Sample Greetings Speeches

Dell'esercizio provvisorio del disordine

Loneliness, as temporary operation of the disorder, is one of my indispensable dimension.

All are valid, I owe the people I love and they give me the chance to be alone, to echo in my space suspended in a patient's size, open to tomorrow. This is not a disorder in which "I find it all", that is all too obvious.

This is something more important: a place where I have to build. And in that space I do not want nessun'eco stranger, I do not want background noise. I do not ask more, nothing but my resonance. Burning, is soon to disappear in a fire. Try a little 'you to blow the ash and chase each grain. It takes patience and space to chase, without being necessarily.

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(In risposta a una mia cara amica) Guttenberg e la tesi copiata

My friend and colleague, Eva Valvo, said the case of the German politician, Baron Karl Theodor zu Guttenberg, who has resigned because he was accused of plagiarism in an article that I am pleased to recall here .

Eva and I apologize to my readers if I add all that on it's only as dialectic, and therefore in the shadow of others' thoughts, but I felt that the only way they could reconcile my views in an appropriate and consistent .

share everything and argues that Eve, by which they are picky, inflation: if you get to be in Italy in the section secretaries neighborhood of Lipu with a title such as a doctorate, not because doctorate, but only a lucky - and sometimes studied - coincidence, or PhD would be an alibi to justify a post office.

hand, it must be said that the doctorate, as is done in Italy, has no real reason to be a plus: I'm much more catastrophic, but I'm fine ... accept the usus dicendi of our common friend, Angela, when it repeats that the quality of the PhD is independent of the titration, or even from home, but is in very real terms (the teachers, tutors, educational system, etc..) in which it is condotto.

Un sistema così arbitrario (anche senza scendere nel dettaglio delle sue colpe reali, oggettive e strutturali) non merita obiettivamente nessuna pregiudiziale preferenza. A meno che, è ovvio, non ci sia una pesante autoreferenzialità nel rilascio dei titoli, per cui si premiano coloro a cui si sono rilasciati i titoli più alti (sempre sottoposti, per altro, al veleno dei sospetti, più o meno fondati).

D'altra parte, una società deve avere degli strumenti obiettivi per valutare carriere e valore degli aspiranti scalatori alle sfere più alte della società stessa (in questo, il criterio da macelleria delle mafie è brutale, ma efficientissimo e indiscutibile per trasparenza). The all-Italian conflict is to establish rules for the recognition and repeated disregard for depreciation of a degree in itself is very quick to vanish for a social consciousness around the concept of qualification.

Form ultraspecialisti in a society is ignorant of how to make gold taps in the wilderness, the desert dwellers deserve, like all the best fittings, but the water that you should think about before. What would be really genuinely "political" in which a "politician" should fit with its shiny doctorate?

The summative test ("I also a doctorate," as parallel with any other certificate courses of study and independent from them) in Italy takes place in a cultural journey, or even social, but if there's one thing for sure is that these two ways - cultural and social - do not go hand step and fail to define what I would call mundane preparing to do something.

Finally, congratulations to expect too much with the good Baron Karl Theodor zu Guttenberg, having no acquaintance with all the facts (let alone the hype advertising - public and private - spot), but we can not appreciate human dignity, social and even cultural such an act implies. Excessive or not, the measure gave an address and a specific example of civil society. From this point of view, chapeau, my beloved Germany!

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Noticina serale - ... am Ende der Welt

bounce, bounce, bounce between an image and another.

happens all while driving, suddenly in front of me there are more buildings, but the sky must have slipped from the table of God to the feet of his guests and I spy a piece as if you corrected meeting to strip them all: and I recognize you from heaven to have been a Berlin, Prague, Geneva in Paris without ever being returned.

strange journey, that of those who remain trapped and can not return home, without a place to rediscover life ... is the path of those who tramples on his shadow. Berlin, Berlin, and I would forget the light of the morning of August on Wittenberg Platz that afternoon to Nicolaiviertel that Sunday when I got lost and found myself right where I wanted to go that night in the dark, that night on the bus between the colored signs with two special friends, that way under the infinite intricacies of Alexanderplatz.

I want to go there and give up quell'ammiccante knowing smile, a touch that only what you forgot you ensure its purity. When pleasure was also a desire, when the discovery was all for me and a close hand a way to share and with the certainty of having been there and that nothing, no place will be the same after you're stumbling.

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Il segreto per amare

I loved when I got to know, I loved those shadows through which I saw the light,

when one day a door malchiuso
among the trees of a court
we show the yellow lemons.

I loved when the world was revealed to me the world, when suddenly a word that showed me something and I think I saw my reflection in those syllables.

I loved poetry, my true home were the books, anything I need to sudden energetic, heart-rending as poetry, verses that cry out for not having the , my answer, but I heard my questions very well.

in languages \u200b\u200bother than I loved, I loved that body in French, the English mind, that sly look, that smile in the dark in German and German I've learned to move me.

seems strange stammering as you learn different languages, the self is discovered. But it is this: not enough will scan the range of possibilities for access to the world that look sideways so valuable light on the lemons, their smell, pressure on the skin in his hands.

