The man who will
The diary written by the massacre humble masterpiece cinema
Flooded school re-enactments or too schematic reconstructions of the Second World War and its episodes, where the film is bent to the ambitions propaganda of this or that, the vision of the man who will provide the same relief, a breath of fresh air to those who feel suffocated. Rigorous, exciting, honest, passionate, the film rights can combine moral clarity and historical reading with an unusual style for Italian cinema, an elegant and understated classicism.
The film, set in the hills near Bologna Marzabotto tells the harsh daily life of the peasant family Palmieri, from winter 1943 to autumn 1944: the Nazis patrolling with determination the Gothic Line, the partisans engage nell'infastidire and sabotage the actions of the occupants and civilians trying to live as best, experiencing intimidation of some and the demands of others, while life can not continue on its path: Lena (Sansa) is carrying the 'man who will "to which the title refers, in-law Benjamin (Rohrwacher) hopes to improve his condition going to serve in Bologna, her husband Armando (Casadio) is torn between the bonds and the imposition of sharecropping fascist, all, together with farmers live in the same farmhouse, sharing the hard life and all that remains of the desire to come together to dance or chat.
Leading the viewer's gaze of curious Martina (Sugar Montanari), the daughter of Lena and Armando, became mute after the death of a former brother and anxious guardians of those to come: thanks to you know the behavior of the troops Nazi hasty getaways in hiding in the woods, the actions of the partisans, deaths and defeats, but also the inevitable intrusion of the war and its violence, in everyday life.
the brother born during the night between 28 and 29 September 1944, and history has already told us what will happen in those days: in the name of a chilling requirement of 'territorial reclamation ", the Nazis rounded up more than eight hundred people, mostly women, children and elderly people, who kill without even the justification of reprisal. Not anticipate the fate of people who have known and documented that the film shows, however, but it would be unfair to reduce a man to be, although correct, reconstruction of the massacre of Monte Sole (Marzabotto is one of the municipalities in the area, the most known).
Rights Watch as well, suffering and despair of all the cynicism of those who define language as "collateral damage" to the pain and tragedy of those helpless who pay the hard way the folly of war. To do so does not amplify the opportunities for entertainment or suspense. He does not care - and rightly so - for those who beat us you save because behind every life saved, there are too many destroyed. Rather he wants us to reflect on the absurdity of war and violence. Not just in the name of pacifism but for rational un'umanissima empathy with the victims. To those men, women and children who go to their deaths I've gotten spoiled seeing the wretched life, feeling the smell of their land or their own stable and enduring poverty, listening to the hardness of a language that has the same roughness face (this was necessary to hear all in dialect, for this does not disturb the necessary subtitles).
Rights filming everything with a style that Bazin and who would have liked the movies as he claimed the ability to return to the screen the force of reality: running from the truth, mixed faces of professionals (Sansa Rohrwacher, Casadio: all excellent) to other taken place (the small Greta Montanari sugars but also many old places, some young people, witnesses of the Nazi massacre true), avoids clichés and rhetoric falls. It can give us one of the best evidence of a cinema finally necessary, of the highest moral and collection of exciting and engaging civil force. A masterpiece.
The diary written by the massacre humble masterpiece cinema
Flooded school re-enactments or too schematic reconstructions of the Second World War and its episodes, where the film is bent to the ambitions propaganda of this or that, the vision of the man who will provide the same relief, a breath of fresh air to those who feel suffocated. Rigorous, exciting, honest, passionate, the film rights can combine moral clarity and historical reading with an unusual style for Italian cinema, an elegant and understated classicism.
The film, set in the hills near Bologna Marzabotto tells the harsh daily life of the peasant family Palmieri, from winter 1943 to autumn 1944: the Nazis patrolling with determination the Gothic Line, the partisans engage nell'infastidire and sabotage the actions of the occupants and civilians trying to live as best, experiencing intimidation of some and the demands of others, while life can not continue on its path: Lena (Sansa) is carrying the 'man who will "to which the title refers, in-law Benjamin (Rohrwacher) hopes to improve his condition going to serve in Bologna, her husband Armando (Casadio) is torn between the bonds and the imposition of sharecropping fascist, all, together with farmers live in the same farmhouse, sharing the hard life and all that remains of the desire to come together to dance or chat.
Leading the viewer's gaze of curious Martina (Sugar Montanari), the daughter of Lena and Armando, became mute after the death of a former brother and anxious guardians of those to come: thanks to you know the behavior of the troops Nazi hasty getaways in hiding in the woods, the actions of the partisans, deaths and defeats, but also the inevitable intrusion of the war and its violence, in everyday life.
the brother born during the night between 28 and 29 September 1944, and history has already told us what will happen in those days: in the name of a chilling requirement of 'territorial reclamation ", the Nazis rounded up more than eight hundred people, mostly women, children and elderly people, who kill without even the justification of reprisal. Not anticipate the fate of people who have known and documented that the film shows, however, but it would be unfair to reduce a man to be, although correct, reconstruction of the massacre of Monte Sole (Marzabotto is one of the municipalities in the area, the most known).
Rights Watch as well, suffering and despair of all the cynicism of those who define language as "collateral damage" to the pain and tragedy of those helpless who pay the hard way the folly of war. To do so does not amplify the opportunities for entertainment or suspense. He does not care - and rightly so - for those who beat us you save because behind every life saved, there are too many destroyed. Rather he wants us to reflect on the absurdity of war and violence. Not just in the name of pacifism but for rational un'umanissima empathy with the victims. To those men, women and children who go to their deaths I've gotten spoiled seeing the wretched life, feeling the smell of their land or their own stable and enduring poverty, listening to the hardness of a language that has the same roughness face (this was necessary to hear all in dialect, for this does not disturb the necessary subtitles).
Rights filming everything with a style that Bazin and who would have liked the movies as he claimed the ability to return to the screen the force of reality: running from the truth, mixed faces of professionals (Sansa Rohrwacher, Casadio: all excellent) to other taken place (the small Greta Montanari sugars but also many old places, some young people, witnesses of the Nazi massacre true), avoids clichés and rhetoric falls. It can give us one of the best evidence of a cinema finally necessary, of the highest moral and collection of exciting and engaging civil force. A masterpiece.
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