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A Boyfriend for Yasmina

A Boyfriend for Yasmina brings a fresh wind to the hot and boring undercard of this long summer of 2008 . This is a realistic comedy of character criticism made a low budget, supplemented with lots of imagination. The address is provided by Irene Cardona , and this movie is his real debut, apart from making some shorts (any type documentary) very interesting and rewarded.

is no coincidence that the movie reminded Solas of Zambrano Perhaps the movie about women who Almodóvar film and would have liked to sign. The director has a solid audiovisual crowned with some studies in Cuban film school in San Antonio de los Baños, from whence we came Benito Zambrano. This form of film, realistic and committed, seems to be a hallmark of that school, and welcome these two films is evaluated, as A Boyfriend for Yasmina may well be the "single" of immigration. This way of filming, and that way of writing the scripts, who needs to learn that the Cuban film school gives great importance to the development of the script, and hence these excellent results, true deli for good tastes of the verb and the construction of stories.

In my view, four aspects highlighted in the film: the atmosphere (with photo), performance, music and script. For those who know the reality of immigration setting, whether in the north of Cáceres, Badajoz in Las Vegas in Los Monegros, in El Ejido, in Huelva strawberry or Lleida, the selected field (adjoining streets the field in Montijo and Puebla de la Calzada) follow just such a reality, waterways, gardens, whitewashed streets, social unrest, distrust between all the good work of the registered office of immigrant assistance, etc.

The performances are also more than significant, given the limited experience of much of the casting. Nevertheless, fictionality is assured a dramatic, presumably in large part thanks to the excellent leadership of actors . True, some stand out as the star, one more than solvent Sanaa Alaoui and José Luis García Pérez, without forgetting Maria Luisa Borruel. But all, without exception, are more than correct. I also emphasize the excellent painting of the characters with few strokes, the brother of the protagonist's family, police and, above all, José Luis García Pérez, who builds a character that we all recognize, that of the young intellectual suffered from higher education, anti by definition, loose clothing, good people, wino, beggar and unrealistic .

The music is perfectly gathered at the film, from some Arab tones sounding main melody in various moments of the film, which helps create a tone of light comedy to which it is not at all.

Among the big hits, I'm finally with the script, which corresponds to the director, and Irene Cardona Nuria Villazán . What to say. The dialogues are superb. Agile, clever, popular, realistic. Van to the point and, from time to time, make lapidary sparks here and there. It is therefore a wonderful letter of these two writers who, with a perceptible feminine look, radiographed an uncomfortable reality and manage to present it in a thin capsule best comic to pass through the throat.

A look nice? I think not. Gone are Bwana or Marriage of convenience. This film should be placed alongside other world Flowers of Bollaín Icíar (1999). In A Boyfriend for Yasmina , the protagonist, as admitted by some characters, not a paragon of goodness. What is very clear. No doubt when it decides to give love if you do not meet their objectives. Her new husband is not interested at all as it looks downright lazy. Conflicts between solvency immigrants are described, including their suspicion and distrust between them. Criticism of the work of the councils is significant, and the exposure of a school event in which no sides are taken.

I think the film also presents a wonderful educational opportunity to be shown first and then didactically exploited in secondary schools, parents' associations, language schools, workshops, ethnic festivals, etc.. In short, a more remarkable debut for the director of Extremadura. Congratulations to her and the entire production team.

Greetings.

Tanhausser

Interview with director and actress Protagonist to



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Cinema network [I]


The network is only dense that at least a watchful eye on us makes us more stupid. Therefore, it is necessary to discriminate, educate the retina to distinguish what eats what numbs the intelligence, though will fulfill the role of placebo narcotic.

Here you have some first courses DIGITAL CINEMA MAGAZINES not only offer an elegant design of production, but also strive to cook their dishes to pause and intelligence. This does not detract in any way that we deny his passion seasoned enjoy your articles and proposals.

contrapicado is an online publication about cinema that offers both the latest releases critical studies of directors or issues related to audiovisual articles about movies unknown to the domestic public or chronic fes tival. And going by the number 26 and growing do. Judge for yourselves.

