Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
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This film is a hagiography of Giuseppe Tomasi (Bouquet), the prince of
Lampedusa, who is the author of Il gattopardo, one of the most
influential Italian novel of XX century and is adapted on screen by
Visconti, THE LEOPARD (1963, 8/10). Directed by Roberto Andò, a native
from Palermo, stars two French cinema icons Bouquet and Moreau (as the
The main through line of the film is the battling relationship between
Giuseppe and his student Marco (Briguglia) in the 1950s, who is a
talented 20-something writer who is cynic and aloof to the outside
world, and holds an unstated rancour towards Guido (Lupano), Giuseppe's
adopted son and heir, a bright young man with dazzling charisma.
Actually the film starts forty-years later, when Guido (De Francovich)
comes to Rome to visit Marco (Terzieff) after a rather long time,
obviously still troubled by the unspecified old scores, Marco shuns him
in any possible way. Naturally, audience are in waiting to watch what
is the old scores, the narrative insinuates back and forth between two
different time periods although the 1950s takes a major portion of the
story, and most of the time it is comprised of the intellectual
conversation between Giuseppe and Marco, escorted by lilting sonatas,
we also relish in the decaying but all the same resplendent glory of
the residence and the hereditary poise of royal family.
But surprisingly there is no overt clarification of the old scores,
understated and very much diluted alongside the lifelike reenactment of
the past, but it is subtle yet detectable, there is something
unrevealed, a taboo at that time or just too much for a hagiography,
something has been carefully omitted. The cast is well-selected (De
Francovich rings utter verisimilitude to the older Guido in real
person), although nothing too demanding for them, most of time it feels
like script-reading without too much comprehension of what the content
is about, nevertheless, it is a film for the coterie who shares the
knowledge of the backstory and artistically speaking, it is a pleasant
fruition of a delicately assiduous production, what is more admiring,
it show reverence to its protagonists and the history, a shoo-in for
the highbrow niche.
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