Marlin Model 80 Scope Mount

"The Class" by Laurent Cantet

Finally a realistic movie about the school. A film about the schools and young people as they really are, because it is a film created by young people, with students picking up their lives and their impressions.

Finally a real movie after all the unsuccessful attempts of filmmakers who have tried to show the school as in their opinion, but really in a class we may not have ever been.

Finally a realistic film and it was better that was not there.

E 'ironic of course my statement, because "Inside the Walls" is the title of the film is a generational split at all optimistic, because optimism is by no means the majority of youth and school today. Boys

empty inside, have nothing to tell (apparently, it is hoped) that they have no intention to understand what is around because they do not know who I am. This is the main problem, do not know who they really are. They want to be like others, want to simply be thinking youth to follow their way of being, their true essence, but the reality is that it does not reign in them the security of knowing what they want, but in reality, chaos reigns, one set of rules and settings obtained by the reality that pretend to have the answer to their way of life, but in reality have nothing to tell.

blame them but blame, most importantly, the world around them and the school has have failed to do had never been able to teach the passion and interest in the world and never having been able to really listen. Grammar, trigonometry, literature, history, science subjects are all useless if you teach kids who have no interest in understanding them.

What is the point to read (in Italy) "The Betrothed" or "Malavoglia to children who have never picked up a book? Schools should teach the love of reading in those three years of middle school and 5 above. Should give birth in their desire to pick up a book. If we succeed in this they will be great to read "The Betrothed" if they want.

What is the teaching dates, events historical characters that kids do not even know who are they and what happens in their city and their nation?

The school must teach the passion for the things the knowledge that life does not serve to anything. I do not give anything vaguely remember a few fragments of the Divine Comedy, I'm interested to have learned that what can be beautiful if I may be interested in literature and take hold of the Divine Comedy when he grew up, or otherwise read millions of books. I do not give anything to know when Napoleon died, but it is important that in me there is the curiosity of wanting to understand more of the past, going to inform me and maybe then to find out when you Napoleon died.

School, and Cantet's film tells it well, can not talk to the boys, he can not get to their same wavelength, but stops at a vision of a school that is just forcing children to adapt but the school is not a training ground for life, is a gym to ourselves, to see and understand ourselves (students) and increasing. You should not teach me that I must follow the rules, stand up when he enters a professor, to be composed, etc. ... learn these things growing up, but I'll never get anywhere if I learn to sit up the mixture, but not to look around and ask me what's right or wrong in the world and what can I do to improve it.

The school today, in both France and Italy, teaches hatred for the culture and not the love of passion and interest. And "The Class" is a perfect example of this. A pessimistic film, because the real, which closes with the sentence of a student "I have not learned anything" that is emblematic of today's youth and society that are shaping the adults around them.

Pokemon Team Simulator

"The Reader" by Stephen Daldry

They came up with a little twist 'the nose, when you hear of a movie in some way related to the Holocaust, concentration camps and the stermineo jew. For two reasons. The first, because now the movie with this theme are many and they start too tired, as if there was anyone in the world to treat human drama. The impression is that you are looking for the easy emotion in the audience, playing the trump card of the Holocaust. The other reason is that, because of the large amount of works, now there is not much to say on the subject, without running the risk of recurrence.

Fortunately, there is still a chance, sometimes, to dust off the subject and also be able to tell something new, going to aim the camera on a little-known faces from that period. He did "The Boy in the Striped Pajamas" by telling us about the Holocaust through the eyes of an innocent child (not original to tell the truth point of view, had done "Jonah Who Lived in the Whale") and now thinks that "The Reader" signed by Stephen Daldry.

"The Reader" is not just a movie related to the concentration camps, it is also a love story and is primarily a story of guilt and sin. The most interesting aspect of the film, in fact, is just that.

Hanna is guilty. It 's a former SS that has killed hundreds of people and it deserves to be condemned. But for her, it's easy to point fingers.

While Michel, within himself, carries the blame for not having done anything to save the woman he loved, by life. And then send those boxes in prison, a search for redemption, an attempt to clear, at least a bit ', the sense of guilt. Because she is so killer, but can not forget that other side of Hanna, that intimate that he has known, the timid woman who was ashamed to admit his illiteracy and loved so much literature. Can not forget it, and then tries to atone for his sins, but without success. Weighs on him the guilt of having caused the death of the woman he loves.

world as the Holocaust drama, combined and contrasted with the intimate and personal drama. The great fault to have contributed to killing of the Jews and the equally great sin of having contributed to the death of a single person. Love can go beyond a sin like that of Hanna? It was right to remain silent and condemn a murderer even though this will destroy much of your life? To condemn a person ends up condemning themselves.

And then there's the love story that occupies the first part of the film. An erotic story that lays the foundation for the conflict that will be created in the protagonist.

Excellent proof of Kate Winslet, able to wear the pain of Hanna with the coolness of a SS. Finnes quite insignificant, but one wonders why it has not been considered for nomination by the Academy (Oscar would still be excessive) David Kross in some dramatic moments like the late Heather Ledger (He, who won the statuette).