All that I have not loved is a window on the side vita, la saldatura di brecce. Non credo si possa amare senza scoprirsi - momento per momento - ad amare .

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Noticina serale - Di ragioni per essere felici...

Oggi ho proprio voglia di parlare di felicità. Ne avevo, soprattutto, in macchina, mentre la terza di Beethoven - che sto riascoltando adesso - accompagnava le mie spigolature da Basta che funzioni di Woody Allen. Poi ho messo piede a casa, nella penombra del mio silenzio, e tutto è fuggito via.

Non le ragioni per essere felici, di quello è pieno il mondo, e so di cosa sto parlando. Direi la luce, l'acqua, gli odori, un volto che ti si rivela amico.

C'è anche quell'altra vicenda della nota stonata, della storia che tessi, tessi, ma non ricomponi. Quella successione balorda di suoni senza un racconto che tu comprenda. Ma la musica è così, non ti arriva finché non comincia a parlare di te, e allora parla, parla, bla bla bla , ma è a un certo punto che tu ti metti ad ascoltarla. E non è tardi, anche se forse, anzi certo: non c'è più tempo per danzarvi.

Solo, non è detto si sia sempre pronti ad alzarsi per tempo, a scegliere il giusto brindisi e il sorriso a cui dedicarlo. Non sempre siamo in grado di ricostruire la storia così come siamo, con le tinte che meglio si accordano, gli strappi, il dubbio che stiano suonando per te, e non per altri, il dubbio che sia tu a dover suonare, music theory or not, and even if your music is not that why someone suddenly think of you.

wonder of music that echoes my happiness.

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Per caso fuori sta piovendo? Prendi i soldi e scappa di Woody Allen

I like Woody Allen fine teller of souls, his prose snob and chiseled, his skeptical philosophizing, his gentle and unlikely to go beyond the limits . But when I get back, I always enjoy quest'andamento rhapsodic sketches made to art - and art! - On the beat comic element of surprise, the pun .

no exception, and indeed it should be noted, this very funny Take the Money and Run , a title of 1969, which has not lost interest, despite the glaze is very dated. Built as a parody of a documentary on "Life & Works" of a comic villain, the film tells, in its way, the story of Virgil Starkwell mature, busy with work - that's criminal - which sometimes fails to bear fruit.

The love affair with the lovely Louise (Janet Margolin ) seems to allude to the poem and then escape without age Chaplin's Modern Times. In fact, the whole film moves away, scene after scene, the models are involved. The figure of Take the Money and Run is, in fact, freedom, the ride to a light-hearted comedy and postmodern, quotes and irreverent toward what is "classic."

No doubt Take the Money and Run is the work of a genius of cinema, but is not a work from which it can predict the poetry that Woody Allen also will spare no - even ironically - in the subplot of the film thereafter. This improbable research race, this galloping fun between memorabilia of all kinds is as cold - if not dry - counterpoint intelligence disillusioned art of telling the story of a man, striking at the heart of art itself: the narrator.

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Il discorso del re di Tom Hooper

Even those who do not go in cerca di titoli storici può apprezzare  Il discorso del re : non è un film in costume, non è un'ambientazione posticcia nelle tanto celebrate quinte della corona inglese. Tom Hooper  firma, in questo caso, un piccolo capolavoro di cinematografia moderna, spalleggiato da eccellenti attori, da una sapientissima sceneggiatura ( David Seidler ) e da una fotografia ( Danny Cohen ) davvero fuori classe.

Il discorso  a cui si riferisce il titolo è quello con il quale il re , Giorgio VI, nel 1939 comunica all'Inghilterra l'inizio delle ostilità con la Germania in seguito all'invasione Poland. Tom Hooper's film lingers long sull'imbarazzante stuttering of the future monarch, to the coronation, and the sufferings of a family who can not keep up with its rules and its obligations and the expectations of a pious people.

But I find no evil or annoying insistence on the screenplay by David Seidler: I'm not saying that there is a broad objective or some aseptic likelihood. It King's speech stand out, above all, a wonderful narrative vein, making a supreme justice ancestral vein English drama, and visual care outside of the town, with a couple of scenes (the fight in the park and the very short dialogue that follows between the speech and wife) who, without wishing to seek originality at all costs, seem to me of pure visual pleasure.

King's speech is clear evidence that a healthy and cohesive genius craftsmanship gives more space than it can gain some insight on the whim of anarchic and unexpected. Dialogues fresh and balanced, full of grace, irony, full of meaning and sottosensi games, players and looks sensational, race, which reconciled with the star system junkie prizes and festivals. Rarely, as in this case I would say that a movie deserves all the nominations that they were awarded. The two

players vying for time at the scene and it is difficult to prefer the ever-changing yet minimal and intense expression of George VI Colin Firth or Lionel Logue elegant and deep, sincere and boundless humanity, Geoffrey Rush . And, although I have an instinctive and irrepressible fondness for the latter, moves me even more of a ' Helena Bonham Carter amazing, that is recited in the roles of husband Tim Burton film, but recognizable in his tics and its looks.

