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Picnic at Hanging Rock - Peter Weir - "What we see and that we are shown is just a dream, a dream within a dream "

When in 1975 appeared on the screens Picnic at Hanging Rock , no one could imagine having to front of a movie epic, which, while Peter Weir devoted to audiences throughout the world, launched the second Australian film that had no market outside national borders.

was a time when the unresolved contradiction of humanity, the wilderness and kultur , crossed the territory of Australia, with the director in search of a cinema 'physical' a bit to Werner Herzog, but in which the wilderness played a decisive role.

very accurately using the novel by Joan Lindsay (Picnic at Hanging Rock , 1967; Sellerio, 2000), Weir and screenwriter Cliff Green rewrite history Valentine's Day of 1900, a group of girls from a college in Australia, direct dall'insopportabile Miss Appleyard (Rachel Roberts in the movie), go on a trip visiting all'Hanging Rock, a strange and demonic complex eruption in the area.

Of the four girls have drawn away for a trip on the whole, Miranda (Ann Lambert), Leopold Irma (Karen Robson) and Quade Marion (Jane Vallis) disappear, the only Horton Edith (Christine Schuler) is back, crossing one of the escorts , the math teacher, spinster and unfriendly, Greta McCraw (Vivian Gray), which in turn disappears. The survivors, led by teacher Diane de Poitiers, return to college and this opens the search for girls who will contribute Fitzhubert Michael (Dominic Guard), an English lad on holiday by his uncles who, after having glimpsed by chance at a ford Miranda can not forget her, and the groom Crundall Albert (John Jarrett). Michael will be just to find Irma, and be saved by Albert, while leaving the mystery of what happened at Hanging Rock, as Irma did not remember anything of what happened.

In this plot, enigmatic and completely without resolution (the final chapter of the novel, and deleted from the final version published in 1987 under the title The Secret of Hanging Rock , does nothing to clarify the 'Obviously, that is missing on another dimensional space girls), the writer Joan Lindsay tied a series supporting cast of characters and stories that gave less space and more complexity: people somehow come to join in the plan that you go zooming (op. cit. p.. 166) with less regard to creatures - spiders, mice, cockroaches - which, as a rush, in hidden dens, to Leak terrorized, are comparable to the first, albeit on a smaller scale (ibid.), it is sufficient for all the story of Sara (Margaret Nelson), the orphan girl and the victim's favorite Appleyard, sister of Albert, who committed suicide without having recognized the brother or be recognized by him, following a mechanism very popular in Victorian literature (so typical of the period in which the novel itself is located), that of non-recognitions between brothers.

Point weakness of the novel, however, it is bound to this non-author's intention to close the core of the story, while completely closing the other, the last track is the one who explains, after the suicide of Miss Appleyard, how Irma, moved to Europe and became the Countess de-Margueray milk, has been questioned several times by experts from the Society of Psychical Research (formerly the British agency specialized in the various fields of the paranormal), with no results.

Beloved by critics and variously considered in its formal structure and its links (Danilo Arona, in his pioneering fantacinema Guide, published by Gamma books in 1978 and now unobtainable, speaks of cinema "paralovecraftiano"), the film load symbols in visual form, following Peter Weir directing the figures of those years to make a film of great formal elegance, open for most of the time in day care spaces long shot and very long, except for some internal sequences that recall the dark at night, often using cross fades that the figure of the swan and the face / white body of Miranda, but mostly centered his speech on the vision dell'Hanging Rock, to an extent greater than it has done Lindsay.

It 's the paradox, or one of the many paradoxes of the intersection between literature and cinema; Australian literature for key player in the landscape itself, from which one can not separate the authors, it is the Nobel Prize Patrick White, the fugitive as Boyd Martin and Christina Stead, the large group of writers (it will take to open the globalization a gap in this traditional arrangement), and consequently the Australian film opens with these spaces, but in the narrative of the non-Lindsay said the landscape and its resonances, the mythical element, the relationship with the "other" cultures, ends with the yield to complex or too simple psychology of the protagonists. So the film Weir seizes the opportunity to bring color, light, images and sounds at the center of the debate.

