The circle is constantly gazed into the mirror of life. It was so unique and incomparable in that form. So perfect. Nothing could make me happier than that it is completely in it. But one day a tear fell from the sky and bathed him in the eye. And from that day he felt the pulse of the Circle change appearance. He went to a tongue of fire and began to change its contour. And he did it a little at a time, choosing the right where to touch. He gave a touch to reverse the banks, another to increase them. And in doing so suffered from this and often took him doubt. But too strong was his need for change and went on. And at the end of completion, is mirrored. This mirror and saw that the crystalline perfection of his round was changed into a new shape.
A dense form of vermilion.
A crimson body throbbed with love.
The perfect circle now there was no longer in its place there was now a Heart.
And from that day, that change, he never stopped to thank the Life and His Magic. (Do Low)
Between A Bastia : Meloni 3, a stretcher , Ventura 4, Casini 12, Fat 3, Pagano 2, 4 Tincani, Pirin 11.
Sun Jaguars : 12 Melis, Calò, Grillo, Stakaj 12, Perfigli 1, Giacomazzi, Sturlese 9, 21 Zoppi, M Basso 5, Di Tano. All
easy for Sun Jaguars, who dominated the game from the first quarter without conceding anything to opponents, much altered and awkward. You start to see a good game and a strong defense at home jaguar, maybe the season is about to take the right place.
Drink Team : Germelli, Baio, Barcelona 6, Benfield will Gianfranco 8 3 Ottomanelli, Pedrini 11 Mazzoni 20, 11 Poggi, Ricci 2.
Sun Jaguars : Low M 2, 3 Calo, Di Tano, Giacomazzi, Melis 2, Recchia, Rezzago 13, Stakaj 5, Sturlese 14, Zoppi 15.
Against the Sun battleship Drink Team Jaguars pull off a performance "rough", even if played probably still below their means. After a bad start, the team fails to return to La Spezia on track and overcome their opponents, thanks to two Sturlese close to triple. The second and third quarter will be played on balance, both teams unable to deal the decisive blow to opponents. Blow coming in the last minute, when an inspired Mazzoni made 10 points that make vain the reaction of the Jaguars.
Old Beck's : Pellistri 14, particles 17, Volpi A 9, Son, kittens do, Oppo, Ciandri 10, Volpi E 8, Berni 6.
A game point-to-point in which the Jaguars are always on, and lost in the last actions. The game is however still missing, something you see only good in the first two quarters: the home win is still postponed.
After many ups and downs of bureaucratic, finally back to playing a game "Official" on the semi-new field of CRDD. If to remember the last game, just return to 2006/07, Uisp final, winning by 1 point on the Lerici Arch-rivals Canaletto, to find a team that play there regularly need to go back even 10 years ago. At that time, the CRDD precisely team was unbeatable at home, either for historical attachment to the gym and the ever present large audience, either by the particular shape of the baskets. fact is that tonight the stiffness and angularity of the irons and boards rema decidedly against the Sun Jaguars, a team of shooters. While the small size of the field is a point in favor of Euroboys, who defend themselves in an orderly within the last keystone of the League and going away with Attanasio (author alone, 30% of the baskets of the night).
The beginning of the Jaguars is terrible part of the 10-21 is just unbelievable and impossible to justify. Guests mark and three in transition, the local non-mark ever. It is stubborn in shooting from long range, when the basket rejects every ball, lost ball in midfield against the defense lined up, some unmarked man under the bridge, enabling them to make a mistake of. The situation does not change in successive portions, but the defense improves. It suffers from the score: 20-8 in the central part in 20 minutes of mini-known. There
more to be said for a completely static performance and apathy, if not the fact that this year the Sun Jaguars are sure to be started from the bottom, and can not do any worse. The next two opponents will be those who will fight for eighth place, and Cavators Between Bastia: urgent rapid improvement.
The new season starts Ameglia jaguar, after just one workout to prepare and friendly. New faces (and old) in the franchise: Maio, Melis and Elis (seem Trio Medusa), ready to breathe new life into the team, the first two present, the last out because of work commitments. With the two new purchases immediately, and with a quintet Zoppi not in top form, the game starts with a partial 11-1 for the home side forcing a time out to guests, visibly embarrassed and could hardly find the way of the basket. The situation changed in the past the classic "five minutes" with the arrival of two "veterans" Grillo Rezzago and the latter places a mini-break that the Jaguars back on track, bringing the match in a draw. Now the gears are beginning to be well oiled, the team runs pretty well and also the new grafts are at home. Attack and defense alternated moments of lucidity and moments of defiance that are reconnecting Ameglia, but immediately re-expelled. You go to sleep on (30 - 38). In the recovery zone defense dell'Ameglia takes a little unprepared for the jaguars looking too often shooting from distance as the only solution. The Ameglia took the opportunity to reduce the margin, but a couple of bombs guests stop the break. The Sound of superhuman # 18 home after scoring a basket to a very good base defense Zoppi face to face (with that comment a purpose centers exist to treat people like you ") makes it clear that the game is coming to an end. And in fact the case. The last few minutes are just a garbage-time game that has nothing to say. It ends with a score of 59 to 76. The appointment is for next Friday where the Jaguars face the Friends of Arcola.