Rather, the problem is that the leading roles are assigned to interpreters is available to each his own crop scena fin quasi a fare di ciascuna di esse un vero e proprio cammeo. Passi anche per l'ottuso arcivescovo Lang di Derek Jakobi , da cui certo non ci si attendeva certo una prova da dilettante; ma anche Guy Pearce  (nei panni di David, l'erede al trono che abdica), Jennifer Ehle  (la bellissima moglie del logopedista) e Timothy Spall  (un impressionante Winston Churchill) primeggiano nelle loro scene, strappando un posto nella memoria dello spettatore.

Tra tutte, ricorderò la scena in cui Myrtle Logue scopre di avere in casa niente di meno che Sua Altezza Re d'Inghilterra e la sua consorte e li invita a cena: in un rimbalzo di voices, colors, characters, emotions, the scene runs with skill and elegance as a dance, leaving (at least to me) a sudden sense of well being and good humor, and tension before the final sprint. And, if you know other reasons and other interests, it's nice to believe a man who could outdo with such tenacity, a man who believes in the Kingdom, and maybe even the Empire in his people.

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Noticina serale - Prima di essere un uomo

Not all is well.

I scroll through the contacts of my phone, my emails and contacts on social networks and I place a single limit of first and later. I remember a person and then another as belonging to the same era "geological" in my life, close to each other as if they shared a school desk, and instead I find that do not even know that others exist and need to get all the "six degrees of separation" before they met. Then, however, two names that never associate with each other are entangled in some "unlikely" bond of affection or kinship.

My story, the story of my life I do, even on this blog or what I took care of before ( Eleuthera Apokrisis ), nor is an approximation by default, or to excess, but I would say to "ignorance" of those who are the real stakes that give meaning to life: che dividono le cose reali da quelle che non lo sono affatto. Io penso - prima ancora di parlare - in termini di prima o dopo certi eventi a cui, magari, non ho dato in un primo momento la dovuta importanza. E, per esempio, difficilmente penso a quando mi sono laureato come un momento speciale, sebbene la mia vita allora sia sensibilmente e sostanzialmente cambiata. Ma, sebbene non lo riesca a datare con precisione, penso a un prima o un dopo aver incontrato A. o, più recentemente, V.; di quando ho conosciuto G., invece, mi ricordo bene e già allora era una data.

Non esiste una data terrena per diventare uomini. Ma, a un certo punto, la vita e le rughe hanno più senso. Potrei percorrerle tutte, già adesso, con la lentezza con cui cammino nel freddo di un inverno assolato e indimenticabile, per villa Trabia. C'è anche quel pomeriggio, quel giorno di qualche giorno fa, quella luce bassa, gentile e dorata, a segnare il prima e il dopo di una pace, di uno spazio fuori dal mondo, di un big bang  esistenziale, dopo il quale essere un uomo.

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Voi che sapete che cosa è amor. Vicky Cristina Barcelona di Woody Allen

Tre donne intorno a un uomo e non una vita che riesca a trovare il suo punto d'equilibrio, non una in cui desiderio e realtà si accordino. Forse in nessun film di questa più recente fase produttiva di Woody Allen si parla d'amore come in   Vicky Cristina Barcelona . Love as a project, such as gymkhana love between what you choose to exclude, as a dynamic relational love as much as inexplicable investigated.

There is such a superfluous in the erotic drama - and symbolic - masterpiece Match Point, but even in the most explicit and refined meet the man of your dreams . Love you, Vicky Cristina Barcelona in , but it does as an echo to discuss, understand, frantic dive into what does this force, each from what it is, from what he wants, how it presents itself.

Around Juan Antonio (Javier Bardem ), talented artist and sensual rotate continuously senses and emotions of Vicky (Rebecca Hall ), Cristina (Scarlett Johansson the indispensable of many Allen films), Maria Elena (the ever-beautiful Penelope Cruz ), each with a This led to stories and wasted energy to drive, hand in hand, the audience in defining this Woody Allen film certainly senile , despite the attractiveness of the actors and their florida erotic energy.

Men and women in the throes of adventures in the future, to sophisticated sentimental nonsense, uncertain about their position, identity of people in crisis, in an abyss and a balance between life reassuring, but junk. The author is definitely there: Woody Allen has replaced his person a voice of extraordinary storytelling, able to accelerate or retard the pace with a touch of biting sarcasm. But the characters, far from being completed or warned by the irony of this author, seems to play to sink deeper into their emotional incompleteness: they realize that they are conventional, but all claims solution to overcome them pulling them into a more deep existential banality.

It seems as if age had cleared, as if to discuss this as adults, and combinations of feelings (to whose memory the delicate laboratory Sesso, bugie e videotape ), corrispondesse la rinuncia a crescere ed essere che è propria di chi non vede con certezza un domani davanti a sé. Il problema, è chiaro, non è qui giudicare persone o situazioni sullo sfondo di una fotografia stupenda e di una regia sempre magistrale. Non mi preoccupa il modello che ne emerge, sia perché la realtà sopravanza di molto ogni immaginazione, sia perché intuisco e, in parte, condivido le domande che stanno alla base di certi comportamenti. Lascio l'etica alle sfere che le competono e a chi voglia normalizzarla, però ho un appunto estetico importante: non mi aspetto soluzioni , ma certo  una soluzione .