The group of related sequences are two, given that all the crosses often in scenic: the first centered on the picnic itself and sull'ascesa girls, the second hand on the research of Michael, the discovery Irma him and then by Albert.

In the first group becomes a kind of Hanging Rock (by air) vestibule of hell. Sequence analysis of this group is out of our work and would take several pages, but just think of the low angle shots of the girls that go in line with the forward-looking monoliths and shooting from above, which lose their shape in the middle of labinti stone machine digging among the rocks as the bodies of the protagonists in the midst of the sequences of the rise of three girls in single file, with their white dresses and the shoes tied to life, which takes on the one hand the characteristic of a metaphysical touring, the other summarizing the traditional ritual of killing cerimionie virgin (not by chance that the detail of the girl who takes off her long black stocking exposing her leg Eroticism has always been a classic), all filmed by the wonderful photography Russell Boyd and highlighted by a great soundtrack: the Flute de Pan, composed by Gheorghe Zamfir, the great Romanian musician nai , and that composed by Bruce Smeaton, which incorporates certain electronic atmospheres to Mike Oldfield to highlight the moments of greatest tension.

Midpoint, and outstanding explanation of the history, the Hanging Rock and its symbolism back steadily throughout the film, the story ends in a shot (in slow motion) in the sequence in which girls are at the picnic and to start their ascent, with a still image of Miranda, when cultured after greeting Diane de Poitiers is moving towards its destiny.

Ulysses Ursini

Big Breast Of Indians

DEMONSTRATION AGAINST MULTINATIONAL vivisection and exploits that

IVREA 13/11/2010

"Vivisection" is not only dissect the frog alive , or the horrifying experiments of the past in which the dogs were tied with straps to a table and then dissected. Today

vivisection is something else. Much worse. It is called "animal testing" or "live search", but it remains, according to the dictionary definition, "vivisection." The extent to which "any type of tests performed on laboratory animals to induce alterations in anatomical or functional, such as exposure to radiation, the injection of chemicals, gas, etc. ".

this is that millions of animals each year in the world suffer in laboratories: poisoning with chemical substances, including drugs and cosmetics, induction of all kinds of diseases (cancer, multiple sclerosis, various imitations of AIDS, cardiovascular disease, etc..) experiments on the brain, experiments on pain, and much more .

And all this without any necessity, not only that, but useless. vivisectors I ask "Do you prefer to save a mouse or a baby?" to strike the emotions of people who do not know what it is and how much animal testing is unnecessary. But vivisection, kill the rat and a guinea pig makes you and your son, this is the reality.

The procession, organized by anti-spy Ivrea, joined various anti-spy reality, and of 'national autonomy, as well as various associations and movements at the forefront in the fight animals, including Memento Naturae and Switzerland , Offensive Animalista .

With songs, slogans and discussions have taken place in the voice of rebellion of all those living things that for one purpose or profit, we see torture all day in the name of research that is useless.

We were impressed by the enthusiasm of the people of Ivrea that have marked our passage with applause and picking up our girls from the flyer of the day.

again I thank all of the over 100 participants with their passion for animals and their will to fight made the day special.

LONG 'WILL NOT BE ANY CAGE' EMPTY U.S. We will not stop

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John Clute on" The disappearance dell'Erebus "by Dan Simmons

John Clute is a living legend.

literary critic of the first magnitude, the author and publisher, is (among much else) the co-author of the monumental The Encyclopedia of Science Fiction .

His reviews and critical essays, which have influenced and shaped generations of readers (and writers) have appeared in The New York Times, The Washington Post, Omni , F & SF: his book, "Excessive candor," appeared for years on the SF Weekly. At present, a similar book, " Scores," is published in Strange Horizons.