Tren de sombras , also released in Spain, is also characterized by an excellent technical and literary invoice. Not only analyze works or authors, but they approach the cinematic landscape current from a personal eye and very transferable to anyone who passes through its website.

Original Version comes in two formats, paper and digital. His proposal is seductive: each issue is devoted to a subject about which revolve all items. Their site has a download area to enjoy each issue in pdf format. VO is the ethos of cultural diffusion film and prove it by starting the Film Festrival Cáceres and editing books.

Encadena2 now in its issue number 55 and, though his forte is the analysis of authors or any of his works, the contents diversify into news articles and proposals on the world of cinema.

Film Looks these magazines is that you walk through its website offers a similar aesthetic that could provide a paper edition: news reports, reviews and analysis of films and authors , book recommendations, agenda, and a handful of items that will make the dive into its pages is long and rewarding. Not for nothing are the number 75.

Autozine presents with a suggestive cover and dynamic, yet easy access to sections: Interview , Zineautores , Necrozine (for the fetishism), plus a wealth of information on everything related to cinema (DVD, books, magazines, websites).

Kane opens his home to a protohistoric camera that has seduced and sober but juicy content for this site: interviews , dossier (items various subjects), master class (Articles of thought and background), historie (s) du cinéma (stories that recreate the taste for movies.) Deserves to fall under the gaze of his eye.

Shangri-la lost horizons reminds us where to rest your mind and enjoy . We face a blog with film magazine structure, with access to their numbers in pdf. Began two years ago, but their path is firm and writing only what motivates them. Recommended his folder on Vertigo , or paragraph textures, from which draw their particular look.

Pelicula Online Monica Roccaforte

Metal Jacket: I am alive and I have no fear

In Kubrick nothing is casual, although his film will surprise us. Take for example Metal Jacket. Now in its boot all is creative, captivating. First frame: black letters as categorical as some of her films. Background song opens Hello, Vietnam , Johnny Wright a sweet song about a soldier says goodbye to his beloved at the call of America against the Communists. Next is the title of the movie, Full Metal Jacket (full metal jacket ) clearly referring to the lining of metal bearing the bullets of 7.62 mm. Apparently, Kubrick read the term on a weapons magazine, and liked it. Thankfully, graduating at the end did not end as Hasford's novel on which it is based The Short Timers (short-term recruits ).

The first image is as easy as telling: a recruit looks at infinity with indifference and left to shearing by a military barber . The symbolic potential of the image is devastating and prepares us for what will come. Kubrick is not going to tell a conventional version of the Vietnam War, but neither to prefer to use an anti-war pamphlet. What we see is different. Kubrick does not moralize, nor frolics in vacuo aestheticism. Things are well, and the camera should be guided with respect to the characters, to life itself, like it or not.

is followed more images, more recruits similar planes leaving cut their hair, in metaphoric allusion to the loss of freedom that must characterize any good soldier. A Marine, as well replicate Sergeant Hartman later, no one owns anything except his rifle. Do not even have the right to keep your name. Thus, from this day are known as Cowboy , Snowball , Jester (Joker ) or Gomer Pyle (Recruit Ducks ) . The matches were shaved, and are almost indistinguishable from each other. Cease to be individuals, individuals to be passive machines, without thought. In a later scene a colonel Joker censorship the wearing of a badge with the peace symbol on his helmet, yet written with this view openly Born to Kill. Joker replied that is a symbol of duality that resides in every human being. Colonel blunt statement: "My Marines only ask that they obey my orders as if they were the word of God."

