter, and helicopters, that Cavallero and his still only remaining companion be driven more and more into a corner, not to Mentekel or lowering of the gangsters, but to flee Victims of two highly stylized. Lizzani remains seemingly neutral, mere observers, without external stress some sympathy, but when ever indulged a film that built up such a situation towards the end, a gangster, the psychological feeling of victory, whose laughter to the viewer to finish in the ears sound?




"Banditi a Milano" Italy 1968, Director: Carlo Lizzani , writer: Lizzani Carlo, Massimo De Rita, Starring: Gian Maria Volonte , Thomas Milian, Ray Lovelock, Don Backy, Laura Solari, Running time: 92 minutes


- further discussed in the blog films Carlo Lizzani :