"New Cinema 'Paradiso'" Movie Review Essay & Film Analysis

Oscar is like a certain snobbery filter decanting "correct" films with well-constructed morality into the well of popular art, from which then draws the water (not food) for trusting mind most. Thus chaotic accumulation kinochastits reduced to a type Ordered Lists "se Best Of The Best", the composition of which is for some almost the initials of world cinema. Oscar merchandising - movies kinoakademiki laid out on shelves. It films on "n" - pathetic, ingenuous, primitive, pop, and in the case of the tape Giuseppe Tornatore - lusciously paradiznye pretending to feel and obsequious indulging past. Italian director won the academic fortress redoubts bombarding Hollywood nostalgic warheads with cute smile, but behind the seemingly seductive shell does not have the image of a bygone kinoepohi in which the "figure" is not banished film, and the audience laughed heartily over chaplinovskoy legwork.
analytically highlight the flaws of the sugary and extremely simple story of a "wise" projectionist Alfredo (Hitchcock) and restless boys Toto (and it is) seems quite awkward occupation, composed for on ordinary cinematic language, without any of the crystal lattice, meaning that nodes would cost raskhimichivaniya corrosive and meticulous scrutinizing. However, if you do not preserve the clarity of mind, can indeed succumb to the false allure of idealized Italian village, a tiny projection-hung with old-fashioned posters, and most importantly - be seduced by the endless stream of visual citations, which is just as pointless as infinite. Giuseppe Tornatore everywhere distributed into scenes from his favorite 40-50-ies of films, making the plot was to become swollen not only by them but also by the public reaction to them. But the reaction of visitors to the cinema "Paradiso" - laughing, crying, hysterical stupor, - designed to be a key element of the story, as if the emotional coloring the old days and give meaning to the work of Alfredo and Toto, is meaningless kinoznakom, hide their insignificance for the pulse of the facial muscles .
and it does not mean anything because the artistic link between the signifier and the signified irretrievably lost - as the golden years of Italian cinema. I repeat: a significant part of the narrative, in addition to the alternation of naive melodrama and comic eralashnogo occupy imprinted emotions of viewers for a particular film. Emotion - meaning. The film - the signified. Positive emotion is positive character of the film. But what do I care about a stranger man, shedding tears and advance pronounces the phrase «Catene» Raffaello Matarazzo? And what is it to me, in fact, the most «Catene»? Why is a man cry? Why shakes? Obviously, because the screen image «Catene» movie affect him. But they do not work on me. I like the viewer must be content with a kind of secondary reaction of random characters on the show exhibited by them. And that, «Catene» so good that the audience takes away from him? Unknown. Between «Catene» and the audience reaction to it - the void. Giuseppe Tornatore implant in my brain the wrong impression, passing them off as genuine, when in fact, these experiences of his own.
And if you do and you can feel nostalgia for a bygone kinoepohe, thanks to direct acquaintance with the masterpieces of those times, and not kem- something imposed fabrications and irresistible abyss visual cuts; and if that is best in the film - it's a different film, the first film from the problem; and if in the film 'New Cinema' Paradiso '' discard meaningless kinoznaki remain only long wasteland scene platitudes in which the howling morrikonovskogo wind young Toto twists itself film, falls in love and leaves his home and moralizing dzhonueynovskimi remarks Alfredo, who like Oedipus begins to see after blindness. MORALINA but it disappeared in the crowd - in a handful of faceless extras devoured bread and circuses.

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