The initial parade shorn recruits is an example of master, recognizable in the denotative potential of their images, consistent with the general tone backbone throughout, and the simplicity with which it is shot. turn, is a resource smart to introduce the main characters and their context. Set in the final image into a tailspin, with the recruits hair scattered on the floor. No longer shows the silent face of the soldiers. Only reveals what will go with them, their identity, one that will recover over the remaining footage.

initial scene

If we relate this start with the final scene , acquires all relevant significance. It is night, soldiers returning from a hard day. In the background flames raze everything and illuminate the shadows of the marines. Joker's voice serene states: " For today we have registered very well with our name on the pages of history ." continues: "We outta to the Perfume River to spend the night ." The camera zooms slowly returning these soldiers, or rather, come to look death and survival. So, while walking slowly and steadily, sing, or rather sing, and without the virulence martial teach them in their day the colonel during the investigation. Tone, but illuminated at night the ruins of what they leave behind, an anthem because they are alive. But it is a solemn hymn is a parody of a military march that replaces the MIC KEY MOUSE by FUC KED AGAIN. The Mickey Mouse March was a TV tuning of the fifty Club Mickey Mouse .

MICKEY MOUSE

Let us always carry our flag high. Boys and girls
beyond and here.
to you all welcome. MICKEY MOUSE


Who is the head of the club ...?

Joker He concludes: " My head is again occupied by erotic dreams and hard nipples Carmen prick tease, and fuck fantasy of the great return. I'm so happy to be alive in one piece, and point. This world is a shit, yes. But I'm alive. And I have no fear. "

It parodies the banal patriotic songbook single soldier to return to the discourse of dehumanization human beings at the counterpoint of the will to live and have had . What remains after the smoke of war is the soldier who returns, a man without fear. Behind the recruit is silent and mediocrity from the start.

final scene

Kubrick meets this end a tradition within the anti-war film in which the discursive axis focuses on defense the individual against the senselessness of war. We are not here for anyone, just want to survive, return home . However, few have managed to break away as Kubrick moral tone, patriotic or complacent continue to monitor the genre decades later. Even a great director like Spielberg could not escape in Saving Private Ryan to the patriotic tone. have to save save save Ryan as a way of life, American, which respects each individual as unique (a creature of God, to be exact). Moreover, no soldier left in the lurch another .

Kubrick, however, avoids the naive patriotism Spielberg, bordering the discourse to a level almost anthropological. The will of man against the hostility of a bad world, mindless, of which only avoid loving it stay alive, if you can. The remaining arguments are fallacious, as the magazine that distills the Stars and Stripes whose team intended to Joker to distort the reality of war to the glory of the state.

The Kubrick film strives to show the revolutionary power of the image clean, distilled stereotypes, while Spielberg's populism leads to decline by resultón assurance demonstration.

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The incident


Praise of perplexity

after seeing the latest work from this director as personal and not transferable, the viewer can not require more certainty about the militant nature of his films, although it makeup the physicality of gender indiscreet that chooses. And is that your choice of horror or science fiction is more than circumstantial, and who serve the millimeter to wear what you want to display. Do not be confused of-show, because Shyamalan , despite its underlying discourse, does not seek to capture or defend ideas faithful more or less consolidated. Just his narrative is based on the recognition of uncertainty as a necessary trigger for reform of the emotional map their characters. Anyone who has followed his filmography will notice the family resemblance that govern each and every one of his films. In all gender is instrumented to create texture , to reference the emotional distress that encourages its players. No wonder that fans often see these kinds of Indian cinema as a substitute with no protein, or the addicted to dramas with depth charge red herring meantime suicide.

In the film Shyamalan and here are two pervasive elements: a threat ( incident ) and a human being perplexed , surmounted by a reality that can not be named, theory or therapy that exorcise. That threat is not caused by a being given (even Signals can be sure of the identity of the body ), nor is a reason that our science and our understanding may be decoded, however much the character of Elliot (Mark Wahlberg ) look reasonable grounds after each event, the end must surrender and leave the house without a net. The reading of the incident is deconstructed on the fly and never definitively or satisfactorily, and further requires the opening their victims emotionally stunned, perplexed recognized that they begin to see clearer (pure quantum!).

