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the Rome Film Festival Review: Lang Zai Ji (The Warrior and the Wolf)

Set over 2,000 years the Chinese film director Tian Zhuangzhuang submit to the Rome Film Festival in competition. Emperor Han troops are defeated by the rebel tribes living to the extreme western border, General Hu was forced to return the survivors to court, where it awaits the fate of the defeated. On the way back the relentless snow storm forces them to stay in the city of Harran, where he lives a cursed tribe, coming out only at night and turns into a wolf when it is coupled with a 'foreign'.

E 'comes to life here that the violent and passionate love between a woman and Hu Harran, director indugierà not least in the tale of carnal embrace between the two. The film will be about 2 / 3 formed by the desperate and violent sex which will lead them to an impossible love, werewolves dire consequences.

Apart from some scene with a strong impact on the landscape, the Chinese film reveals a hopeless wreck. The love between the two, who was born from a rape to settle back down on civil tones of violent sex, turns out to be the first screen appearance of the woman, too much attention and seriousness of the author.

The film seemed on the verge of becoming decent when they were appointed Harran, the tribe cursed with its legends and mystery that surrounds them for centuries, which allowed to presage the arrival of a handful tired and defeated soldiers in a hostile community and the supernatural. And yet this issue is left in the background, even mentioned in some sequence ridiculous.

All, fortunately, goes out in a final symbolic and unnecessary. Rejected.

VOTE 40/100

Thomas Ranchino

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Parnassus - The man who would cheat the Devil (The Imaginarium of Dr. Parnassus)

The 4th Festival Rome has lived most certainly one of the experiences and expectations of greater appeal to the Auditorium with a screening of Terry Gilliam's latest film "The Imaginarium of Doctor Parnassus." A project marked by great expectations and attention ampilificata obviously out of proportion by the death of Heath Ledger.

Gilliam makes courageous choices, perhaps unwise, for the whole movie. Almost religious exaltation of color and blinding of the most absurd kitsch behind the magic mirror of Dr. Parnassus take forms rarely seen before. An exercise megalomaniac in search of the perfect surreal, interposed in a world that we all know where the customers eating and drinking Imaginarium oppressed their souls and give relief, each in its own way, to dreams and nightmares, always forced to choose between devil and holy water. Gilliam also enter nell'Imaginarium, and soon loses control of the material in his hand. Enhances their strengths, highlighting while the defects.

His innate inclination to provoke the imagination of the spectator, throwing at a childlike ruminations, here touches the apex. And then the film will be a journey into absurd stories, immortal, always interrupted at the beginning of another, more compelling, the characters have been stolen here and there to fables, to tragedy, mythology (Faust at all) and the cinema gender.

And here comes the Gilliam who can not control, what can not tame the world that is not even on this side of the magic mirror. The director, who was also haunted by a project may soon scappatogli hands, he can not realize that to continue to tease the imagination the audience must make them believe that there is still a thin umbilical cord that keeps the story, or at least the characters, attached to a semblance of reality that makes it truly magical and timeless, avoiding to give his side a point d ' irritability that someone could reveal in more than two hours of delirium.

We had dry, thinning all over the 'too' Gilliam, and there's so much, thus reinvigorating the good ideas from which you started. Metaphorical than from the fact upon which all art, which is nothing but the world behind the mirror, the door for us all to a nice drift where anything goes, to get a result to the mythological figure of the artist that can never fully enjoy their talent.

The untimely death of Ledger has certainly not helped the compactness of the film, which is in the midst of this hubbub also proposes the transfiguration of the character of Tony, beyond the mirror, take the usual faces of Johnny Depp, Jude Law in a way out of a good role and Colin Farrell. Despite the cleverness of those who have made this decision, analyzing the history entirely plausible, prospering in his latest film's regret, more than misericordistico film lover, the death of Ledger, and magnetic chameleon here as we wanted to see him again and again.

If it is true that the good thing too, however it is undeniable that the excesses are also of great curiosity, and this is what it deserves Gilliam's film, a lot of healthy curiosity and admiration, with the clear awareness that he would have done better simply by adjusting the throw in a couple of choices.

VOTE 58/100

Thomas Ranchino

Terry Gilliam remembers Heath Ledger

The former Monty Python genius arrives at the Rome Film Festival to present "The Imaginarium of Dr. Parnassus", the last film played by the late Heath LedgerDifficile pause on a movie, even though the importance of "The Imaginarium of Dr. Parnassus "When this brings with it the touching testimony of a life and career, interrupted abruptly. And in fact the encounter with Gilliam back often, almost always, to the memory of the American. "I was an actor, a man and a friend unbeatable. Full of life and humor, also has a hint of sarcasm, and then one thing that impressed me about him was the wisdom that he brought with him. I always thought that Aboriginal blood flowed in his veins, 247 years when he died. "In the film the scenes that Ledger could not have been given a starring Johnny Depp, Jude Law and Colin Farrell, three distinguished friends of Heath:" Johnny, Jude, Colin wanted to cooperate and take part because the film has always been very close to him. And I find that they know so well, they have also brought in their interpretations. Even Tom Cruise's entourage has brought its Assisted to replace Heath, but I have not accepted because they knew little about. I just wanted to close friends of Heath on the set. "Obviously the death of Ledger has all facing a series of choices to make:" We decided - says the director - not to change the script entirely, of make the film as we had imagined with Heath. "And this statement shifts the focus on the passion that the performer had for the direction, which he wanted to do the job tomorrow:" He was so determined to become a director on the set did nothing but learn and his desire to learn was inexhaustible. He wanted to keep changing scenes and even changed their lines. His presence was so strong on the set that we had thought to co-sign the director. To be honest I often could not even keep up with all his energy was incredible when he was working. "
And this energy on set was probably one of its key features, what the immortalizing are in everyone's memory as a character incredibly charismatic and full of life: "He was laughing all the time, really surprised us at every moment, all filled with jokes. And the amazing thing he did all this without forgetting the continued construction of its character. It changed focus and ways depending on the object of his seduction. This chameleon-like nature that has helped create a truly complex character I'm sure that has helped the work of Depp, Law and Farrell who were able to reinterpret them as a character with a thousand faces. "