As often happens, in his case a culture and a deep extraordinary ability and critical insights are accompanied by a boundless kindness.

E 'its only thanks to a selfless act of kindness and hospitality that we are proud to present the translation of a brilliant review of Mr. Clute is currently unavailable even on the Net A John Clute our thanks go, in full conviction that not many have responded with such kindness and absolute indifference to the permit application publication of a work by a group of Italian fans.

Thanks, Mr.Clute.

A word about the review.

We talk about "The Terror" by Dan Simmons, we came up with the unlikely title " The disappearance dell'Erebus.

Who has not read the novel and plans to read it will do well to pay close attention. John Clute is aimed at readers who have finished the novel and reveals, analyzing it, the surprising ending of the book. For this reason, those who act not having read the book will also receive unwanted information (especially from mid-on review). All, however, good reading.

In the belly of the Thing

No player who has started to become familiar with the literatures of the first twenty-first century should be shocked by the strangeness of The Terror (The disappearance dell'Erebus , Mondadori, 2007 ) that appears as a historically accurate account of the famous and doomed exploring expedition conducted by 'unspeakably stupid Sir John Franklin (1786 - 1847), which claimed the lives of 130 men in an attempt to find strength in the Northwest Passage, but that is actually something completely different. The Terror is not just a story about men who do not understand the world they live: it is also a story about how wrong it is a certain type history.

This is because there is no way to understand the crazy and outrageous assault led by Franklin for the great frozen North of Canada continent, nor the "supernatural" intensity of the experience of dying of cold up there in the world , considering it as nothing more than a simple narrative whose outcome is commonly unavoidable. The history of the Franklin expedition in itself is not a realistic story - a story that can not be told in a plausible manner within the framework of a conventional mimetic narrative process, despite the 650 pages that Simmons uses pretending to obey the demands of "realism." Why The Terror is not a quasi-documentary based on facts perceived or real, is much more real than that. It 'a fairy tale.

begin in medias res , where meaning begins, six months after Franklin has finally died, in one of two ships inextricably embedded in the ice because of his refusal to listen the voice of reason about what the expedition was facing. The view of the story at this point, is that of Captain Francis Crozier, a man whose authority is to prevent any further career opportunities as it is Irish by birth, and quite clearly - Simmons seems pretty faithful to the chronicles of the point - the only one among the officers who could have saved the Franklin expedition. But it's too late. Neither ship nor Terror nor the 'Erebus , will survive. Crozier is drunk beyond his deep conviction that it could not save his men, two anomalies haunt him: the girl with no Inuit language, known as Lady Silence, whose arrival and stay remains a mystery and a threat to composure of the crew, and the constant raids of the "thing", a shapeshifting monster - as if (he thinks) it was horrible essence of the "evil" represented by polar bears carnivores, which in turn are almost impossible to kill - continues to savagely dismember anyone who roams alone on the ice for more than a minute.

Many readers of the twenty-first century - most of whom believes today that any new romance set on this planet will bring strength to the mind dozens of previous stories, whole moraines of quotations and jokes and clues left by the big blob of references - immediately identify the "thing" like an echo of the film by Christian Nyby / Howard Hawks' The Thing from Another World "(1951), just as identify the story that inspired "Who goes there?" by John W. Campbell Jr. (1938, Astounding ). They will not have needed the help of Simmons - The Terror, because he devotes almost the entire cast and most of the film crew - to notice, that does not name the film, however, clearly indicates the type of player Simmons is expected to attract: a reader who is familiar with the fantastic in literature, that a typical reader of the first twenty-first century. Simmons assumed, correctly, that we probably will understand perfectly.

error Crozier about the "what" is its assumption that it is as something else. Crozier is still, at this point, what could be called a victim of history wrong will not be able to save themselves in any way before leaving, so to speak, the mimetic tradition in that it is insufficient to handle the excesses of the genuinely paramimetica extreme and a set of experiences that deform the mimesis well beyond the breaking point. Treating the long death of Franklin and the men who he kills in the north of the Arctic Circle in terms of "realistic" means telling the wrong story, it means distorting the true story of history and means for more fail to understand the underlying drama The Terror: which is not only the tragedy of 600 pages on the long agony of innocent men until they died of cold or "what", since the terror that gives shape to this surprisingly readable novel lies elsewhere.