Shyamalan has a Westernized Eastern logic, not concealed in their narratives. In the West we believe we are active participants in our actions, we can control everything and categorize by concepts, theories or technologies complacent. But that attitude to life only generates more confusion and unhappiness. No wonder that the sociologist Durkheim placed as a feature of the industrialized world anomie , and suicide as one of its most devastating consequences. We live in a society that is deeply organized, rationalized, but it takes care of everyday relationships, emotions. This is exemplified in the character of Alma (Zooey Deschanel ), which only regains contact with itself when it should take care of Jess and when he sees danger is that deep down you love. Then discover the need to return to more basic emotions, so she decides to have her own child. In this sense the scene is significant communication between the house and shed. Or the curious coincidence that the largest groups to commit suicide, and more tribal and crowded be saved from the deadly winds. As an exception to the rule we have the hermit character of the final, but it is precisely this isolation from others to end it. Only that approach, the shot that put their emotions, they can circumvent the destroying angel .

The incident has two planes and hermeneutics. Emotional or psychological one, and another politician (or environmental). In fact, all his movies is written on the read two-faced. Shyamalan prophesy and sentencing a notice to mariners. The Western world is facing a crisis that is articulated not only the area of \u200b\u200binterpersonal relationships but also the most factual and immediate. This state of affairs is expressed violently in environmental degradation and its destructive effects on the population and the ecosystem. In The incident not conceal a certain nature metaphor alert for the self-destructive potential of human beings (the self-destruction becomes a metaphor for what our species makes itself). But it would be in the realm of emotions and their potential to create spaces non-destructive and self supportive (and what we saw in the proposal for a community united against adversity Lady in the Water ) which illuminates the medicine this holocaust. Nothing can help the atomization of the individual under tech mass of large cities, nor the isolation of rural nostalgia, suspected of difference as a pathogen (the scene of the murders in the cabin is illustrative of this terror that after the 11-S has a population succumbs to the mystical militarism of the Bush era). We must reinvent and reinvent our relationship with others, strengthen the social fabric immediate, unmediated by culture becomes institutionalized spontaneity advertising currency.

However, the director of The Sixth Sense -wise this is their under- not only articulates a speech. It also offers a patient exercise of good work in the scenes of terror, which are choreographed with a smart sense of timing, dosing, like a poison that we see going on characters inoculated to a final fleeing from the optimism, it keeps us in uncertainty. Unpayable the opening scenes, but even more terrifying scene in the car, with the slit in the hood, vibrating, foretelling disgrace, despite the safe comfort of a mathematical game.

Indeed, you know that Shyamalan appears in all his films, making a cameo hiperbreve. This is increasingly difficult to locate. Pay attention to the scene of the hanging at the entrance to Princeton.

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Indiana Jones and the Kingdom of

Indiana Jones can only be compared with Indiana Jones. Products of adventures in the style from Romancing the Stone to The Mummy Tomb Raider through or Fool ... for gold are infinitely inferior products, light years away. It was ever thus, and always will be. To cite only one appearance, is sufficiently revealing to analyze the changing room to see who owes whom, and how much.

Originally Indiana Jones meant the revival of classicism in the adventure film , bringing this genre the category of art and providing (how could it be otherwise with Lucas and Spielberg ) great news, to the point that created school. Those, along with countless adventure films after the first installment of Indiana Jones , owe to it their rationale, their degree of success (it had to be compared) and expectations of an educated public in new variations of the genre.

So I can only compare Indiana Jones and the Kingdom of the skull glass with previous Indiana Jones deliveries. Do I find other movies, with heart in hand, rude. Well. Well see. My favorite has always been the third, Indiana Jones and the Last Crusade because it presents the same doses of adventure as the others, but also brings irony and grace than the rest of the series, especially by the appearance of the ineffable in the same Sean Connery, who in the latter is missing. He misses the spectator, he misses the public and Spielberg miss him: if not, what's the big picture and memories of Scotland. The Sean Connery shadow is very long. He had never missed any character in the various deliveries of Indiana Jones, not even Karen Allen , despite the rescue here, which I think is not dem asiado well. She looks always very happy, as if he had not grasped the joy of being rescued for the series and eventually become and remains the true love of Henry.

