Top 3 listen gennem tiderne er:
1. Hun så et mord
2. Det er mig, der hedder Charlie
3. Kan du stadig huske mig
Alle amerikansk producerede film.
tilføjet af Anonym
Måske de bedste film nogensinde 2.
Top 3 listen gennem tiderne er:
1. OSAMA
2. Vejen til Guantanamo
3. Sct. Lorance Natten...
Alle ikke amerikanske film...
tilføjet af Hilde
De to første du nævner, kender jeg
Men den tredie siger mig ikke noget. Hvem har lavet den? Har du et link til anmeldelse eller lign.?
tilføjet af iampersson
Film 3
1. Tilværelsens ulidelige lethed
2. Rød, blå, hvid - 3 film af Kieslowski
3. Forrest Gump !
o.a. meningsfulde film ! 🙂
tilføjet af Hilde
Spookey
Kender ingen af disse film.
tilføjet af Morderen
Bedste film nogensinde
er,Den Enfoldige Morder.
tilføjet af Anonym
Her,,,,,
The Night of San Lorenzo
Paolo and Vittorio Taviani, Italy, 1981, 107 minutes
Set in the Tuscan countryside during the conflict between the Italian fascists and the peasants at the end of World War II, this is pretty much a recollection from the director's childhood. However, it is told through the eyes of a small girl who records the events surrounding the evacuation of her village, the coming of the Americans and the fight between the peasants and the fascists.
The Taviani brothers have constructed here an epic account of historical events and personal experiences, a beautiful wedlock of realistic and poetic elements which is a homage to the rich tradition of neorealism. Borrowing themes from Rosseltini's Paisa, the Taviani brothers pave the way for a breakthrough in contemporary cinematography. They blend inventively the realist theme of the past with the naturalistic element inherent in their work (Knos, The Night Sun) infusing into the film flashes of surrealism. The scene for example, of the battle where the young girl conjures a fantastic moment where partisans are being perceived as Greek warriors, while the fascist who threatens her life falls dead as he is pierced by several spears. It's a film whose richness is epitomised by the aesthetic perfection of its imagery and the emotional intensity brought about by the abrupt portrayal of war and by the immeasurable warmth characterising human relationships. One can never forget the sequence where two young girls meet some GIs - the encounter between Italy and America recurring once more in the Tavianis' films - or the poetic moment where Galvano (Antonutti) confesses his love to a woman (Lozano). But the Tavianis display also an ability to shock with the brutality with which they record the events of the war. The scene where a fascist young boy is shot dead by the partisans in front of the eyes of his father who almost simultaneously commits suicide remains one of the most powerful in all cinema. Again the directors do not allow narrow ideology to creep into the film, and the end result is one of remarkable honesty and integrity.
Photographed in the rich colours of the Italian landscape, and supplemented by a melancholic yet strai~gely nostalgic score by Nicola Piovani, The Night of San Lorenzo introduces a truly sublime vision to cinema. For all those who sLill believe in cinema as magic, here is a masterpiece to see and treasure in your memory.