If we take literally everything that happens, we think of ourselves as people of a different kind of story. It 's a story of errors of assessment - the kind of errors that, in a novel of the fantastic, advocate and point out some amnesia about the true nature of the world. Franklin and his officers - including the versatile Crozier beginning, at least before I begin to understand the reality of the facts - not just white men who miss the point, although it is so blindingly clear that their cultural contemptuous refusal to adopt the techniques that the Inuit use to survive in the far north is a fatal error of understanding of a very practical concept, namely that you can not force the world to do what you want mistreated. But it's not all. What the white men The Terror reveal is that another, more terrible and final, a fact the twenty-first century: that although we can not force the world to do what you want with strength, it is certainly possible in an attempt to destroy it.

Simmons spends a lot of time to kill his cast - and makes an extremely vivid and exceptionally documented in describing the ways in which can and should die from a cold inhuman - while making it possible to understand that the dismemberment of his cast is a model and a forecast of the fate of the white race in the course of history. But this, with all due respect to the consistency and determination needed to create the first 650 pages of The Terror, did not cause the player much more than what could be called a mere reaction kinetic experience vividly represented. This means that The Terror a tale of fantasy - in a novel in a position to shape the modern reader's point of view about the shape of the world - is what happens when Crozier is found to be the only survivor of the deadly West farce Caught in his own ice.

We are deep in the book. The most degenerate members of the crew were shot in cold blood Crozier and the same then they will die in front of the "what" shape-shifting, we might think that Simmons dealt with as a metaphor of our condition as the monster in "The Planet Forbidden "(1956), clear example of our ills. But things are different. Through an unbroken sequence, we find ourselves in a universe transferred Inuit, as Lady Silence Crozier has saved and brought it back to life, but to a different life. Through the shared dreams, example and perseverance, she has revived as an inhabitant of the real world, the world of the Inuit, the "Real People", which is exposed to a terrible threat.

Lady Silence is no language for it is A-Who-Walks-With-The-God, a spiritual mediator between humans and the "God Who Walks Like A Man", which is not a "thing" but a principle of balance. And the true story of The Terror - his real terror - on the page suddenly becomes clear: the terror of the book lies in its revelation of the insufficiency of God as a principle of balance as opposed to the white man, the kabloona that makes its way by force through the delicate world irreplaceable breaking the ice. How had long predicted the Inuit tradition:

[ ... ] when the domain of Tuunbaq [of God] was finally invaded d people pale - the kabloona -there would be the beginning of the End Times. Poisoned by the souls of pale kabloona the Tuunbaq would ill and died. The Real People would forget their customs and their language. Their homes were filled with drunkenness and despair [ ... ] and the Real People would lose their good subject ni.

When Tuunbaq die because of the wickedness of kabloona , they knew the spirits of Governors of the heavens, his cold white domination will begin to heat up and melt and thaw. The polar bears will disappear as the ice house, so that their baby will die [ ... ] The birds will run in a circle and ask the help of Raven, having gone their breeding ground.

This is the future that they saw.

Crozier becomes One-Who-Walks-With-the-God, along with Lady Silence is now his wife. Back to his ship, the Terror , who died, captured the last offensive of the ice, haunted by the "unhealthy kind of ghosts that haunt an evil place," and walks away. He evades the future predicted.

The Terror is that we can not.

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Last Night - Massy Tadjedin

  Despite appearances, Last Night is a film of some interest.  

But interesting is not the story being told: the potential betrayal within a couple of "abstract" - that's where you see only 'being couple "and then somehow simplified. Young, without money problems of health or otherwise. Entirely concentrated on his being a couple.

