Cinema on Screen - da Pier Paolo Pasolini a Martin Scorsese

Paolo Heusch/Brunello Rondi, Una vita violenta, 1962

Carlo Veo, Pesci d'oro e bikini d'argento, 1961

Giuliano Montaldo, Una bella grinta, 1965

Pier Paolo Pasolini, Il Vangelo secondo Matteo, 1964

Martin Scorsese, Mean Steets, 1973

John Boorman, Point Blank, Senza un attimo di tregua,1967

Roger Corman, X: The Man with the X-ray Eyes, L'uomo dagli occhi a raggi X, 1963

Roger Corman, Tomb of Ligeia, La tomba di Ligeia,1964
 

From Sergio Leone to Coen Bros.

Uncertainty...

That is appropriate for matters of this world.

Only regarding the next are we vouchsafed certainty.

I believe certainty regarding that which we can see and touch, it is seldom justified, if ever.

Down the ages, from our remote past, what certainties survive?

And yet we hurry to fashion new ones.

Wanting their comfort.

Certainty ... is the easy path.

Just as you said.

"Straight is the gate...

And narrow the way."

L'incertezza... è appropriata, per le questioni di questo mondo.

Solo riguardo al prossimo ci è concesso avere certezze.

Credo che la certezza riguardo a ciò che possiamo vedere e toccare è di rado giustificata, se lo è mai.

Nel corso dei secoli, dal nostro remoto passato che certezze sopravvivono?

Eppure ci affrettiamo a crearne di nuove.

In cerca di conforto.

La certezza ... è il percorso più facile

Come hai detto.

"Stretta è la porta...

...ed angusta la via."

Joel & Ethan Coen,  The Ballad of Buster Scruggs, 2018

 

Nastassja Aglaia Nakszyński in Taormina

Nastassja Aglaia Nakszyński aka Nastassja Kinski in Taormina (foto Mittiga)

 

Groucho Marx? - no - Mario Soldati

Mario Soldati

1906 - 1999

Renato Castellani, Mio figlio professore, 1946

 

Cinema on Screen - Ozu, Kinoshita & Dmytryck

Yasujirô Ozu, 風の中の牝鶏 (Kaze no naka no mendori) - A Hen in the Wind - Una gallina nel vento (1948)

William Dieterle, Love Letters, Gli amanti del sogno, 1945

Keisuke Kinoshita, 花咲く港 Hana saku minato -  Port of Flowers, 1943

George Stevens, Gunga Din, 1939

Edward Dmytryk, The Sniper, Nessuno mi salverà, 1952

Fred F. Sears, Raiders of Tomahawk Creek, 1950

EASTWOOD IS GOD

 EASTWOOD IS GOD

 Conner “Haf“ MacLeod

 Temple City, Calif.

IN A WORLD WHERE A SINGLE ARTISTS Vision is increasingly blurred in a storm of art-by-committee, it is refreshing to read about Clint Eastwood [“Any Which Way He Can,“ April]. Time has vindicated him

for sticking by his guns and for his vision of himself as an artist. He doesn’t even stoop to telling his critics, “I told you so !" He lets the results do that for him. Let`s hope we all see a lot more of him before he

decides to ride off into the sunset.

 Bart Summer

 North Hollywood, Calif.

IT IS REALLY AMAZING THAT TWENTY YEARS ago, most critics viewed Eastwood's acting as stiff and hopelessly wooden and his films as incessantly violcent exercises of redneck fascism. Now the same intellectually constipated, artistically myopic sycophants have anointed him the new god of American cinema. Thanks for taking decades to find out what his fans have known all along: Eastwood is a major talent to be reckoned with.

R. D. Myers

Kansas City, Mo.

PREMIERE JULY 1993

READER RESPONSE, LETTERS

Geisha's lie

A geisha's lie is not a real lie.
It's a cornerstone of our profession.
Do we not amuse our clients by agreeing to all their requests?
 
La bugia di una geisha non è una vera bugia.
E’ un caposaldo della nostra professione.
Non divertiamo i nostri clienti acconsentendo a tutte le loro richieste?

KOGURE Michiyo, MIZOGUCHI Kenji, A Geisha (祇園囃子, Gion Bayashi, La musica di Gion), 1953