Do Hemorroids Ever Go Away?

"Waltz with Bush" by Ari Folman


(Trailer: http://www.youtube.com/watch?v=-8f7n2VYF04 )

now we understand. The pass that divides the world of film in live and that of the animated film has been exceeded, indeed we can almost say that no longer exists. Now the animation has become a way of telling and not a genre unto itself, differentiated from the rest of the film and to a limited audience of minors. In reality of cartoons for adults have always been there, just think of Ralph Bakshi, Japanese anime to or Miyazaki. But in recent years, want the spread of technologies used, the wall that surrounded the world of animation has collapsed completely. It matters little whether it is hyper-technology of the Disney / Pixar, Zemeckis's motion capture, drawings in black & white pictures of Persepolis or the actors of the films of Richard Linklater, the moral is that now the animation is seen for what should actually be: a technique to give greater rein to creativity and a half to tell stories with the direct drive would be difficult to tell.

"Waltz with Bashir", signed by former Israeli soldier, Ari Folman, not just a film about the massacre of Sabra and Shatila, not a war film Lebanese civilians. It 'a film about the collective memory and the relationship between the horror and our memories. Perhaps most of all, the will of Folman is to say that violence is so inhuman that our brains do not even want to remember. The war is not part of man (or at least should not) so that our mind is repugnant, to remove the hides. "Waltz with Bashir" is a film of suggestions rather than facts, just as our memories that come together, they hide behind other memories, other thoughts. For this reason the choice of the animation fits perfectly, because it was impossible to tell those suggestions so effectively through the "live action". The story unfolds like a documentary, in a very cinematic, with a kind of investigations required to fill gaps in memory Folman. The stories that his ex-comrades make him not be so much to enrich the story of the war from a historical point of view politically, but they tell us themselves. Fragments of life from the mortars, stories of dreams, desires and fears. Personal stories that remind us of the absurdity, the fears and nightmares of every war.

The limit of the film but is likely to be just that. While it is right that Folman, as a former Israeli soldier stories, and can tell, these days only from the standpoint of Israel, this ends up giving the film a little breath, which could appear only as a tribute to his former comrades, a reunion to remember those bad times, but without saying anything more about that particular war or conflict. Even as the final Folman focuses more on the massacre itself, does not add much more to what we already knew. Remains what it is, a personal memory, even a small number of personal memories, which combined together give a limited view on the clashes and massacres, without going into too much.

Beautiful animation, that combines 3D graphics, classic design and flash animation. Animation supported by a punk rock music at times that blends well with the images from the strong contrasts and bright colors. A good experiment might have needed more courage and more comprehensive.

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"Star Wars" George Lucas - (guest directors & Irvin Kershner Richard Marquand)

"Revenge of the Sith (ROTS) has revolutionized Star Wars. From May 19, 2005 and for the first time since men, women and children around the world are passionate about the stories of Luke Skywalker, Han Solo, R2-D2, Darth Vader and so on, the words Star Wars have a very specific . No longer report a single film, as happened in 1977 or even a single trilogy. Today, and for the first time, Star Wars (cinematically speaking) is the name of a single film of 13 hours. That you want it or not. Star Wars (or Star Wars, if you prefer) are the two magic word to indicate an extraordinary epic of one of a kind that has ever had and probably never will be rivals. This is thanks in ROTS and its two predecessors. As I said at the beginning, the third episode of the series has revolutionized (but perhaps we should say expanded) the power of the Old Trilogy (VT) and gave more importance to "The Phantom Menace (TPM) and" Attack of the Clones " (AOTC). From the characters of VT that can now be seen in a new light that surely glows with more power than before.