The final Vicky Cristina Barcelona, \u200b\u200bas well as meet the man of your dreams , it seems a bit 'hurry, hurry, offers no real answer. I regret to say, it is also fairly conventional. Perhaps the obviousness of this outcome makes it even more poignant irony that accompanies the characters and their stories, point out the perfect touch with the author's pre-packaged and now split their crisis with the bulk diffusion of industrial production. But the question about what happens after or really inside these characters, in my opinion, weakens their focus, their interest, reducing the film to a mere game of combinations of opportunities and superb shots.

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Da adesso in poi. Hereafter di Clint Eastwood

It seems that I am not the only one among friends and acquaintances, have remained puzzled by the last film by Clint Eastwood . I would say that after much testing done, Hereafter did not touch the unique artist that I expected.

History of stories that come together, it is not surprising to improbability, but irresolution for narrative and descriptive character. Hereafter about a psychic, George (Matt Damon ) tired of living life only through contact with the dead and live it for others. Or, to be perhaps more accurate, speaks of the impossibility that one can deprive a similar case.

On the road the young, in fact, workers being dismissed, captain of men and women unable to bear the separation from a loved one, that's asking for help, a word, the certainty that there is more, than the certainty that their contact with him is a life. George, well, still struggles with the feeling of being a tool, not able to be anything other than himself, a man cursed, not benefited by the gift he receives.

A woman journalist assaulted a child in crisis and will eventually run into the psychic, the twisting in a three-run structure of the film, which is knotted on the difficulties, impotence, anxiety not to make it on the one hand, the sincere desire to succeed, win and win the other.

Everything about George, seems to run in a world indifferent to what has, to what exists, but parallel to its insecurity, certainty of others is something that is wrong in the lives of those who live, something that, at some point, took an unexpected way. In particular, the determination of Marcus (played by Frankie and George McLaren, both of exceptional skill) to try the only solace of his life, his brother Jason, moved by its freshness and its strength. And the reporter Marie (Cecile de France ), each with its parallel encoding and interprets the battle of man against his own gift.

Hereafrer presents a world in which it is impossible to meet without going through the person standing next to us, without trivializing to reduce it to the instrument. But over the bark, go beyond the way in which life appears to us is, in the case of Clint Eastwood, or impossible due to the size of the pathological and dell'abnorme (we had already seen in Changeling ). Director, writers and performers are not asking for the public to believe what they see: in the show, certify that the phenomena veri, a cui è giusto, nell'ambito del film, credere. Ciò che invece domandano agli spettatori è chi sia l'altro che sta loro accanto, dove sia, e soprattutto cosa accada ora, ora che un altro giorno comincia e le sfide si ripresentano.

Per essere un film su ciò che accade dopo , con la caratteristica reticenza ciò che si tace, la morte,  Hereafter è, come quasi sempre in Eastwood, un film sulla debolezza umana e sulla necessità - per ciascuno - di contare solo sulle proprie sfide.

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Vedere un'altra vita. Il testimone di Peter Weir

Il piccolo Samuel esce dal suo mondo amish con la mamma e si ritrova involontariamente testimone di un omicidio. Il caso è affidato a John Book, che dovrà proteggere se stesso, il bambino e la comunità a cui appartiene dalla vendetta dei suoi assassini.

La trama di  Witness - Il testimone ricorda un qualsiasi poliziesco in cui buoni e cattivi si scontrano su sfondi più o meno credibili. Ma che il regista Peter Weir non sia interessato al consueto  plot di inseguimenti e fughe lo dice subito la soluzione del giallo e lo spostamento del mistero a una sfera più intima e spirituale. Attento a spazi liminali, al confine tra tempi interiori e strappi d'improvvisa seduzione, Peter Weir ha firmato film notissimi e capaci di far discutere come  Picnic at Hanging Rock, Dead Poets Society and The Truman Show. It

The witness, the Amish community they belong to the sweet Samuel (Lukas Haas ) and the lovely mother Rachel (Kelly McGillis ) is an opportunity missed for alienation of the intrepid John Book ( Harrison Ford) and the viewer. The surreal game of "cops and robbers" in the space-time outside of a farmhouse in the countryside of Pennsylvania has few parallels, I think, in modern cinema.

Peter Weir and the writers (and EW Wallace W. Kelley ) pull together the threads of a story of silence and tenderness, modesty and values \u200b\u200balien to the corruption of civil society. But I do not think that it is certified on the floor of an ethical difference so gross (and debatable), the message directed to a refined and elegant in terms of aesthetics (beautiful photography John Seale , and in many ways unexpected, even if here and there a bit 'of way.)

The Amish world and the world of "English" meet and gaze upon without interpenetration. It is not clear what Samuel understands or learns that life does not live, or how violence enters into his imagery, as well as in his life. However, what can not escape is that the kid does not lose its purity, but continues to impress for his calm presence and unwavering ... witness what it is not a murder, but a simple charm and fragile.