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Muccino vs Tornatore

Continue the course of the Festival in Rome to present to the public duets (or duels?) exception, the chairs of the Hall Petrassi who last year were reserved for Toni Servillo and Carlo Verdone pass this year the pair of authors Gabriele Muccino - Giuseppe Tornatore. A pleasant conversation, sometimes a bit 'tedious in others, goes through the most memorable scenes from their films, which were chosen each other, the work of the two. Two visions of cinema formally different, basically no. Both lovers of choral participation of a diverse look and always in motion, the scenes of "Malena" and "Come te nessuno mai" proves its effectiveness, meet without clashing. Nevertheless, the conditions had seemed different, ready-e Muccino attacks Tornatore: "You are redundant in your films, at the end in that chaos does not reach the heart of the question that you want to tell." And Tornatore, less fizzy and histrionic fellow Roman stuttering in speech, but with rhetoric from old fox, dry retorts, "I say it in so many, never thought it's just my style?". Waters, alas, becomes quiet soon. The couple cradling each other, for harping on the questionable "Baar" on one hand, doing good by the other seller. Tornatore, even renamed Peppuzzo Muccino occasion, describes the film of the Roman Empire: "His constant talk about so I think it is effervescent, sparkling, different generations. It seems to me that all the protagonists of his film to go into what is also the title of one of his films: The Pursuit of Happyness." It is really close to what it was for Italy Muccino, however, soon forgetting what he is doing instead of overseas, where it agrees to stun the audience with all the anxieties of Hollywood Mr. Will Smith. In films from the Sicilian is evident, too, the continuing tribute to the cinema, "Cinema Paradiso" and "The Starmaker" at all, while Muccino in this aspect is not found, even if he is called , entertaining the public, a "who knows what and who steals. Although it takes to steal art." include scenes from "Seven Pounds" and "The Pursuit of Happyness" you come across an exceptional actor Polanski for a sequence, that of suicide Depardieau, a "mere formality". Wonderful opportunity, given the recent events related to the incarceration of the Polish genius, Tornatore for correcting the shot to the statements he left days ago: "Many have misunderstood the meaning of my words in his favor. I did not want to endorse the 'rapes copyright ', as some have wanted to play, but only to show my affection for Roman. Justice must take its course, but so far things with him went in a somewhat 'strange. "And Mario Sesti, and the whole room, it is ideally close around Roman, who will end his" Ghost "in prison for presentation at the Berlinale 2010. Again the 'encounter between two great Italian cinema of today has a center, largely because the real merit of a project of this type is to convert casual viewers into (new) movie buff, and this is always good for us, letting it into unknowingly in a mindset that did not have before.

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Review: Among the clouds

Clooney enchants the Festival with a character that is sewn on, and everyone likes the movie

again in Rome, yet a full immersion in the microcosm of unconventional characters for Jason Reitman, if it is true that three signs are a test, after "Thank You for Smoking" and "Juno" movie buff says softly to the world to be good. And it is for many reasons, to begin with because he always give the best actors, Aaron Eckhart first, then Jennifer Paige, still cradling and reap the benefits of their experiences reitmaniane. It is because it generates its register bittersweet laughter smarter, brush black tales never redundant. Today

its prey is the profound crisis of U.S. companies that are forced to reduce drastically staff, should rely on professional headhunters. Unscrupulous people homeless, devouring kilometers to lay off the poor wretches. And the team of middle-aged Hollywood actors no one better than the languid-eyed boy George Clooney could not embark on a role like this for granted. And then the monster soon Reitman takes shape, a man of loyalty cards attached with airlines, rental car, the big hotel chains (and hence the product placement is wasted), who lives his life, empty, redundancies between lightning and conferences in which to promote a philosophy of life of its own and somewhat depressing. All this between sequences that wink laugh ever granted.

Reitman confirms skilled trainer of oddities, the movie plays and entertains, thanks to share this with Clooney, it is sometimes even compelling, with an eye to current attacked the United States, and a breach of a companies for some time, Obama aside, seems to have reached a saturation point of concern.
E 'here perhaps the greatest merit of "Up in the air", in the frantic bustle of the city and succession of States, the eye of the protagonist through the length and breadth of Pese a whole, and the author, in parallel, it should be at the bottom of a sociological system on the common denominator.

The film does not end here, the characters find themselves unwitting passengers on a route that will (almost all) to a resolution, or at least mature, which will mark the continuing of their lives. And Ryan (Clooney) will be the glue, the deus ex machina that will start every internal process to people who work with him, finding the bitter realization that the curtain closes.
Everything is fast, the pace is pressing the viewer. A film to see, a gem for the Rome Film Festival.

VOTE 76/100

Thomas Ranchino