Palpatine One of these is that surely, among all the protagonists the saga, is that thanks to the narration of the beginning of history has won more. The thickness of character, its importance and especially its wickedness has increased dramatically. In fact, with a vision of Star Wars Trilogy limited only we had made a wrong idea of \u200b\u200bthe Emperor. First, do not considered him the "bad" Star Wars, a role that instead went to Darth Vader, but was simply a figure of the fund (as important). Of him we knew that was the Master of Vader, who was certainly powerful and had the classical ambition to conquer the world, pardon the Galaxy. Now, with a complete view of history, we realize Palpatine is much more wicked, devious and evil than we thought. From "The Phantom Menace" in then we can watch all his moves to reach the chair of the Emperor on which they sit VT. So we discover that Palpatine has the ability to play at will with the feelings and the pain of the people around him, from what looks like a friend, a counselor, a mentor. Just think of what he says in his favor when Anakin Obi-Wan tells him the Council's decision to spy on him. Organize under the guise of Darth Sidious on Naboo invasion (his home planet) for the sole purpose of exploiting the love and attachment to the queen fourteen Padme Amidala evidence against his people to convince Valorum to oust him from office of Supreme Chancellor of course to occupy himself in that chair. Chair that will allow him to control the Senate, the Justice and even the Jedi Council. Blows a galactic war simply to have a "pretext" to create army of clones that will need to conquer the galaxy and eventually destroy the Jedi. In his dual capacity as Chancellor wise and fair, by the good principles of peace on one side and the Sith Lord Darth Sidiuos (his true identity) on the other, is the head of a diabolical plot to achieve total domination, taking advantage the slightest opportunity to exploit both "good" and "bad". Because Palpatine has the characteristic of being a bad ever able to fool even those characters that we believe are its allies (or at least I believe them) but in reality are also pawns in the great game of chess that is the rise to power : as the viceroy of the Trade Federation or Count Dooku. The demonstration that Palpatine is the real villain of the saga is not Darth Vader from the fact that we have this extraordinary ability to manipulate the minds of others ed'intrecciare sordid plots, manages to deceive even Anakin Skywalker, who believed the ' antagonist Star Wars. Having said this would seem to have anything to do with a very smart man and evil but prefers to let others do the dirty work. Wrong! In fact, if all this were not enough Palpatine / Sidious is even a mighty warrior, fighting with swords in both the laser with the powers of the Dark Side of the Force and in "Revenge of the Sith" gives us ample evidence rid easily of the Jedi they came to arrest him (and the same end would also Windu were it not that he needed vivo) and defeating the most powerful Jedi Master, Yoda. Palpatine is a bad short at 360 °, sneaky, mean, evil and powerful. A perfect bad, perhaps the most complete and evil in the history of cinema. A bad that without the new trilogy (NT) risk losing. And now we will look at the Emperor of the episodes V and VI in a different way, conscious of its real capacity and evil.

ROTS As I said at the beginning and throughout the original Star Wars trilogy have the merit of increased depth and some characters of the Trilogy. Their conduct and their actions have taken on a greater understanding and a deeper meaning. One of the characters that has been developed most certainly is Obi-Wan Kenobi. In our VT was charged, along with Yoda, to take the lead with Luke (and ourselves) through the wonders and dangers that the power of the Force has. You on this aspect of "teaching" I want to linger. There is one important reason, which has its roots in the past, which leads to the growth of an interest Kenobi Luke and his Jedi training: the suffering. Obi-Wan Kenobi has suffered. He suffered when Anakin, his student, his best friend, his "brother" was definitely the face of evil. And we know it looking at that beautiful scene in which slips into the lava Vader and Obi-Wan screams all her pain. He has suffered because it was just Anakin, who was to bring balance to the Force to throw instead of darkness. And pain and suffering are the reasons that led him to not reveal the whole truth about Luke fate of his father. It is not a liar, as you might think looking at the VT, but as Yoda in ROTS said after seeing the surveillance recordings, Anakin, the Anakin he knew since he was a frightened boy, died overwhelmed by the Sith Lord Darth Vader. For these reasons, and not just a link to the principles of the Jedi, Kenobi Luke wants to be faithful to the light side of the Force. He does not want to risk losing him too. To fail again.
Another aspect of Obi-Wan was definitely emphasized by NT is his being a Jedi Knight, a powerful Jedi Knight. E 'him to defeat Darth Maul, General Grievous, Jango Fett to put to flight and for a while, not to kill the Chosen (But on the other hand was meant to end up this way). You gave us Obi-Wan lightsaber duels with the most beautiful they had ever seen. It makes me wonder: how could we be a fan of the Jedi or the Sith if we had never seen a fight like that in TPM? The Phantom Menace, Attack of the Clones and Revenge of the Sith show us a new Obi-Wan Kenobi, very human in his weaknesses and his strengths. A man who has had (or if it is found) the most difficult task that could be assigned to a Jedi: trained person who will bring balance to the Force. Obi-Wan is a warrior strong and wise, loyal and brave and there is no doubt that now, when we look in a New Hope and Return of the Jedi Luke speak of the past and Anakin, we can not think of his experiences as a knight, his eyes filled with tears as he crossed those dying Vader (Anakin remains for him anyway) and would understand why not I believe there is still good in Vader, after he saw exterminate children, strangled scream and Padmé on "I hate you." It will also be easier to understand her attitude of resignation almost immediately after the ROTJ Luke says he can not kill his father "Then the Emperor has already won. You were our only hope. "Do you understand what Luke is trying. Why is the same feeling that he tried to Just the thought of tackle and kill Anakin.