Samuel is not the promise of the opaque world of the future without substance, conspiracy of some faith that seeks the consent of a prophecy: it is a child, testified that he saw, what he does, what it is. Samuel is the faith in man, not the God who determines the sentence to a life of almost monastic charming, but out of all time. Witness is not a documentary on the Amish community, but a further message to Peter Weir about the 'other , of \u200b\u200balienating its frame between the coding and the expectations, often senseless of life that we expect to live.

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Amici miei (la trilogia)

I had never seen my friends , but always expect to do so. It was not even the death of Mario Monicelli , director of the first two acts, that drove me to do it now. Simply, with the knee locked, and the last part of the school holidays, I had the time to devote to this masterpiece of Italian cinema, and within a day, I came up to the third episode, directed by Nanni Loy .

My friends saga is a charming existence funny, stupid, very Italian with five friends struggling with the world. A world rooted truthfulness in Tuscany, especially Florence, in the evenings in style sports bar by Necchi, a pool table is always ready to play without rules and the love of provocative women behind the nearest corner of the imagination and ingenious solutions. My friends is a hymn to life as a game, the disorder suddenly joined by Collegiate taste good laugh against the idiots and gullible guy.

I admit Monicelli and Loy, despite their considerable differences, have designed a remarkably coherent world ... where someone like me (rather than "German") would not be able to live their own. Yet it is a world that recognize and nostalgic look, a world of affection and sincerity, and a world of egosimi sudden sparks of madness, in which to tie down his life for the sake of estrone with suspenders decorated with bows, to escape his boredom and melancholy make confetti.

I do not know how long that generations have not lived as a sly George Perozzi (Philippe Noiret ) as the "Count" penniless Lello Mascetti (the inimitable Ugo Tognazzi), as the vain and too sentimental Rambaldo Melandri (Gastone Moschin ), such as ardently Necchi (Duilio Del Prete ), or as the surgeon to clear (and dubious) fame Professor Dr. Sassaroli ( Adolfo Celi) ... I do not know, I said, how long still recognize these men spent part of childhood memories, a relative, a summer afternoon in the country, waiting for a "boring" evening with friends ...

For me it is so for me these men are almost no place like soul, as can not be what I became and I want to become. As part of a brilliant song a bit 'broken down and desecrating the life and his lies, drunk with love and genius. While it is not an advocate of realism or comedy "Italian", as it does not love the language a bit 'dull camerawork, My friends singular exception is for me, for his ability to invent a world and be even predictable, but fun as you'd expect a slap at that time.

I do not know what this nursery rhyme rhymed rhymes explicit and winking echeggino still men who lived in that age. The melancholy that accompanies the viewing of films such as My friends are all his success vitality Mascetti, Melandri, Necchi, Sassaroli Perozzi express to the end and a vitality that may be inauthentic (especially in the third act of Loy) but there are for this to be touching and unique.

Gypsy and supercazzole scappellamenti with multidirectional (and there is no GPS that takes!) Enter the lexicon of the audience as whispered words, man to man, from friends too happy a Christmas dinner with the family and soon learned, had fun and dreamy looks among women infected and affected male in this funny game with the hilarity of an opportunity like no other .

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Ancora sulla caverna e sulla realtà. Il tredicesimo piano di Joseph Rusnak

Imagine a plane passing between this dimension and another one: no matter whether true or bijoutteria more, so do not go out. But he added, someone went through, as when Truman in the Truman Show , slams on the paper sky (no cracks) of the immense depth of installation that is his life. And has anyone seen this file away the details from the network matrix to even recognize the skeleton of what he believed true.

The Thirteenth Floor was released that same year (1999) of the first episode of Matrix and has had some resonance wackowskiana epic. Yet, starting from the same assumption, ie starting from doubt about the life we \u200b\u200blead and the need to understand something, it proposes a solution very different.

Meanwhile the world, this film by Joseph Rusnak is not bipolar is not a screen interface and is not to make life more or less interesting. Life is a continuous slip planes, an exchange of souls who take possession bodies of "parallel" who live in other dimensions. There are circuits and electric shock: it is ultimately science fiction, not self-induced illusion . But the essence of the soul in his fantastical journey, fluid, and suddenly, like an angelic possession and as a long, painful exorcism by their certainties.

The situation is complicated by the fact that in a possible world invents a machine where you can transmigrate, so to speak, from a screenplay by another. There is no way to recover the integrity of a single "puff" of real, but the doubt, as an acid, and all the drills in each of these someone becomes aware of finitezza e dell'irrealtà del proprio esistere . Ciascuno di coloro che vengono a sapere del mondo-ologramma, lungi dal tornare a riferire dell'inganno, comincia una ricerca solipsistica, allontanandosi dallo sfondo consueto, ignorando i rassicuranti segnali che danno un senso a ciò che si va costruendo sotto i suoi occhi.

Due ore scarse non bastano ad approfondire una filosofia di vita paragonabile a quella della trilogia di Matrix ; né, mi pare, c'è ne  Il tredicesimo piano l'intenzione politica e religiosa riconoscibile nella tessitura demoniaca dell'ingegnere creato dai fratelli Wackowski. Ma il film di Rusnak ha il pregio di a light background from excessive claims, with enviable results for the viewer to be able to dig better in the emotional dynamics of the characters, who do not want prophets and revelations do not want to, but want to remain locked in their world.