Excuse me, I pile up ideas. I'll put some pictures.

But focusing on this, I discuss two criticisms, I think, very critical. The first, the secondary characters are not as well drawn or are in the end as bright as in other deliveries, despite the effort of casting doubt. now not going to doubt the quality of actors like John Hurt , Shia Lebouf (one of the most promising young actors of the time) and Kate Blanchet . It's a trio, and the problem is not theirs. A K. Allen did not include it, I think it is overtaken by events. Rhys-Davis (friend / enemy agent double / triple) is also solvent. But something is wrong. All are good actors. The problem therefore is not theirs, is the script. Simply, their roles are not as juicy as other minor characters from previous installments . Kate Blanchett, despite being best actress, not as wicked as the bad blonde The Last Crusade, Rhys-Davis and John Hurt are not as funny as the secondary partners The Lost Ark and Temple of Doom. And the character of Shia Lebouf, Indy's son, designed to meet the bright parent-child relationship of The Last Crusade, remains, despite the efforts script and gags, a caricature of Sean Connery . We believed, fans of the series, the writers, after have as many laps down in history, would make a parent-child relationship as tasty as the previous film. But it has proved impossible. And I think, frankly, that's not the fault of the young Shia, but the writers, and shadow so long that Connery.

Another picture for air.

The second criticism I make to the film is directly related to the script. Frankly, we expected more surprises, and, moreover, many of which appear not convince us too. I'll say it directly: the script gets bogged down after the first three quarters of an hour. Persecution jungle is good, and I think it makes a good reply to the desert before the entry into Petra The Last Crusade, to me the prosecution of the saga after the end of the Temple of Doom ( it is beyond category.) But the three entries that exist in various temples in this movie (the first in Peru, the second that of the Aztec-style pyramid / maya, and the third final in the temple / ship) are disappointing. For various reasons, but mainly because they are slow, the obstacles and / or see it coming, her thoughts are not so surprising, the guards seem to free them all and, finally, because all try to look for the best entry into a temple of the series, the scenes in the temple of Petra which was kept the Holy Grail and where there were guards and godliness, never better. In sum, these three entries in various temples are repetitive and disappointing.

A third criticism, but venial, also related to the script. In particular, the central idea and UFOs ufology is not to my liking. But this, of course, is not a compelling reason. I do not think you can criticize it head on all the series has always been fantastic, and we know what we stick to break into films. According to close it well, somehow expressing the qualitative strides in the advancement of humanity have been proceed aliens (idea who defends many weirdos out there ...) But no. I am afraid that here the balance has gone to ground that Spielberg Lucas, and when this occurs the film lapses. Spielberg has always been best director and best screenwriter.

If someone, so read this far, do not think I liked the movie is completely wrong. Despite these criticisms, I enjoyed the movie as a little boy. Harrison Ford returns to be sensational, self-homage and parody. It is the soul and the reference and returns to be really good. The first half hour is prodigious. The first scene, sublime, the presentation of Indiana Jones, amazing. The adventure concludes with the nuclear explosion is superb, as well as the presentation of the protagonist's son. The countless tributes and references to both films in the series as other is really good. So, I remember, there are references to Tarzan , Marlon Brando, to When marabunta roars, and various films both Lucas and Spielberg as The Star Wars , AI and, evidently, ET And finally, the symbolism of the final scene is a big surprise and a knowing wink to the fans.

A few more thoughts to conclude. The film is classic, has a classic tone and pace and always pursues this classicism, which is appreciated, since the filters used to the absence of computer tricks. I do not know how to get the film adolescents, who may expect a transformer, a M: 4 , a Blade, Fantastic Four s or 300 , or Alien c predatory gainst r . Sure hope that if the fourth installment is due to be bloody or requeteinformática. But he will meet with the containment of the classic, classic with alternating scenes of action with intimate scenes with intertextual references are not perhaps understand, and all your expectations be frustrated. Honestly, I do not care.