When he appeared for the first time in the Empire Strikes Back, speaking in that strange way we would not bet a dime on him. When, in the same episode raised with only the inner strength an X-Wing from the swamp we thought, "Well, maybe a little 'more confidence if it deserves it, this little guy." Anyway, the old trilogy it is hard to think of Yoda as a powerful Jedi Master. A warrior who has seen and participated in the Clone Wars, so powerful (or lucky) to be the only Jedi to not die at the hands of someone. With the NT, here we are shown that even Yoda for what it really is. So whereas before we did not understand at all if there was Yoda in TESB or there was now more aware and amused smile when we see him make fun of Luke on Dagobah. We know what is the real strength of the Master and this makes us even more interested in the story of Luke. Yoda is wise and powerful, there is no doubt about this and has been waiting for this moment (the training of young Skywalker) long. Now, once in 5 / 6 of the film we wonder if there was actually a real reason to hope for Luke. Someone laughed and shouted to the absurdity (to say the blasphemy) AOTC Yoda when he saw it turn on the green and hopped his lightsaber fight Dooku. Think of a fight between two warriors who have more than five feet of difference was not easy and I think that this choice (among other things was the only possible) to give us finally a picture of the great Master Yoda able to use the Force and to show its power only when extremely necessary, by tricking his opponents (as he did with Luke), which is the height or physical strength that count most, only to be demonstrating all its real strength. With the new trilogy we entered deep knowledge not only of Yoda and Obi-Wan, but the whole order of Jedi Knights and their rivals, the Sith. It is undeniable that with a narrow vision of Star Wars last half, you know little or nothing about the Jedi, their role, their prestige and simultaneously on the evil and the danger presented by the Sith.

Just as George Lucas did to Star Wars, I want to talk about Anakin Skywalker from the end. Hands up who does not believe that after watching ROTS, the time of redemption of Anakin had not given a greater importance. The key scene I'm referring to is obviously the murder of Mace Windu. This is where Chancellor Palpatine carries out his plan to bring Anakin to his side. First revealed to Anakin that he was the dark lord of the Sith they were looking for and this creates a lad in the first conflict to behave And report all the Jedi Council, or follow his teachings and save Padme. Surprisingly enough (for us who already know everything) Jedi Anakin chooses to behave. Even threatening Palpatine draws his sword. So what relates to the Master Windu discovered and the latter, with three other Jedi Anakin and taking away to arrest him. This is exactly what he wants to Palpatine, who in fact is quietly sitting in a chair waiting for the Knights. Yet another show of force. During a fast combat is free now with a few quick swipes of the three Jedi and begins to duel with Windu. Meanwhile, Anakin is engaged in the toughest fight I've ever faced. What against himself. A conflict that we are shown through a beautiful scene of great cinema like you have never seen her in time. One that sees in the Council Chamber Skywalker Jedi Padmé and alternate mounting at home, with the sun setting behind the skyscrapers of Coruscant tinged red planet, accompanied by silence and a gentle background of John Williams. It is there, just before jumping on board and reach the speeder that Anakin Palpatine realizes that he can not live without Padmé and needs of the Chancellor and the powers of the Dark Side. Arrived in the hall of the Chancellor, Anakin faces Windu and Palpatine in a duel. On the one hand, the Jedi knight who more than anyone probably symbolizes the insecurity and fear that the Council (of which it is increasingly disappointed) to have felt towards him. And on the other that sworn enemy who has always vowed to fight but they can have with him the key to erase her fears forever. On that occasion killed Windu Anakin becoming overwhelmed by their feelings and follow the dark side. Arriving at the end of the film, we find ourselves watching a scene almost identical. Palpatine, now Emperor, is shot dead with arrows Luke and Darth Vader / Anakin at the scene. What will he do now? It's really quite past the dark side or what little good they were talking about Luke and Padma is really still in him? And here is his redemption. Vader lifts the Emperor and throws him into the abyss. Padmé was right: Anakin was not completely killed by Vader, something he was still alive. Of course all this already felt watching only the VT but now everything has taken on greater weight and redemption, that gesture that brought balance to the Force has become even more important and liberating. Reading some reviews I noticed that someone was a little 'puzzled by the fact that the reason that leads Anakin to become Darth Vader is Love. It really is not love itself, but fear. And here "The Phantom Menace" plays an important role. In fact it is the fear of losing the woman he loves, fear to suffer again, as he had suffered for years before the death of his mother and partly to that of Qui-Gon Jin to bring it down. And do not say that Yoda had not warned. In the first episode it is the Jedi Master to feel much fear in the young and to hold it (and put) a warning on it: "Fear of losing you have (referring to mother)" "What has this to do with anything?" With all beside the point. Fear is the path to the Dark Side. Fear leads to anger, anger, hate, hate leads to suffering. I feel a lot of fear in you. "And it is precisely that fear that will create Yoda was talking about the conflict in Anakin and let him fall into the trap of Palpatine. Because Palpatine also plays with the feelings of his pupil. Exploits this fear to suffer to his advantage by making him believe that the dark side can find a way to rip Padmé's death. In this way he completed his plan to destroy the Jedi and his side have the most powerful warrior exists. The Darth Vader we knew in VT so it was only a fragment of that extraordinary character that is in effect the main character of Star Wars. A depth of character and psychological and did not know that thanks to the first three episodes we fortunately found.

