Milan - scene of another film that deals with the problems and anxieties of urbanites in a globalized world. Silvio Soldini portrays What I want more representative of a generation between thirty and forty, which are characterized by their indecision and inconsistency. He uses cliches, which one is already weary. The stereotypes of the fine city girl from the North of Italy and the immigrant worker from the South - played by Anna (Alba Rohrwacher) and Domenico (Pierfrancesco Favino) - meet by chance and begin an affair. The stranger is represented as the Exciting, Alluring, the familiar as the Boring. So far, so familiar.
On closer inspection, one realizes that it is less Soldinis film whose one is tired, but rather the attitude that speaks of his characters. Soon you tolerate the persistence Anna and Domenico's in their cowardice by which they want to keep their options open, barely. The director staged this very skillfully, by portraying the environment Anna and Domenico as such a restrictive and oppressive that you immediately aufbrächte understanding of the characters wanted to break out of it. The disruption by the social realities - symbolized by the strenuous club quarters wall street commute between suburbs and center club quarters wall street - is understandable, because through all the spaces in which what I want to play more, an oppressive feeling of tightness club quarters wall street pulls. Apart from the urban confines of living on the periphery is the social narrowness, which is characterized, as in days and clouds of financial worries and exploitative labor, and the familiar tightness that manifests itself, as Anna's family comes together for lunch with her mother and close urged sitting at the dining table. The barred iron door to the courtyard club quarters wall street of the apartment building, the (Giuseppe Battiston) falls and reverberates in a scene behind Anna and her partner Alessio into the castle, reminiscent not without reason in a prison. It is expected audience formally as a strong kick up the figures - done but no such.
Silvio Soldini staged his characters as searching, without stopping - and without attitude. So he lets Anna always club quarters wall street act meinungslos when accompanied Alessio in its activities. Both Domenico and Anna are shown as fickle, despite the obviously felt passion for each other that the audience but never fully reveals itself. Alessio is shown opposite: he seems to cope with his life, because he is set up comfortably in it. Even if one does not answer him, that he is so ignorant as to allow his busy coziness believe. He proves in his actions as the most consistent and most dedicated club quarters wall street figure, while Anna and Domenico are represented as procrastinators, who can not decide between possible life plans and want to take advantage on all sides, what does not work. For example, the tiring frequent sex scenes between Anna and Domenico remain supercooled, the hotel room is at least as oppressive as the small suburban homes. The fast sex ends in affected silent atmosphere, so that forces itself upon the question club quarters wall street of what exactly the parties can be so addicted to it.
At least initially, it seems that Silvio Soldini watch the figures value-free and wants the judgment on them up to the spectator. But in the ordeal to which he provides us with the incessant production of their procrastination and its inconsistency club quarters wall street - to let tilt ever quite the unsympathetic without the figures, of course, is already club quarters wall street a judgmental moment because precisely by the director reveals the protagonist Anna and Domenico yes as ignorant and cowardly characters. So you leave the film after an open end with nachklingendem club quarters wall street discomfort. If it was Soldinis intention to cause this discomfort before a life of indecision, so he succeeds admirably. Other reasons why What I want to see more should, in any event, are not recognizable. 25.11.2010 Movie review by Kristina Detemple page 1 1 0
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