God save Indiana Jones.

Health.

Tanhausser

Can You Recover From Severe Anemia

the Crystal Skull Indiana Jones and the Kingdom of the Crystal Skull


Imagine Scott gives back to recreate the character of Deckard agent (with the soul and body Harrison Ford, of course). As expected, this has escaped justice with Rachel, but the last lock on and face new Nexus-6, this time as a police service of the Corporation. Needless to say, James Olmos will leave their papiroplexias in the most unexpected places to remind us that she must die (and who does not!). What movie buff given to religion bladerunneriana not go to the movies to see for himself that there is life beyond the first installment! We would be crazy to miss this occasion. Our imaginary movie buff is painted the frames, we could not conceive of the history of cinema, our little emotional memory with this art, no Deckard, without the dream of moons of Orion, although it will no longer be the same. But what if what was in our memory is still bright and we are excited with only imagine some of his scenes. We know. Harrison has grown, Vangelis may not want to rewrite the score, and the photo from the decadent city is already impossible to be enlightened as it was in the eyes of Cronenweth ... O which is no longer the same is the viewer. Maybe that.

for an audience that may never hunt replicants with imagination back in 1982, or had no opportunity to run with Dr. Jones after stealing a treasure Columbian in 1981, it is likely that this fourth installment of the adventures of the famous archaeologist has been an exciting finding. For this unconditional who writes, despite his devotion to the trilogy, never take their religion to extremes of fundamentalism movie buff and has to confess that Indiana Jones and the Kingdom of the Crystal Skull has not gotten further than to entertain leisure, and his curiosity malsaciar religionists.

Indiana Jones and the Kingdom of the Crystal Skull is of interest because of the income collected to the success of Jones icon in previous installments, but outside of that blessed dependency, more exploited a scene by moviegoers winks (the ark in its box or the crystallized ET) addressed the audience talking, the brilliance of the script is scarce, reaching a tone autoparódico own any product that is drowning in its own complacency . Not enough technical quality of your bill (including modern special effects, despite promises of King Midas craft) or the supposedly good intentions of Spielberg. We are facing a mediocre product, far from expectations of a teacher who devised Raiders of the Lost Ark with few resources and great enthusiasm.

The picture attempts to recreate the television series of the fifties who grew up with Spielberg, the seed of what is now called Series B, dominated by aliens, monsters, and other fears born of the collective imagination of the time. Not surprisingly, Spielberg himself has made or assisted on numerous occasions to pay tribute products or recreate that aesthetic and narrative universe. This fondness cinephile makes sets and environments Indiana Jones 4, despite the CGI, from becoming contrived. See if not the opening scene with an almost theatrical props. This contributes to the surreal feeling of the situations and characters grotesque. not so absent this installment of exciting scenes that make the rest bearable footage: that start in the Indy appears again, his shadow reflected on a car iconography. The nuclear experiment in the ghost town, with a stunned Jones ominous future and neurotic the cold war. The car chase up the cliff. And the final nod no doubt infer that there is only one Indy (or not). But it stops counting. Self-referential nod is not enough that colors the entire film. Not just a tribute to the series B presiding exaggerated aesthetics. A Indiana Jones 4 overweight you past. And Spielberg is not used for mere support for a coherent argument to a script novel (as it does with more success her friend Lucas with Wars The ) . No, the plot revolves around his record and drowns in the dance narcissistic, boring, or at least not be convincing to a worthy heir to the saga. Perhaps a regression into the past of the character (with an old Ford to remember) would have sat better with Jones. Campbell did with Bond in his Casino Royal and the result rejuvenated and brought depth to the icon 007, much more saturated than any other character endlessly recreated on the big screen.