darker corners have brought your grace collection an absurd theater of actors and extras. And how you have decorated for your party, reuniting with the love that was his trade, his problems with your grief. Why were so many lights of the city, for you, inside, had stopped fighting. Little age and too many things to love. And that is precisely the scene at the end, the curtain falls with your desire to cry. (Do Low)
The Man Who Stare At Goats , directed by Grant Heslov, screenplay by Peter Straughan, starring Clooney, McGregor Spacey Bridges, is simply a whore. No point wasting time looking for something good or worthwhile. Hollywood question of commercial operation, low alloy, absurd as early as the theme and subject (fake anti-militarism, an adaptation of a misdemeanor book which no one would miss), which has unjustly taken from space and visibility to almost certainly the best film during the last Venice Film Festival. Not much to add. Some funny lines throughout the film is also, but overall boredom triumphs. The interpretations of Ewan Kevin and Jeff George are among the worst of their careers: sloppy, rough, with no obligation. He might as well do an animated film, it was certainly cheaper and interesting. The director and the script there's nothing to say, in the sense that both are inconsistent. And more than two hours and a quarter of my earthly existence, I have also lost eight eight € for this crap. I apologize for the outburst.
Michael Mann. It 's the first time I write a post on one of his films, and I'm pretty excited. Because Mann is one of the directors that I like best of all: for me is an author without equal in cinema contemporary, and not just in the U.S..
Here I focus only on his latest film, beautiful, like all those that preceded it. Public Enemies is a work without flaws, is a great film by a great director, is a Hollywood megaproduzione and commercial success, but also a linguistic experiment succeeded perfectly. It is not a historical reconstruction, nor a film "natural."
The film recounts the final years of John Dillinger (Johnny Depp) and his love affair with Billie Frechette (Marion Cotillard), against the backdrop of the Great Depression, also said there is crime fighting conducted by FBI Melvin Purvis (Christian Bale) under the command of the controversial J. Edgar Hoover (Billy Crudup), a war eventually won by the American authorities with the killing of Dillinger and other legendary gangsters such as Pretty Boy Floyd and Baby Face Nelson.
Set in the '30s, the film is shot entirely in digital. Why? This is only an exercise in style? No. Mann is perhaps the most technically advanced film of all contemporary American cinema, this is already his third film after the digital sublime Collateral (2004) and Miami Vice (2006), which means that its decision to continue to use the digital aesthetic choice corresponds to a very precise and very forward looking.
digital cinema On the image one could write a book, is clear. But perhaps there may be sufficient to point out that digital cinema has two main facets: that of naturalism and that of its opposite, which is the way chosen by Michael Mann. The cinema since its beginnings has always had this analog choice, etc. Lumière or Méliès. etc.. But since the means of recovery, after those of the assembly, have converted to bits, it is as if the duplicity above it was somehow extremist. That means prosumer digital cameras , extremely light, mobile and financial (prefigured by the expression Astruc caméra-stylo ) have revolutionized the way of documentary films and filmmakers have given to generations of young people and the penniless opportunity to comment, however, on the other end of the continuum the technology of production, the quality of digital media recovery pro has grown exponentially and is now at a quality level equal to that of traditional analog cameras, so that the recovery digital characterized increasingly as an alternative to them.
Now, all the good riassuntino above is precisely to place the work of an author such as Michael Mann, who, at some point in their career, chose to use the new means of engaging in a new aesthetic. Its digital antinaturalism autocontraddirsi seems every shot, for example because of the incredible depth of field or the new ultra-realistic color cameras allow you to get. Instead, in Mann did not care about realism: what interests him is to tell stories, and stories are always worth the time you ask. It 's a realistic film as a masterpiece Collateral , dominated by the symbolism, the geometry and from abstraction? It would be like saying that mathematics is a natural. And Miami Vice, with nothing on his shots?