But the story of Anakin and his fall into the abyss, as if an angel dropped, allowed to give even more power and prominence to his son, Luke Skywalker. With great skill, in fact, Lucas throws Luke in the same situations in which he had found his father in the past. In this way we are to ask if Luke will transfer to the dark side as Anakin. Both have suffered painful losses, they left Tatooine to "fly into the sky, are both disabled drivers and both lost a hand during a fight with lightsabers. And cut off that limb will lead us to wonder if movies over half Luke is destined to follow in the footsteps of his father. Parallelism between the two which is also underlined by the similarity of their garments which are both black and with a glove of the same color to cover the mechanical hand. Luke also will sell him and doubt there will be even until the end of the sixth chapter when you push hate Luke and Vader attacks, cutting her arm and scream "No, do not do it!" We will think that Palpatine has won again (because now we know what it is capable of the Emperor). We think that there's nothing left to do. But when Luke goes out and throws away his lightsaber after Vader landed and confirmed his desire to stay away from the dark side will raise a cry of joy from the audience will have just finished enjoying the entire Star Wars.

Finally, George Lucas given to us and especially to future generations from an epic past. The only movie adventure that can be set at the immortal masterpieces of literature of the past such as the Iliad or The Divine Comedy. Telling a tale full of drama, adventure, comedy, fantasy, dreams and love. A story that is not the time to see how to compare two single trilogies together, or 6 episodes to be included in a list of choice, but as what it really is: a single magical film. A one-time extraordinary adventure that leads adults and children in far-off worlds and fantastic to follow the stories of timeless characters. And when the May 19, 2005 the circle was closed, Star Wars has become more powerful than ever.

Pokemon Silver Chansey

"Doubt" by John Patrick Shanley

Theater and Film. A combination of extremely interesting and also extremely dangerous. If handled badly can be a double-edged sword.

Theater and cinema are two arts that have always fought like roads and indeed, the seventh art in his early life had much to assimilate the theater. The first films were in fact structured by so-called tableau, or extended scenes without coming off (today we would call them plans sequence), which resumed the actors performing in front of a backdrop that reproduced the location where the scene took place. A little 'what is happening today in the sit-com television, in which the camera occupies the fourth wall of a room and the players move as if they were on stage before an audience.

actors themselves of those early films were directly from the theater, because so far the only art focuses on the representation.

Today the theater is bound to the movies in several respects. Sometimes because the playwrights choose to go from script to theatrical film scripts, like Harold Pinter or David Mamet. Sometimes because their performances were so successful piece on the boards of a theater that tries to replicate that success on the big screen. Other times it is the style of a director and the story that tells that is close to a theatrical vision of the staging (by fans of Woody Allen for example, by "September" or in general the films of Peter Greenaway).

Obviously theater and cinema have forms and different languages \u200b\u200b(though not totally different) and it is therefore necessary for the writer, director and performance, adapt to different means of communication. The work done by John Patrick Shanley, winner of the Pulitzer Prize for its own theatrical text "Doubt," reveals this change of register, and shows how the author, also the film's director, has been able to work well with the medium film. On more than one occasion, Shanley used the images as a means of narrative, the most characteristic feature of the cinema theater, especially to outline the characters. As during the dinner scene which sees the sisters sitting around the table. The figure of Sister Aloysius is focused by two shots, one that they see to help a sister and when passing the cutlery, only with their eyes, complains of Sister James, do not spit the bit. Silent, but two shots that allow us to know something piùdel character of principal. Or that gust of wind (the doubt) at the end of the dinner, which moves the cloth, symbolizing the doubt, since then has crept into his life. Or as Father Flynn when passing under a window that mimics an eye, the eye of God, the priest as if he were afraid of being watched and could not escape his Lord. It has something to hide? Here

Shanley is adept at setting up the doubt in the viewer, we were almost in front of a thriller to find out who the culprit, and if there really is a culprit. We'll never know, there will always be doubt.

