Why talk about a film twenty-two years old now?
There are films that stand, strong, strong, evocative of a time that does not dim, the perfect blend of ingredients that make a simple film "the movie, the plot, the psychological delineation of the characters, the choice of actors who are able to embody the depths of the role, from set design, photography, color, narrative pace, the skill of shooting in the game between shots, sequences, fall off, the music that the film devono saper sintetizzare l'anima poetica.
Non sono un cinefilo, ma nella mia ideale filmografia di film così se ne possono contare forse una ventina, forse una trentina
Non tutti sono capolavori, nel senso pieno e vero, certo lo sono praticamente tutti quelli di Kubrick, moltissimi di Hitchcock, parecchi di Truffaut, alcuni di Sam Mendes, alcuni di Altman, almeno tre di Francis Ford Coppola, almeno cinque di Spielberg, qualcuno di Fellini, di Dino Risi, di Monicelli, di De Sica...
Poi ci sono film in ogni caso eccellenti, che conservano una freschezza sorprendente, che visti a cinema si rivedono volentieri ad ogni passaggio televisivo.
Gli Intoccabili (The Untouchables) è un film appunto eccellente, come il suo regista Brian De Palma (di cui a parte "Mission impossible" e "Mission to Mars", film commerciali di buona fattura e nulla più, rimane memorabile "Vestito per uccidere" con un Michael Caine al vertice della sua maestria attoriale).
Eccellenti sono gli attori, da Kevin Costner (che interpreta l'agente federale del Tesoro Elliot Ness, l'uomo che sconfisse Al Capone), ad un intensissimo e ironico Sean Connery (l'umanissimo poliziotto Malone, che dalla strada, dove si era esiliato nell'assoluta estraneità all'ambiente corrotto della Polizia di Chicago, ritorna al fianco di Ness ad un ruolo investigativo), al misurato ed efficace Andy Garcia (giovane poliziotto italo-americano, the face clean and presentable Italy who landed at Ellis Island in the years of emigration to America in droves), all'insuperabile Robert De Niro (who actually put on weight of twenty pounds and passes, he plays a gigione Al Capone, ironic, cruel, furious second a staff of moods and passions, mastering all the way), the protagonists sinanche children, such as the killer from the suit and white hat and the bespectacled comic book that comes with the team and Ness will be the first to let the skin, followed by the brave Malone.
excellence and development of the plot, the narrative rhythm, the construction of images, photography as well turn in warm colors and opulent of the big hotels and buildings where Capone and his criminal plots weave their own fruit and enjoy its golden tones of tar and cold Chicago night, with memorable one-desired citation to the Battleship Potiomkin-long sequence of bloody capture of the half sleeves accounting Capone on steps of the Chicago central station, architectural ode to the train, half the time Prince of locomotion, and large stations seen in many American films thirties and forties, land ports of interwoven into the threads of dispersed and hurried travelers or absorbed, joyful or desperate.
a tight, after the killing of Malone and the capture of Capone's accountant, is the longest sequence of the process to Capone, whose turning point is represented by the discovery of the list of jurors in the pockets of corrupt white-killer, captured and thrown off the roof of the courthouse by a furious Elliott Ness mockery free reserves that the big bad friend Malone, who has cruelly pricked with a hail of machine gun.
Why Ness, at the beginning of the story was an idealist, convinced he can fight crime with only the bare arms of the law, after his painful "loss of innocence" understands that the only way to beat Capone is fucked anyway , and does not hesitate to resort to lies, duped the poor judge which reveals that in addition to the list of jurors corrupted by Capone, even his name features among those "bought" and so forced him, overcoming the shackles of the procedure to change the jury and then to pack Capone to a federal penitentiary.
And then, throughout the film through the film, in its sets, there is the magic of the soundtrack, it also memorable main theme, due to the art of incomparable Ennio Moricone.
The last night I saw "The Untochables, the story of how justice sometimes prevails in earnest, and it does not always follow the main road, winding roads, but more often because men are crooked, that is offenders, whether they were policemen, thieves and guards, and even judges to the fund.
And the film, Emblematic is the furious reaction to Capone to change the jury, when he realizes that his criminal empire has really collapsed, and the challenge that Ness says, "But go, you are nothing, you're just chatterbox, chatterbox."
It may be true that men often laws are only "chatterbox", or "chatter and toga."
But sometimes not. Fortunately
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