Even so, no prayer book conceals the defects of their patron saint and screams with conviction by mere virtue that makes up religious fervor. Heroes do not die, and his gesture is enough to lift them to the altar from which to remember his courage. It does not matter who you get older, that one day die in one of his adventures! Like a son to his mother, Indy is the one that was plainly not reading skeptical. And to lend a fifth.

But in a fit of doubt one would enter reservations and becomes picky. would have liked to see more darkness in the picture (more is expected Kaminski), a dash of nostalgia simple but clear, less complacent, more credibility, a tad skeptical of this cynical and listless that has always accompanied Jones's character. In this fourth installment dissipate all those virtues tribute to the tone that dominates the film . And his theatrical aesthetic and naïve (that scene in the final ceremony is telenovela) tilting our interest in the varying degrees of success to have been choreographed action scenes. Karen Allen has aged poorly, and lacks the strength of his character in Raiders of the Lost Ark accompanies the orchestra to play the cymbals and little else. LaBeouf replication attempts to a Ford turns around, which already imports some transvesting character of madelman sixties, and approved despite being known in the role of stooge of the honoree. Only Blanchett seems to have grasped what Spielberg wanted overboard histrionics and his character, giving us a kind of Norma Desmond in the Soviet magnetized (the skull pursued parapsychology) each plane with that look of haunting beauty.

Anyway, never thought one were to ever say that about any past was better, but for which we must, I fear that justice prevails affection. That each weigh their impressions at ease and without mediators. And that time sentencing.

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Saul Bass, the art of credits

discovered through the wonderful blog Reluctantly a storyboard image the famous shower scene in Psychosis. illustrator Saul Bass (1920-1996) left fall after the death of Hitchcock that he was who not only drew the frames of this scene, but the director asked him to direct. The latter will never know for sure since it unveiled Bass himself after the death of magician suspense. But what gives us most. The trajectory of Bass speaks for itself.

stands out as an illustrator of cinema when postwar German Expressionism was fascinated Americans. His first major work was the film credits Carmen Jones (1954), Otto Preminger's (Also those of his Anatomy of a Murder , 1959 or The human factor , 1980). With Carmen Jones, Bass almost inventing the concept of credits, giving it an artistic value and not a mere appendage away from the film's aesthetic pretensions. On the other hand, is heir to a concise style, which under the veil of simplicity exudes all the tone that chair from the time the film presents.

Perhaps, however, viewers will more easily remember the opening credits ( title sequence ) of Casino (1996), of Scorsese, also with classical music background and the fire as a character. But were these his only collaborations with Hitchcock or Scorsese. It is worth noting the excellent credits Vertigo (1958), which could well have left the imagery of Dali and Bunuel, Goodfellas (1990), which makes no concession to a break, or Cape Fear (1991), with that music so to Hermann. The surely riddled titles such as schizoid stabs Joe Pesci . But not as disturbing as the credits Seconds of Frankenheimer (1966).

At the opposite is the overture pictorial West Side Story (1961), full of optimism, a rate of Bernstein. And on a more formal, but equally minimalist, we have to Spartacus (1960) . Even

Spielberg knows that Bass style is synonymous with success. Remember the sixties credits of Catch Me If You Can (1991), or The Age of Innocence (1993), where the music starts to remember Hermann.

The truth is that everyone who grew up in the seventies saw the film at through the lobby that invites us to cross Bass, promising magical worlds, mysterious, exciting. It was impossible to resist frame. As you saw those pictures, instantly wanted witness, if not the protagonist, a promising story.

Web on the work of illustrator Bass
Saul Bass on the web
Bass pictorial referents
Digest of the best credits in film history (1)
Digest of the best credits in film history (2)

Do Eyelashes Stop Growing?

Before the Devil Knows You're Dead

May the road to hell is full of grass due to lack of use! Health and long life for you! To get the wife (or husband) to your liking! Have a child every year! Do not pay rent for your land! And you get to heaven half an hour before the Devil Knows You're Dead! Slainte! (To your health!) That you be allowed to die in bed at age 95, at the hands of a jealous spouse! A health of the enemies of your enemies!