It is not even for the characters, admittedly not too realistic to be truly engaging. Not for acting, where actors commit themselves more to awaken memories in the viewer (alleniani Keyra babbling, quoting Hannah and Her Sisters , winking at marital cold Eyes Wide Shut) that really communicate their feelings and in fact the result is, let us say, a bit 'school and all things considered mediocre ... with dangerous attractions worthy of snobbery towards a Smoke.

the movie, then, would be pretty useless (if not aesthetically admire the two women) were it not that, if you try to share it with friends / girlfriends, will generate a series of reflections on the interpretation of the intentions of the characters. What will be interesting to see a sort of polarization in opinions, that polarization, you will notice, often modeled his feel more man or more woman.

How to read the intentions of the friend who comes from Paris? What does the expression of Eve in the lobby, in the morning? (One of the few rare moments of intensity). And then: what is our position in the choice between an absolute love and fulfilling, and peaceful relations but mediocre adventures of one sex? What are the signs that can be run and what to do, to move a step in one of these directions?

Discover the difference of opinion after seeing the film will be the only thing surprising and exciting evening.

Denise Bresci

How Is My Face Uneven

GIULIETTA

From more than 100 years the teddy bear is a friend when there is need the days of the infancy, a small room and a faithful comforter, for young people and mature hearts.
Many children tell their problems, fears and worries to Teddy, he listens in silence " the silence it is made out of gold " and it is the best answer, they are essential friends, theirs know that nothing counts more of the friendship and mutual understanding and that happiness is the only thing that doubles if you divide her with someone.

                       * From

more than 100 years the teddy bear is a friend when needed in the days of childhood, one bedroom and a comforter true for young and mature hearts.

Many children tell Teddy to their problems, fears and concerns, he listens in silence, "silence is golden" and is the best answer, Friends are necessary, they know that nothing is more important friendship and mutual understanding, and that happiness is the only thing that doubles if you split with someone.

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Beowulf - Robert Zemeckis

Take an ancient epic poem, and a director like Robert Zemeckis, two writers such as Robert Avary and Neil Gaiman, and a cast of actors including Anthony Hopkins, Angie Jolie and John Malkovich ... is almost impossible to think that they do not come out a good movie. Yet, by going to see Beowulf (2007) have easy way to make sure of the contrary.

The story begins when Avary (former writer of Tarantino's Pulp Fiction) began writing a film treatment focuses on the poem, and Neil Gaiman, it should be noted that at least for the good fantasy novel American Gods, he is placed on the side. The two wanted a text that, deriving from the Saxon poem, the main elements, building of the nucleus of an epic low-cost, engaged in the myth (as indeed is American Gods, which tells of the theophany of the ancient gods in today's United States) , Avary is a good writer, Gaiman is a good writer, but translating the myth into a language of film is not for everybody, especially when it comes to Beowulf, an anonymous poem, composed of about three thousand verses written in Saxon, dating from between 650 and 850 of our era and discovered by accident in a code, which is already the base of the unfortunate Beowolf Graham Baker, and although in an informal, interesting The 13 warrior John Mc Tiernan - part of an unusual alliance between the Nordic warriors Arabic Fhaled Ibn Ahmed (Antonio Banderas) committed to fight against the "monstrous" man-bear cannibalism, similar to traditional Norse berserker.

The poem, in its essential lines, tells of a Danish king, Hrothgar, and his country devastated by a kind of ogre, Grendel, until a young Geat, a resident of southern Sweden, the young Beowulf , is to combat it, attacks him with his bare hands and cut off an arm. Grendel flees and ends up dying, but his mother comes forward. Beowulf confronts the realms swamp where she lives with a magic sword and killing, and then he returns to Sweden. Half a century later we find Beowulf the Geat king, forced to take up arms to fight similar threats in his homeland: a flying dragon who manages to defeat, was wounded to death.