In Public Enemies Mann masterfully continues on his way. He made a film about a historical period and precise figures of American culture, yet does not care about history. The script of the film is full of what a scholar of the story called "caveats" (follow this link ) or a literary scholar would call "poetic license": I like to think that infidelity so-called " facts "is quite a challenge launched to those who have written history as winners. They are Hoover, the FBI, then U.S. administration's self-proclaimed winner of war on crime, but who are the real villains in the film if not them? E 'J. Edgar Hoover (masterfully played by Crudup), Baby Face Nelson not to play the absolute evil: If Nelson is a bloody psychopath driven only by his instincts, Hoover is - but in turn psychopath - a cool calculator, an opportunist, a sadist and a cynic who believes the act for the good of society and is willing to sacrifice even the very legality of which claims to be paladin. Absurdity and his entire company of which he is opposed to the figure is produced by John Dillinger: idealistic, romantic, heroic, an outsider that even in its materialism maintains a core of glass. A Dillinger, as at the end of Mann, the reality does not care much: both seek the dream, both love the cinema. And two of the most beautiful scenes of the film take place precisely at a cinema in the first, a sequence almost devoid of action but that takes your breath away, ideally Dillinger challenge the conformism of American society, threatening to be recognized in the middle of a packed house but anonymous viewers-automata, in the second, moving, Dillinger is identified with the protagonist last saw the film before he died, as he is a gangster, played by Clark Gable. Mann reiterates here without a doubt, in total empathy with her character, which counted more than anything should be part of everyone's dream, desire, aspiring to Elsewhere. That's what the bottom Public Enemies: A History of Elsewhere, a film produced by technical means born to follow as possible to reality, but here transformed into an instrument of redemption from the slavery of thought unique, the digital that does not tell "The Story", but only a story and tells it beautifully, without worry about what is correct or reasonable. But who are the public enemies of the title? The robbers and murderers that history has defeated the criminals or worse but better organized and that the story they wrote?
Here again the good old Mike to the office! Who is in the crosshairs this time? Compared to previous films, is a bit 'more difficult to say: what, or who is, capitalism? There is a single subject on which to discharge responsibilities for the economic crisis that has become apparent to all, for over a year, and that is the real prim'attrice of Capitalism, A Love Story . The bad stories to tell, as well as the misdeeds of the system are many, and indeed, for the first time, the attack is directed on several fronts. In his last film Moore had indicted several actors in society and the economy in the contemporary United States: the automotive industry, the arms industry, health care and insurance, the Bush administration, had very precise objectives and identified, with names and surnames, and were especially unique objectives. But here the director has an enemy more problematic, because multiple and indefinite (as substantive), in short, This film is a bit 'different from previous, certainly more difficult to cluster because it does not lend itself to the procedure usually used by Moore, which is more or less what the journalistic - as accurate as deployed.
So, this time we are faced with a philosopher Michael Moore more and more idealistic than usual, while his documentary eye is forced to move quite wildly in different places: from Wall Street, where now all the work best brains of America for the sole purpose of making more money, the province where families deep lose their homes and find themselves overnight in the middle of the road from the condo vultures who speculate on the misfortunes of eviction, the airline pilots sometimes underpaid and forced to seek a second job to support himself. Thumbs up from one place to another of States : Moore moves from Washington, where the administration of the national economy seems to be in the hands of Goldman Sachs, the American Catholic Church, with applications to several priests on the moral value of Capitalism ...
What can I say? I do root for Mike, his heart, but the film I felt a bit 'less successful precedents. I do not know: maybe it's the lack of a precise thesis, perhaps there are too many irons in the fire, and the fact is that Capitalism, A Love Story is less shocking than its predecessors. And 'maybe some' more pathetic than usual, and this does not improve the situation, moreover, does not help the fact that the director continues to be well in front of the camera. He has always done, all right, and is a sign of intellectual honesty, as if to say "I'll tell you about these things personally, because I believe and why I think such things, as they are, do not go good ", but in doing so, the higher the risk that Moore is over, even involuntarily, with the making show, by becoming a kind of logo or trademark. His credibility continues to come out unscathed? Again, I do not know, for me personally there is no problem, but his detractors may have the easiest game.
Michael Moore makes movies to change the reality: there was never any doubt about this, and it's a good thing for me. He has his own style, which has remained unchanged, and this is not a major problem has not evolved much, ok, but does what he can do with energy and idealism. But if his shots become less accurate or if his gaze is confusing, yet manages to upset people? Because this is what must be able to do in the end: to help ensure that we all begin to think differently and then act accordingly. It 's a huge task in itself and the admiration that Moore has earned and continues to deserve.