The Thirteenth Floor, devoid of unnecessary frills misteriosofici interest of doubt in the last episode of Matrix, among other things is also a film very well written and well acted, especially by the players. Craig Bierko (which was Jeffrey Coho in the third set of Boston Legal ) is able to draw three very different characters, giving each a soul and Armin Mueller-Stahl can cope with the duplicity and the nodes of a soul in the same existence. Even the most talented beautiful Gretchen Mol and Vincent D'Onofrio chameleon, traits and nuances in the score between the competing worlds. Perhaps

The Thirteenth Floor not open a real door on real strong and does not pose existential questions, as still happens to me with Matrix, but I believe it shows in perspective a little 'more and a little' better Who is the man and gives a framework. Sorry if it is little.

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Carpe diem. Bill Murray e Ricomincio da capo

Groundhog (tit. ago. Groundhog Day) is a film which dangerous talk. It seems that director (Harold Ramis ) and screenplay (with the same Ramis Danny Rubin ), insists on the concept of the story, claiming back more than a philosophical commentary film. Since my familiarity with Aristotle and Hegel is little more than school, I can not venture out on this thorny ground. Reassures me that one of the most quoted film of American cinema, I think, is not to be disclosed by this or that Weltanschauung.

The story is that of a man, Phil (Bill Murray ), presenter and meteorologist d'assalto di una televisione di second'ordine, che rimane imprigionato in un 2 febbraio, giorno della marmotta, in una sperduta località di provincia. L'uomo, attratto dalla sua produttrice ( Andy MacDowell ), è costretto a rivivere senza sosta questo giorno che lui ritiene inutile, in compagnia anche del vano  cameraman  Larry ( Chris Elliott ) in un comunità che non ha certo bisogno di particolari miracoli per sembrare noiosa e sempre uguale a se stessa.

Incarcerato nel suo presente, Phil ha la possibilità di esplorare un giorno di lavoro come un altro. L'uomo, forse per un errore nel "sistema", si accorge di essere in cage (a bit 'the same thing is happening to Harold in Stranger Than Fiction ). But it remains alone, as the man who left the cave of Plato (Republic , the seventh book) and was not believed when he returned to say that everything was fake, and in this they were all prisoners of their cheesy deception, but out there was a future true.

Not that Phil's travel companions do not believe in the future, indeed. Only believe that to meet him, whereas only jammed on their merry circus. Phil, however, knows that the time that remains is very little: that of a day that is always repeated equal to which only his conscience to be a trap allows him to escape. From a narrative point of view, in fact, the problem arises from the fact that the character learn (and this aspect is made explicit by the fact that Phil becomes a perfect pianist and a great artist of the ice), which treasures of a thousand say today when he stumbled to treasure it. I can not say now which educational theory is based on the programmatic flow of time, but could not find as brighter and more effective.

Phil is aware of the available time and therefore continues to live in a dimension slow: it can acquire information, knowledge and skills, impress his colleagues and others, while its gradual entry into the world of the province and of groundhog meteorology forces each to reveal itself quickly and to learn who the next man came from afar to live there the ritual on Feb. 2. The learning of others, however, is marked by surprise, sudden enlightenment, commitment, not from history that insinuates itself into the veins of the learner. All the assets to which they refer those who do not know their trap - if it is not a miracle that only relates to the Phil - is an experience that you can not accumulate: they do not have the time, so to speak, of sleep on it.

Characters of Groundhog have only one road to travel on their present. There is no way to fix them that ' today, so not only lacks the tomorrow, also lack the history, there is no time that can be said yesterday. This unique film Harold Ramis regards inattingibilità time than its recur, concerns the moment that escapes and that only as a gift is given to a man, a bit 'as a Christmas gift is the unforgettable Scrooge of Christmas Carol Dickens, quintessential man frozen in its present is always the same. But the paradox remains meteorological space-time-only ingredient more appealing than a pleasant comedy, well acted and well directed, who can not tell the man and his history, but only its relations.

Funny Things To Put On Wedding Cards

You'll meet the man of your dreams (or maybe not)

For some 'time, the buzz around me seem sewn on. So when I reviewed Match Point (formerly at the invitation of a friend) and I was advised to see the latest Woody Allen I started, as it were, in alarm. He will speak to me again? Everything seems to be doing at the moment.

Now I've seen and I felt naked. I do not know, maybe it happened to others that anyone has been able to characterize them with merciless accuracy of an imitator, saying qualcosa di intimo su di lui, come se puntasse il dito inquisitore. A me capita abbastanza spesso con i miei alunni: ma d'un tratto ti dimostrano che ti conoscono a fondo e non sai da dove, non sai perché. Lo stesso è accaduto, ora, con questo Incontrerai l'uomo dei tuoi sogni : non dico Woody Allen, ma chi ha pensato a me a proposito di questo film forse dovrebbe dirmi qualcosa che io ancora non so.