So runs the traditional Irish toast that inspires the title of the latest film from master Lumet . Hopefully, Sidney, we let a few more before the Devil Knows You're Dead! Twelve Angry Men (1957), Serpico (1973), Dog Day Afternoon (1975), Network (1976), The Verdict ( ), woven by the resounding boom of Mamet ... Even Guilty get to forget the past Diesel Vil and we believe the story.

repeat this time with Albert Finney , which recruits and Murder on the Orient Express (1974). And you give a difficult ballot, of playing a father who sees as his family is the movie falls apart without mercy, as purging and penalties that every family leaves behind his becoming daily in the form of reproach, omissions, envy , and all that inconsistent array of relics that inhabit the emotional closet each house. Two children without waste dramatic mark the paternal inheritance. One ( Hawke), alcohol vomit his failed marriage, and placebo against envy as you pull the woman of his brother (Hoffman ), another lost soul, who unflinchingly pushed his brother to a dubious enterprise criminal caught fleeing once a week in search sleep provides a golden chute. Both are stiff money, an absence that serves as a perfect metaphor to describe its devastating emotional universe parallel. Psychologist does not take title to suspect that all that they intend to go wrong, or if possible, but goes well with it will never find solace in their emptiness. So prayed the Irish saying, why scratch a drop of luck as they redeem the unfortunate existence. At least, we remove it bailao.

Brilliant interpretation of Hoffman and Hawke. This profile outlines naturally timid brother, unsafe, the shoulders of his brother, apparently successful, the winner, and his downfall in the end. On the other hand, Hoffman once again gives us the versatility to provide his characters with a force that pulls every movie he touches. This time it will be necessary to resort to the histrionics of his previous proposals. Two views are sufficient. His character is manipulative and ruthless, mean, and cowardly in the background as his brother. Not surprisingly, both resort to shortcut the drug to deal with what comes up.

cold is not chance that breaks the intentions of redemption of these two brothers, but operates as a symbol and expression of emotional collapse . The only events expose the latent disorder and slept, hoping to find out. Everything, as the reader can guess, it smells like a tragedy in the classic style. What we are we just chasing, as the death of the adage, and while, if that is good and the fiery will, we will have scratched the reaper a minute of your glory. In the first scene, a bright Marisa Tomei confesses to her husband when she is with him in bed, wrapped in its warmth and look, do not feel unsuccessful. He (Hoffman) looks upset. He does not understand what he says. The next frame shows the adage: "Better you're in heaven half an hour before the devil being aware that you are dead ". Similarly, fifteen minutes from Tomei recommended film after his troubled lover (Hawke) that do not beat yourself up and enjoy the moment, despite the merciless reality of a society based on the vile metal (in one scene comes to call her daughter failed not meet their demands chrematistic).

But neither hear this unexpected Casandra (Tomei). None of The two brothers heard the voices of their elders, and recites the son of one of them in a school play: "Times are tough. We have to obey, we what we feel, but not what we say. The biggest speak for the children, and not suffer and live long lives. " None listens, and they drag their unconscious tragedy of the black future advertising. The illusion Rio, Andy confesses to his wife, reveals the desperation escape from a reality that is impossible to draw, a lifestyle that ends up engulfing who are there without calculating the costs emotions that leaves in its wake. Welcome to America, where happiness is intense but fleeting, likely, but disappointing. Pilla ration you want while you're sitting at your table. Do not cry like a child when the memory of what you enjoyed and you are alone the brink of death. Live, Before the Devil Knows You're Dead.

not have wasted the final scene. The father walks down the hospital corridor, a blinding light will erase the background. All of us imagine viewers of his life (without having experienced) the sadness of this man, the feeling of having left behind a line of black men with no soul, no will to be happy. Live while you can, behind the sun waiting for us just the cold night.