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[Sumo22]

[zima]

Umro je znači i najveći među najvećima. Počivaj u miru.

[zima]

[Verbal]

Nazalost, moram opet da bumpujem topic...

Blow-Up director Antonioni dies

He gained two Oscar nominations for the iconic release, and was awarded an honorary Academy Award for his life's work in 1995.
He was also nominated for the top prize at the Cannes Film Festival, the Palme d'Or, five times between 1960 and 1982.
The director died peacefully at home on Tuesday night, his wife, actress Enrica Fico, told La Repubblica newspaper.
Film critic Kim Newman paid tribute to the director, calling him an "important and fascinating film-maker".
Newman said Antonioni's best films were all concerned with "how awful Italian post-war society is, and how trivial and superficial everybody has become".
"But the films are so beautiful and the people in them are so gorgeous, you can't but feel, well, it would be really great to be alienated, lovelorn and miserable like that."

Savage critic

Antonioni was born in 1912 in Ferrara, a small town in the north-east of Italy.
He studied economics at the University of Bologna, but came to attention as a film critic when he savagely criticised the Italian comedies of the 1930s.
In the 1940s, he enrolled at Centro Sperimentale, Italy's national film school, and soon began working as a scriptwriter, collaborating with directors such as Roberto Rossellini and Enrico Fulchignoni.
His debut feature film, Story of A Love Affair, was released in 1950, but he did not achieve international success until L'avventura (The Adventure) in 1960.
The film, which won the special jury prize at the Cannes Film Festival, tells the story of a group of couples who take a boat trip to an island off the coast of Sicily.
Its premiere at Cannes was a disaster, with the audience jeering the film, but the critics loved it, and L'avventura went on to be acknowledged as a classic.

Paralysed

One of Antonioni's key themes was man's inability to distinguish between appearance and reality, and his films largely dispensed with traditional narrative structure.
In 1966, he signed a deal to make a trilogy of films for the English market with legendary Italian film producer Carlo Ponti.
The first of these was Blow-Up, in which a photographer appears to have uncovered a murder in his photos.
Shot in London, and starring David Hemmings and Vanessa Redgrave, it was his biggest international hit.

In 1985, the director suffered a stroke that left him partially paralysed, but he continued to work behind the camera.
"Filming for me is living," the director said.
His last cinematic release was 2004's The Dangerous Thread of Things, one part of a trilogy of short films released under the title Eros.

A funeral will be held for the director in Italy on Thursday.

[helpline]

... I'm hunting parallels between Bergman and Antonioni. Thankfully there are some obvious ones. Both were near contemporaries who came to epitomise the foreign-language film scene during its creative and commercial heyday in the 1950s and 60s. Both were regarded as rigorous, high-minded directors who typically chose to focus on modern man's sense of alienation in a God-less universe. Both, to their detractors, could be aloof, portentous artists who made great demands of their viewer ... and all in return for the stark revelation that we are all lost and lonely and doomed to die. Gee, thanks a bunch.

And yet these directors were very different too. If Bergman was the great high priest of the European art-house, then Antonioni was its puckish intellectual. His films were at once more playful and more spare than Bergman's. L'Avventura and L'Eclisse are cerebral, teasing puzzle pictures. Blowup is a roguish, vogueish mystery play. Zabriskie Point offered a freewheeling, anthropological tour of an American counter-culture that - one suspects - never really existed outside of Antonioni's head to begin with.

I also feel that Antonioni has aged less well than Bergman. Perhaps it is the fate of all "modernists" to eventually turn antique, or even retro, and through no fault of his own Antonioni seems finally to have been too fashionable, too much an index of his age, so that his cool inquiries can now look a little mannered and arch.
...
Xan Brooks

http://blogs.guardia..._antonioni.html

[Lavinia Amaldi]

Pre mesec dana...



French actress Dommartin dies at 45

eii bas mi zao nisam imala pojma
solveig carica

[pussy galore]

blow up je jedan od onih ispraznih 'umetnickih' filmova, ali s obzirom da se tretira kao prvi evropski umetnicki film, osim toga vredelo je videti dzejnine stidne dlacice , onda i saputanje je t'aime ima smisla....a i hedonisticke i raspusne sezdesete uz britansku invaziju, plus profesija reporter...pa mod-ovi...alu u toj orgazmicnoj oblandi nema nikakve umetnosti, osim ako se modeli i fotografi odmah ne smestaju u h.couture, onako djuture....

antonioni, ipak ti nisi bertolucci.

[kobac]

blow up je jedan od onih ispraznih 'umetnickih' filmova, ali s obzirom da se tretira kao prvi evropski umetnicki film, osim toga vredelo je videti dzejnine stidne dlacice , onda i saputanje je t'aime ima smisla....a i hedonisticke i raspusne sezdesete uz britansku invaziju, plus profesija reporter...pa mod-ovi...alu u toj orgazmicnoj oblandi nema nikakve umetnosti, osim ako se modeli i fotografi odmah ne smestaju u h.couture, onako djuture....

antonioni, ipak ti nisi bertolucci.

e de nadje bertolucija....

sve cime se bertoluci bavio je podilaznje pop kuturi na najbanalniji nacin...
tipa 'pop-kulturo eve me' a sa toga je presao na filmovanje kultura o kojima niti
on niti publika mu ne znaju nista... tipa 'egzotiko, eve me'

aj da si reko zan lik godar....