Sono arrivato solo di recente ad amare molto questo regista colto e ultrasnob ora che ha diluito il suo tocco corrosivo e isterico, temperando la sua nevrosi in una dirompente, ma autentica irrequietezza affettiva e intellettuale. Sentimenti e verità si intrecciano con debolezze e menzogne in improvvise idiosincrasie, mixtures fatal to people and circumstances, whales Dionysian worthy of Erasmus of Rotterdam and serene look on the most unbalanced circumstances.

meet the man of your dreams item in the title, as a hasty general happiness prophecy uttered as taking away. In fact, the film is built on the basis of this detachment, like a gallery of looks lonely and not at all compatible. There

Helena (the extraordinary Emma Jones, all character and elegance), a woman who tries to compensate for their frustrations as a wife abandoned (for lack of a male heir of the couple) with the combination of a prophetess unworthy of any convenient (the Cristal of excellent Pauline Collins). There is, indeed, the former husband of Helena, Alfie (Anthony Hopkins a very nice and exceptionally in part), leaving an extraordinary woman to finish between the legs of busty, greedy and stupid Charmaine (Lucy Punch , who played a similar role in the fine film by Istvan Szabo The diva Julia ).

But if we go down to the younger generation, things are no better and are, in part, mirror.
Sally (the excellent Naomi Watts ), intelligent connoisseur of art, works as a secretary Handyman in una galleria, innamorandosi del suo datore di lavoro, Greg ( Antonio Banderas , molto convincente e davvero almodovariano), pur essendo sposata, ormai da anni, a un uomo che non vuole renderla madre. Questi, Roy ( Josh Brolin ), si invaghisce della giovane dirimpettaia, Dia (la splendida - e brava - Freida Pinto , già coprotagonista del  blockbuster bollywoodiano The Millionaire ): con la bellissima musicologa prova a rifarsi delle frustrazioni di scrittore fallito e genero poco amato.

In più, la coppia deve resistere alle provocatorie visite improvvise di mamma Helena, capace di una fedeltà senza pari alla credenza delle "Other lives": true love and reincarnation of a genuine faith in their illusions, the woman leading the game by taking sides in a storyteller with hands-on in the lives of his characters, but unable to give them a course unit. The voices go unheard, intransitive, coagulated into a choral novel of loneliness and sounds of an intelligence director elegant, with an expenditure of quotations (Shakespeare, Keats, Boccherini, Mozart. Donizetti) that does not ever lose the measure, but suffer from the despair of Macbeth (common Match Point) in the search for meaning to earthly life:

Life's But A walking shadow, a poor player That struts and frets
his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.  

(Shakespeare, Macbeth , act 5, sc. 5) 

Makita Dsc 520 Gas/oil Ratio

Sammy and the passage straight to the heart of the smallest


Nell'oceanica produzione di cartoni animati new generation , in 3D,  Le avventure di Sammy si segnalano per una particolarità: è un lungometraggio pensato per bambini e a loro destinato. Chiunque ami e segua tale genere cinematografico può confermare che si tratta di un'autentica e preziosa eccezione, giacché questi titoli sembrano destinati normalmente a un pubblico adulto, reso smaliziato (quando non anche cinico) dall'età e dalle esperienze.

Un plauso particolare va, dunque, al regista  Ben Stassen e a tutto lo staff di animazione belga che ha fatto circolare questa deliziosa favola ecologista. L'irrequietezza dei genitori (e di alcuni, pur incantati, figli), almeno nella sala in cui mi sono recato io, dimostra ancor più che il prodotto è destinato ai più piccoli e non è una scusa per parlare di adulti con i colori e le strategie discorsive tipiche dei bambini. Forse dimostra anche la prevedibilità di una trama che i meno giovani possano trovare banale e inverosimile, piena di  cliché unworthy of note. But here the problem occurs. These parents who are repeating the same things at breakneck speed, even without believing (so who cares?), Should decide whether or not to give weight to the values \u200b\u200bof which lead more or less tattered flags.

And, for example: the other day, the cinema, several mothers talked with each of the parties and their children, waiting to enter the room (with the little ones to follow) to see Megamind . One of them, perhaps weighed down by too many sweets, after describing with embarrassing detail the exploits of his daughter's teacher, has stressed the structural defects of the education provided to the child, defects that anyone interested in education certainly would notice. With the face and the desperate air of one who has confided well on other occasions, instead blurted "She studied every day from three to seven, and I with her or her grandmother ... my mother, a ììììncuuubo. " I look forward to a little sadistic when this mother will have to explain to his daughter that studying is important, she is lucky and that maybe we could exchange role, since you care so much .

is not out of place, with a cartoon like The Adventures of Sammy , point to a more radical educational aspect, as this amiable film requires it. In return offers a 3D very thorough and compelling images of sweetness and charm out of the ordinary, and it does not have any intent to "documentary" as any project that you can really say education: screenplay and direction they want to give a message if we are a message mainstream and unoriginal in words, what is the necessary respect of nature subverted by man. But I defy anyone to say that other the reality is that this is just a fairy tale , and maybe even a fairy tale Christmas, then we might as well believe in Santa Claus .

Well, these adults chubby despair are asked to take the field in their Indeed, armed with all their not-you-can and no longer deceive their children for them to plot the best route, the path of their happiness. After all, there are other tales to tell.

