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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?

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

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 :

"L'amore in città" (1953)

"Amore e rabbia" (1969)

"Mussolini: ultimo atto" (1974)