[pussy galore]

ha, ha...ti si neki funny man.
jedinu vezu izmedju mister B and mister G/godarda/ vidim u louvre, a ti sada kao znalac godarda povezi.
bojim se da kontempliramo razlicitog bertolucija, 'onaj' koga ja spominjem je rezirao 'tango', za mene jos uvek na visokoj top 10 listi, da li mislis na njega?

ili mislis na a.warhola, mozda?

[Friend of Peachy Carnahan]

nista lepse, za nas, ljubitelje dobrog mud fighta, nego kad udari pametan na prepametnog
navijam za poslednjeg zivog rokera

[kobac]

ha, ha...ti si neki funny man.
jedinu vezu izmedju mister B and mister G/godarda/ vidim u louvre, a ti sada kao znalac godarda povezi.
bojim se da kontempliramo razlicitog bertolucija, 'onaj' koga ja spominjem je rezirao 'tango', za mene jos uvek na visokoj top 10 listi, da li mislis na njega?

ili mislis na a.warhola, mozda?

tango je po meni prilicno jeftin film.
kao i ostatak bertolucijevog opusa.

praznina ispunjena egzibicijima, parolama..
pompeznom muzikom i scenografijom...

sta je tebi jos u tih top 10?

warhol je veca faca od bertolucija.

ostavio je vise traga... relevantniji je.

ne kazem da je bitno biti relevantan..
ali mislim da je bertoluciju to bila ambicija.. u kojoj nije uspeo.

za razliku od warhola.

[pussy galore]

nista lepse, za nas, ljubitelje dobrog mud fighta, nego kad udari pametan na prepametnog
navijam za poslednjeg zivog rokera

gde ti gluperdo/dedukcijom sam dosla do kvalifikacije kojoj pripadas/ vidis 'fajt', a?

kobac, jos jedna veza za tebe, nikako da 'uhvatis nit' pa da se nastavi lanac , mislila sam da je jednostavnije, evo:

allen midgette ...ali ako je pretesko, zaboravi...jedino mi onaj tvoj trag u nabrajanju malo 'ambiguous' ali ako ga uzmem kao oxymoron 'relevantniji trag', onda ima smisla.

[kobac]

gde ti gluperdo/dedukcijom sam dosla do kvalifikacije kojoj pripadas/ vidis 'fajt', a?

kobac, jos jedna veza za tebe, nikako da 'uhvatis nit' pa da se nastavi lanac , mislila sam da je jednostavnije, evo:

allen midgette ...ali ako je pretesko, zaboravi...jedino mi onaj tvoj trag u nabrajanju malo 'ambiguous' ali ako ga uzmem kao oxymoron 'relevantniji trag', onda ima smisla.

nemam pojma ko je alen midjet...
ali me fascinira da bilo ko moze da odgleda 'tango' i da se odusevi.

nemam neko posebno misljenje ni o antonioniu...
samo me strecnulo to pominjanje bertolucija kao nekakvog overenog velikana
u kontekstu price o precenjenom filmadziji.

[pussy galore]

nemam pojma ko je alen midjet...
ali me fascinira da bilo ko moze da odgleda 'tango' i da se odusevi.nemam neko posebno misljenje ni o antonioniu...
samo me strecnulo to pominjanje bertolucija kao nekakvog overenog velikana
u kontekstu price o precenjenom filmadziji.

pa recimo da svoje 'odusevljenje' prevedem recima cunninghama posle citanja mrs dalloway :'I could see the density, the music and complexity of the language; she was doing with language something like what Jimi Hendrix did with a guitar. She was a rock star." e tako i ja doziveh brando-bertoluci duo, kao rifove dzimi hendriksa.

a da ti ne pricam kako ga je tek late pauline kael dozivela, uporedila LTIP, po vaznosti, ni manje ni vise, neces mi verovati , znam, sa euforijom koja se stvorila daleke 1913 sa stravinsky's 'rite of spring', pa ti sada go figure, dude!

malo stravinski, malo hendriks.

[kobac]

pa recimo da svoje 'odusevljenje' prevedem recima cunninghama posle citanja mrs dalloway :'I could see the density, the music and complexity of the language; she was doing with language something like what Jimi Hendrix did with a guitar. She was a rock star." e tako i ja doziveh brando-bertoluci duo, kao rifove dzimi hendriksa.

a da ti ne pricam kako ga je tek late pauline kael dozivela, uporedila LTIP, po vaznosti, ni manje ni vise, neces mi verovati , znam, sa euforijom koja se stvorila daleke 1913 sa stravinsky's 'rite of spring', pa ti sada go figure, dude!

malo stravinski, malo hendriks.

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name droppings...

mozes li da napises nesto bez postapanja imenima i citatima?

nije ni cudo da ti se dopao tango.
bertoluci svoja dela voli da kiti ukrasima za koje zna da ce izazvati asocijativna zadovoljstva.

sto, kad pomenu hendriksa, nije karakteristika dela vrednih paznje...
a narocito ne dela koja ostavljaju sopstveni trag.