School Approved Cubefield

The procurator of Judea by Anatole France

Second meeting with Anatole France: a very short time, because this is an isolated story, which by Leonardo Sciascia (translator and commentator of exception), it tastes numbered edition of rare and little book valuable, therefore Sellerio repeats himself.

The procurator of Judea presents a Pontius Pilate who said his Jewish history of estrangement to the world his friend Elio Lamia. The protagonist of the story seems to be precisely the latter, but I think the intention of Anatole France was to have two personalities mirror opposites: relaxed, full of an intimate smile and dedicated to the pleasures Lamia bony and uncompromising as Pontius Pilate.

The story of Anatole France, which Sciascia (in his afterword) thought one of the most perfect that gender counts , 1902 and is manifested in the Roman procurator in Judea anti-Semitism to understand the culture of the Roman Empire, but for the delicate When the work is published in French. In just four years earlier, in fact, is the blood pamphlet that Zola dedicated to the so-called Dreyfus Affair, in which he defended a jew from the condemnation of treason that had been imposed, in essence, for his being a jew. But if the

J'accuse had cost him dear in Zola, reopening a closed case hastily in full belle époque, the case was in the midst of its review when it appeared very short and albeit underground masterpiece of Anatole France. The story is worth repeating again, the center is a man who does not know, understand and do not remember, but wants to remain aloof and, if anything, even take the distanze da questo mondo non- romano. Tutto il contrario di quel Ponzio Pilato tormentato e suggestivo che, tra gli anni '20 e gli anni '30 sarà anima di un cammeo indimenticabile ne Il maestro e Margherita  di Bulgakov, in cerca di una spiegazione per ciò che accadde.

Il rapporto tra Pilato e Lamia si basa su una contrapposizione che Sciascia spiega in termini d'amore: Lamia ricorda Gesù perché ricorda una donna che amava, si direbbe la Maddalena, e che a un tratto prese a seguire il Nazareno. A me questa spiegazione dell'amore che porta necessariamente a Cristo convince poco: se per grazia l'uomo fu in grado di arrivare a Dio attraverso una relazione clandestina e senz'altro poco santa, la donna avrebbe potuto seguire con eguale probabilità una delle numerose sette e religioni che facevano del sesso un contraltare alle tradizioni gnostiche, ostili all'amore carnale.

A me pare, invece, che Lamia e Pilato rappresentino due facce dell'inadeguatezza alla comprensione di ciò che ci offre il mondo in cui vivamo, ivi compreso il fatto religioso (in quanto dato antropologico, non di fede). Né sull'uno né sull'altro l'allontanamento della donna provoca una reale metamorfosi: per Pilato, era una donna come le altre amate o solo possedute dal licenzioso amico; per Lamia, una donna speciale che segue un rabbì come un altro. Semmai, Il procuratore Judea seems to me that the result of deism - all French, for what concerns the modern Western tradition - that does not deny God, but its weight and its vicinity in the lives of human beings.
Perhaps the Second World War and the various holocausts it will be a simplified and more delirious extreme.

(TL I thank my colleague for giving me this tale!)

Dress Shops In Belfast

Bonhoeffer by Eric Till

After Luther , I promised myself to see other films Eric Till, who had convinced me a lot in that test. I thus found this title, dedicated to a controversial pastor German theologian and the first half of the 900, to which it is named. Bonhoeffer confirmed, in my opinion, a filmmaker dedicated to the biopic, but balanced and able to avoid unnecessary nell'apologetica puppets to be added to the usual galleries.

Compared to Luther, though, objectively I know less of Dietrich Bonhoeffer, because its shape does not fit in the guides to Catholic school and my training - I found out later - is also based on a removal of certain figures certainly controversial. I am not able to filter very well what I learned about this man, I have the tools or knowledge, though I propose that, in the coming years to deepen the faith of certain figures, especially way as liminal, which aim to be Christian, before belonging to a religious denomination, or themselves, before members of a community.

And Bonhoeffer - though less than it might convince me to say Luther - I found this: a man who lives in his church and his church in the name of fundamental values \u200b\u200bfor the same . A man not perfect, a man that I understand perfectly, as is shown when he tries to overcome the titles that are assigned to (doctor, professor, pastor) to point to the absence of a discourse or reasoning, far more important than who is in charge of distributing it.

Dietrich Bonhoeffer is, in the film, all but a solemn person. The interpreter (Ulrich Tukur ) has the ' aplomb of a good university professor, used a small audience with which to do a good job. Difficulty even, in my opinion, to be charismatic, but certainly Eric Till wants to underline the strength and grip on the communities with which they relate. In this film, more than others, I have been clear what it means to deal simultaneously with a belief and a situation that seems to deny it.

The problem of theodicy, of divine justice, or that arises under the Nazis almost as extreme situation, it is placed in modo esplicito quando si verifica la morte di due persone vicine al teologo e soprattutto alla giovanissima fidanzata, la bella Maria. E nella sceneggiatura si evidenzia chiaramente lo sforzo di trovare un senso per giustificare quanto avviene e per comprendere la sofferenza: e tutto questo, nonostante l'iniziale inaccettabilità istintiva di certe soluzioni, non smette di apparire come un sincero tentativo di arrivare alle radici di un credo e della realtà che si affronta.