But clearly in "Doubt" remains strong footprint in theater and a scene in particular, this footprint fits brilliantly with the film. The scene is one of the first meeting between Father Flynn, Sister Aloysius and Sister James. Beyond the drama of the two most talented actors living in circulation, the work of Shanley is beautiful and reminds me of some sequences of Orson Welles' film where the story is told well through the movements of the actors and their position on the set.

The scene in question is divided into three parts, each of which are seen passing from hand to hand the scepter of command, symbolized by the chair of the desk. The chair of the Principal.

At first, despite what both the office of Sister Aloysius, to sit at the desk is Father Flynn, which is now to emphasize the hierarchy in the field. The school principal starts talking about the Christmas play, as an excuse to get to introduce the subject dear to her: Father Flynn's relationship with the student Donald Miller. At this time the priest is then to take the reins of the game and he is in fact will decide which songs to sing at the recital.

The second half saw a reversal of roles. The two switch places, while Flynn and closes the shutters, as if to erase any possibility of clarity, Sister Aloysius to sit at the desk and pick up the scepter of command. Now she is embarrassed that his rival, accusing him of having an ambiguous behavior with a student.

Shanley uses masterfully orchestrate the stage for the dramatic level, weaving a dialogue that is nothing but a game of cat and mouse with continuous changes of role. The use of light, mounting and framing of the scene helps to give the right pathos and dramatic level, which increases more and more until the third part, one of reckoning, or rather the apparent clarification. Father Flynn puts forward his version of events, that persuades, but not the Sister James Dean. Now they are all standing, no sitting on the chair, as if this were all at the same level. Sister James tries to ask whether it can serve as a sign of the peacemaker, but now the battle between the two and his superiors began this wonderful scene has kicked off.

The dialogues are full of elements that characterize the lines and emphasize the diversity of characters and the director makes use of the camera, shows how be able to play with the medium of film going beyond what is his theatrical text.

A magnificent film, directed and starred in a sublime way. A film report, by the strong theatrical sense, but it can also break away from its origins, marrying perfectly with the machine cinema.

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"Seven Pounds" by Gabriele Muccino

It's a little 'sad to think that the emblem of Italian cinema abroad and Gabriele Muccino. A lamentable because the director Roman embodies that aspect of our national filmmaking made obvious, cliché, good feelings and easy hooks on the public, but absolutely lacking in originality, courage and art. "The Last Kiss" and "Ricrodati me" tell the usual family dramas, trivial and already seen, with dialogues scontantata and classic elements to make inroads in the viewer, such as scenes from the strong pathos made of screams, tears, and ran at breakneck speed (preferably in the rain) and so on. Not to mention the sordid photographs of generational trent'enni today.

The first film in Hollywood Muccino was a pimp job, safely, and for sure this would have no difficulty in cashing out big bucks at the box office. Good feelings, easy tear, the stubborn struggle of common man to defend his son and his future.

not so much hit that "Seven Pounds", revised translation of the original "Seven Pounds" shakespiriana of memory, is a packaged product specifically to make inroads in the center of mass. Tight close-ups, look perpetually sullen Will Smith, racing at breakneck speed (toh, look, rain), pain, love broken and terminal illnesses.

The narrative structure that keeps the secret until the last question of why the main character to help others, would have the intention of bringing the viewer to follow until the end of the story as if it were a mystery to solve and likely to give that bit of originality to the film. The goal, however, failed miserably because in reality the secret is revealed in mid-film when you see the newspaper article reporting the accident that killed 7 people. So what could also be an element of interest for the film, ends up being poorly managed and even counterproductive. But it is the whole script to appear weak. Apart from the already repeated cliche of drama with the addition of the classic story of impossible love (with a scene in bed where the two protagonists tell their desires and dreams of a future that will never know), add dishes dialogues, Discounted and disgustingly saccharine.

So you save very little of this meat loaf ripping heart. Perhaps the only positive note goes to Rosario Dawson, even though his character and the flatness of the script does not help much to break away from the banality that fills the entire film. Instead, by rejecting Smith in one of the most pandering interpretations of his career, always looking for more suffering and sorrow of the look it has.

and directed by Muccino is confirmed for what it is. Certainly it's given credit for having arrived where all the directors (and others) are hoping to reach Europe one day, and should be given credit for having adapted its director the stylistic features of film stars and stripes. Too bad that all this will end up giving mediocre results and it is no coincidence that in the States "Seven Pounds" has been called the worst film of 2008.

A movie made only by a public that does not tear easily search anything more from a movie.