tracian-64464
Entrou em nov. de 2018
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Classificação de tracian-64464
While the cinematography is out for everyone to appreciate, I feel a need to stress a couple of key points international audiences might miss.
First and foremost: the series is based on the first of four books about the life of Mussolini, and while they are routinely described as "novels", they are in fact impressively researched from a historical point. Pretty much every dialogue, speech, document and event are openly sourced and beyond question.
While the staging frequently and blatantly is not realistic in order to make the show more spectacular, pretty much everything happened as you see it - including a D'Annunzio's Japanese samurai secretary and other apparently absurd elements.
My second point is about the acting and language. While it will fly above the heads of anyone not _very_ experienced with Italian, the work behind regional accents, lapses into dialects and the very speech patterns of 100 years ago is exceptional indeed. It is a shame this will mostly go unnoticed, as it actually conveys a fair bit of refinement to an already stellar ensemble performance.
Lastly, the (not present in the books) stabs at current politics are far more varied than expected. Like, everyone can understand a sudden fourth-wall-breaking "Make Italy Great Again!", but you'll probably miss the reference to the catastrophic Berlusconi era (delivered via subtle voice and body acting, or even just a brief costume change), or to the sorry state of the last few recent Italian legislatures.
In short: come for the show, stay for the history lesson... and see it with an Italian resident if you can to enjoy it at its fullest.
First and foremost: the series is based on the first of four books about the life of Mussolini, and while they are routinely described as "novels", they are in fact impressively researched from a historical point. Pretty much every dialogue, speech, document and event are openly sourced and beyond question.
While the staging frequently and blatantly is not realistic in order to make the show more spectacular, pretty much everything happened as you see it - including a D'Annunzio's Japanese samurai secretary and other apparently absurd elements.
My second point is about the acting and language. While it will fly above the heads of anyone not _very_ experienced with Italian, the work behind regional accents, lapses into dialects and the very speech patterns of 100 years ago is exceptional indeed. It is a shame this will mostly go unnoticed, as it actually conveys a fair bit of refinement to an already stellar ensemble performance.
Lastly, the (not present in the books) stabs at current politics are far more varied than expected. Like, everyone can understand a sudden fourth-wall-breaking "Make Italy Great Again!", but you'll probably miss the reference to the catastrophic Berlusconi era (delivered via subtle voice and body acting, or even just a brief costume change), or to the sorry state of the last few recent Italian legislatures.
In short: come for the show, stay for the history lesson... and see it with an Italian resident if you can to enjoy it at its fullest.
Cull the most extremist reviews, and you'll get the actual essence of this quite unique act of art - while undoubtably the true manifestation of the author's concept, it is going to leave you utterly baffled on every level of its existence.
In our group, several people commented on the final heart-rending dedication to the recently departed Coppola's wife that she was probably better off like that, than witnessing how her husband burned everything material and immaterial he had earned in his life for... this.
"Megalopolis is the Holy Motors of the 2020s: just as faultless to its vision as it is baffling to its audience".
(quot. Marcus Aurelius)
In our group, several people commented on the final heart-rending dedication to the recently departed Coppola's wife that she was probably better off like that, than witnessing how her husband burned everything material and immaterial he had earned in his life for... this.
"Megalopolis is the Holy Motors of the 2020s: just as faultless to its vision as it is baffling to its audience".
(quot. Marcus Aurelius)
Oh, for Fleck's sake... do I really have to spell it out for you?
The simple thesis of this movie is that "Arthur Fleck is not the guy you want him to be": he is just a sad case of somewhat justifiable mental illness, and you are fueling his delusion of being Joker. The "folie à deux" is between Arthur and YOU.
Just keeping this simple concept in mind will reshape your appreciation of what is, in every way, a very good movie.
Now, should I go deeper into it for those who cannot manage any thought more complex than "Uh! Crazy guy! Strong guy! Shoot shoot! Heh!" due to the effect of overexposition to Marvel movies and US politics?
Don't mind me if I do.
The movie openly states:
But, more importantly, it spells "Fleck is not Joker, not even if he attempts to".
And, by the way, Lee makes it clear that this is not a sequel to the previous movie, because that was just the cinematic retelling she saw on TV: the real events were (again!) just yet another tragic story of a very mentally distressed loser. Any other Arkham inmate probably has a similar distressing story.
So. If you keep trying to distort this plain reality into your sick power fantasy... you are just as deranged as poor Arthur. Sane people are sorry for you - but you might want to seek therapy.
The simple thesis of this movie is that "Arthur Fleck is not the guy you want him to be": he is just a sad case of somewhat justifiable mental illness, and you are fueling his delusion of being Joker. The "folie à deux" is between Arthur and YOU.
Just keeping this simple concept in mind will reshape your appreciation of what is, in every way, a very good movie.
Now, should I go deeper into it for those who cannot manage any thought more complex than "Uh! Crazy guy! Strong guy! Shoot shoot! Heh!" due to the effect of overexposition to Marvel movies and US politics?
Don't mind me if I do.
The movie openly states:
- This is not a classic toon
- This is not a musical
- This is not a prison revenge movie
- This is not a romcom
- This is not a superhero movie
- Lee is not Harley Quinn
- Fleck is not a mastermind
- Fleck is not evil incarnated
- Fleck is not a pure sociopath
- Fleck is not a revolutionary
- Fleck is not a hero
- Fleck is not just a villain
- Fleck is not just a victim
- Fleck is not a good person
- Fleck is not the worst person
- Fleck is not a psychopathology statistic
- Fleck is not a career tool
- Fleck is not a comedian
- Fleck is not a symbol
- and so on, and so on, and so on
But, more importantly, it spells "Fleck is not Joker, not even if he attempts to".
And, by the way, Lee makes it clear that this is not a sequel to the previous movie, because that was just the cinematic retelling she saw on TV: the real events were (again!) just yet another tragic story of a very mentally distressed loser. Any other Arkham inmate probably has a similar distressing story.
So. If you keep trying to distort this plain reality into your sick power fantasy... you are just as deranged as poor Arthur. Sane people are sorry for you - but you might want to seek therapy.