stai prin preajmă mai mult timp, ca să vezi cine sunt cinefilii de pe mubi. s-a încercat un poll anul trecut şi ce a ieşit, mamă. ceva gen cinemagia, dar acolo s-a lăsat cu banuri ale unor useri excepţionali, iar trăncănicii de serviciu au continuat să existe şi să prospere.
http://mubi.com/topics/tag-gallagher...st-film-critic
nu de alta, dar un om care scrie în aşa fel despre Gertrud, nu poate fi posedat decît de o pasiune incendiară. and i love it. aşa da!
What interested him most about making movies, said Carl Th. Dreyer a few years before his death, was to “reproduce the feelings of the characters in my films […], to seize […] the thoughts that are behind the words […], the secrets that lie in the depths of their soul”.
“Gertrud [1964] is a film I made with my heart”, he added. With the heart. About the heart. “What interests me before all, it’s this, and not the technique of cinema.”
Technique, nonetheless, is the tool the heart must use. Accordingly, Dreyer mobilizes all cinema for the hunt. “I need a big screen”, he said. “I need the communal feeling of a theater. Something made to move has to move a crowd.” He wanted to do Gertrud in colour. Maybe 70mm, too, like Lawrence of Arabia (David Lean, 1962). Isn’t Lawrence (Peter O’Toole) on a camel in a desert like Gertrud (Nina Pens Rode) on a seat in a parlour? Dreyer wanted mass catharsis, the way Greek theatre did, or maybe the way college basketball does, with thousands of pulses synched to that ball’s movements. With the result that Gertrud is more like a basketball game than Lawrence, has more action, excitement, spills, chills and thrills, and has some of the “coolest” scenes in movies, piled on top of each other.
Curious it is, then, that some people complain Dreyer is slow and intellectual, talkie and dull, Gertrud particularly. They never spot the ball. As a result, it is unlikely in my lifetime that I shall share Gertrud on a big screen with two thousand pulses synched to her every movement. Like most people, I shall see Gertrud at home alone, on my television, and even with a large screen and Criterion’s excellent DVD, I shall have to press my player’s zoom button in order to see into her eyes. She and her men sit in full-length compositions like figures in gigantic tapestries. “I don’t like television”, Dreyer said.
în plus, ce spune despre filmele straubilor ţi-i apropie atît de mult, că nu te mai gîndeşti în primul rînd la matematică şi marxism cînd le vezi. viva Tag! (parcă nu mi se mai mare critica o meserie atît de mocirloasă).
topu' lu tag
http://explore.bfi.org.uk/sightandso.../2012/voter/68
no fucking vertigo.