Myth, and as we all know what our position against it, even when away thousands of years of life from the moment it is primarily a teaching, a mythos the Greek manner, and then something that tells us about the relationship between the our world and an "other" world, our interaction with it, the founding heroes of the culture and civilization and gods. And above all, is something "alive", which can be reactivated, but written in language appropriate.

Avary and Gaiman did not succeed in their intent and then Robert Zemeckis was aware of the project and made sure to develop it otherwise. Zemeckis is a rather daring investigator, and a magician of the modern fantasy genre, from the famous series of Back to the Future, the first "contamination" between cartoons and filming of Who Framed Roger Rabbit? (1988), by Death Becomes Her (1992) to the beautiful Contact (2000), until recently Polaris Express (2004) was a search for new ways of expression. So Gaiman and Avary reduced and transformed ways and times: Grendel is a kind of hideous troll, the son of illegal Hroðgar (Anthony Hopkins) and a mysterious aquatic creature (Angie Jolie) and Beowulf (Ray Winstone), is a swashbuckling hero and troublemaker, who faces the monster and kills him but then, seduced by the mother, establishes a sort of non-aggression pact and returns to the palace claiming to have killed her; Hroðgar appointed him his heir and then commits suicide. Years later, when Beowulf is an old king who defends his realm against the Frisians, a new monster (this time his son) appears and fights against his father, both die in the end, and the monster re-acquire the human form.

The implementation in the form of a screenplay is poor compared to the beauty of the original text, we do not return the mythical element, not only not required for the "Update" in the Freudian sense, but for a real linguistic anemia, which anemia eventually results in visual unnecessarily Avary and Gaiman Beowulf do tell the time of heroes is over with Christianity, and that at that time there remains only the ugliness and misery, did better Boorman and Pallenberg through Merlin, in famous Excalibur the same John Boorman. But that, as we know, was a myth "alive".

A reading that ends up becoming a baracconesco approach to myth, a parody of martial arts movies, in a setting that, although has some moments of great interest, most of the time seems out of the images a fantasy role-playing game. Some might argue that Hollywood is the reading that the expression of a people that has no myths are older than a couple of centuries ago, offers the myth itself, but it would be too simple an objection, since it is the same for years that Hollywood has turned to such as the epic westerns (or the gangster) in great cinema. Moreover, although Zemeckis is not John Ford or Howard Hawks, is also a film that follows, as we have said, a policy authoring. The problem today is that the authors are children of zeitgest , in this case that of the Kali Yuga ...

no coincidence, and this is the second major problem of the film, the shooting modes are those of Performance Capture, a technique that Zemeckis had been used in Polaris Express , and that is the resumption of movements of bodies and faces, and their metamorphosis into a digital returns in a virtual world, which is identical to that of a game, the material shot, which can then be played in three dimensions in the fully equipped rooms. Many critical lover of contamination of the genera have a miracle and has tried, but their efforts, the language of cinema to catch a glimpse of the future, but it is clear that the shot becomes a more sinister manipulation of the limits of the artifice: a Hopkins "greased "Winstone is a" gym ", an unrecognizable Robin Wright Penn, who plays the wife of Hrotgar, while only physically resembles John Malkovich himself. Disappears in short acting, and every face becomes expressionless, but are the masters of all the charms of the film "heroes" on the basis of leaps, twirls, falls, which end up turning to the camera movements based on different choices of Zemeckis directing (just for all those Contact ) in a kind of game. Certain sequences, such as the meeting between Winston-Jolie-Beowulf and Grendel's mother, not too transformed by digitization, maintain their power of expression, but on the whole burden of dangerous amateurism atmosphere ... and for all, transform the mother a mythical monster, a creature in whom end up in high heels heels.

We are in the real kitsch, no doubt. The same bad taste that brings us before a film like 300 Zack Snyder, in fact. The bad taste of today's culture, the media must appeal to all tastes. Always less than the prevailing mediocrity of junk, but the film Kali Yuga ...

Ulysses Ursini