The new year has begun for a while (we are already in March), and even the movies I got startled by no masterpiece! Also because I lost a lot of movies, I have to recover as soon as possible.
However, two visions were the most interesting, and probably the most anticipated by myself: The Grit of Coen brothers, and The Black Swan of Darren Aronofsky. From the first I expected much, much more ... And instead I got the first disappointment of the year. This does not mean that the American brothers movie is of poor quality, or avoidable ... Indeed. It remains a film of great value, and that I recommend to everyone, fans of westerns or not. A classic story, with "coen's touch", which flows well, without hurry, with the right time, in a world of an era and a border always beautiful, charming and engaging. A film written well, directed well, played so well, shot well, etc. ... etc. ... Be attributed to the two authors only minor imperfections, and a lack of originality, strength of story, hints of genius. The story does not take off almost anything, and is also a bit trivial to some narrative development, the actors do theirs, but do not exceed (see off a Matt Damon, who have already given a very interesting character of his). In short, I wanted more ... Much better than "A serious man": the film had a much more difficult to digest, but at the same time it was original, imperfect, disorienting, and slowly, addictive and devastating. Until next time!
instead of an entirely different bill is that the new wizards of Aronofsky's work: his "Black Swan" is a dance unbalanced, overflowing, overwhelming, from beginning to end ... Thin, and magnetic as the face of its protagonist, the film evolves into a thrilling crescendo, to the beautiful, self-celebratory finale! This work also imperfect, but that is in this imperfection, even your own strength ... Certainly a film that leaves upset at the end of each spectator viewing. But let
below taken from a review Cinematografo.it , I agree almost entirely.
After years of paying dues, Nina (Natalie Portman ), a young dancer in a troupe of New York, gets the main part in the implementation of the famous Swan Lake by Tchaikovsky, now replacing the "worn" Beth MacIntyre ( Winona Ryder ). In the role of the queen, but Nina will be split and simultaneously innocent and and the evil White Swan Black Swan and disturbing latter became his obsession, because a naive and pure girl like her, castrated by a overprotective mother ( Barbara Hershey), transformed into a diabolical seducer is not a trivial matter. What's more, its inadequacy presses the button on the cynical artistic director of the company, Thomas Leroy ( Cassel), pushing it to bring out the dark side of herself, while the arrival of a new ballerina, la spregiudicata Lily ( Mila Kunis ), aumenterà le sue incertezze portandola lentamente alla pazzia...
Il cigno nero di Aronofsky è The Wrestler al femminile. Al posto delle botte il ballo, ma le ferite non fanno meno male. Storia intrigante, cast di sicuro appeal (Natalie Portman, Vincent Cassel, Barbara Hershey e la rising star Mila Kunis), un regista di talento che ha saputo contenere negli anni pulsioni ombelicali e artifici stilistici. Prova ne sia che da un soggetto poco originale - libera variazione sul mito di Pigmalione, scritto da Mark Heyman , Andres Heinz and John McLaughlin - Aronofsky was able to work that hard to get bored, and the mix of styles and patterns (which combines with ease melodrama, psychological thriller, horror, trash and musicals), a film that could ever escape overboard without ever reach. If a defect is attributable rather to the last test of the American film is just an excess of zeal, the impression that there is always something too calculated and cold and a tad predictable. On the other hand the theme - the theme of the double, the obsession with art, the cruelty of the stage, the metamorphosis - is not new, but Aronofsky it has the merit of her, bending to his poetic and personal balance. And while the director brings out - as I said - a reflection on cinema already begun with The Wrestler (film as a death at work on the actor's body), the other is confirmed in the direction of skilled interpreters - all superb, but the prize goes to the best of Portman, who won the Golden Globe nominee and authoritative - even evil in the allocation of roles, as when he decides to give Ryder the part of the diva on Sunset Boulevard. Then it is clear, its quirky sensibility and a little kitsch may not please everyone, but in front of a film so vibrant, vorticoso, eccessivo, è difficile restare indifferenti.
Contrariamente alla sua ballerina, Aronofsky non è "perfetto", nemmeno vuole esserlo. Il suo è semmai un cinema senza centro, instabile, infetto, stravagante e furioso. Balla paurosamente. Sta a noi decidere se ballare con lui.
instead of an entirely different bill is that the new wizards of Aronofsky's work: his "Black Swan" is a dance unbalanced, overflowing, overwhelming, from beginning to end ... Thin, and magnetic as the face of its protagonist, the film evolves into a thrilling crescendo, to the beautiful, self-celebratory finale! This work also imperfect, but that is in this imperfection, even your own strength ... Certainly a film that leaves upset at the end of each spectator viewing. But let
below taken from a review Cinematografo.it , I agree almost entirely.
After years of paying dues, Nina (Natalie Portman ), a young dancer in a troupe of New York, gets the main part in the implementation of the famous Swan Lake by Tchaikovsky, now replacing the "worn" Beth MacIntyre ( Winona Ryder ). In the role of the queen, but Nina will be split and simultaneously innocent and and the evil White Swan Black Swan and disturbing latter became his obsession, because a naive and pure girl like her, castrated by a overprotective mother ( Barbara Hershey), transformed into a diabolical seducer is not a trivial matter. What's more, its inadequacy presses the button on the cynical artistic director of the company, Thomas Leroy ( Cassel), pushing it to bring out the dark side of herself, while the arrival of a new ballerina, la spregiudicata Lily ( Mila Kunis ), aumenterà le sue incertezze portandola lentamente alla pazzia...
Il cigno nero di Aronofsky è The Wrestler al femminile. Al posto delle botte il ballo, ma le ferite non fanno meno male. Storia intrigante, cast di sicuro appeal (Natalie Portman, Vincent Cassel, Barbara Hershey e la rising star Mila Kunis), un regista di talento che ha saputo contenere negli anni pulsioni ombelicali e artifici stilistici. Prova ne sia che da un soggetto poco originale - libera variazione sul mito di Pigmalione, scritto da Mark Heyman , Andres Heinz and John McLaughlin - Aronofsky was able to work that hard to get bored, and the mix of styles and patterns (which combines with ease melodrama, psychological thriller, horror, trash and musicals), a film that could ever escape overboard without ever reach. If a defect is attributable rather to the last test of the American film is just an excess of zeal, the impression that there is always something too calculated and cold and a tad predictable. On the other hand the theme - the theme of the double, the obsession with art, the cruelty of the stage, the metamorphosis - is not new, but Aronofsky it has the merit of her, bending to his poetic and personal balance. And while the director brings out - as I said - a reflection on cinema already begun with The Wrestler (film as a death at work on the actor's body), the other is confirmed in the direction of skilled interpreters - all superb, but the prize goes to the best of Portman, who won the Golden Globe nominee and authoritative - even evil in the allocation of roles, as when he decides to give Ryder the part of the diva on Sunset Boulevard. Then it is clear, its quirky sensibility and a little kitsch may not please everyone, but in front of a film so vibrant, vorticoso, eccessivo, è difficile restare indifferenti.
Contrariamente alla sua ballerina, Aronofsky non è "perfetto", nemmeno vuole esserlo. Il suo è semmai un cinema senza centro, instabile, infetto, stravagante e furioso. Balla paurosamente. Sta a noi decidere se ballare con lui.
Gianluca Arnone
IL GRINTA
Voto 7
IL CIGNO NERO
Voto 8
Pace. E bene.
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