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Elmira 2022-01-12 08:01:28
Paola Bonifazio: "The ashes of Gramsci"-Visconti's "Brother Rocco" and Pasolini's "Accattone" the presentation of the "rogue proletariat" in 1960
Original link
(Actually, the original text is in English, but no one seems to read it, so I translated it)
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Halle 2022-03-21 09:02:46
The Changes of People's Spiritual World under Italian Neorealism
In the 1960s, the works of the late Italian neorealism, as the inheritance of the French neorealism wave, also fed back French films. My favorite is Simon going to borrow money. At that moment of "love", it secretly expressed the existence of homosexuality. The fall of Simon, the charismatic man...
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Keegan 2022-03-25 09:01:15
After watching it for an hour, I really didn't feel it. Visconti really doesn't know how many layers there are in this low-level subject, except for male sex.
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Tamia 2022-04-21 09:03:01
The parallel cut of the fight and Nadia's death is the most shocking, and the shot of Nadia facing Simon with her arms outstretched is too good. I was still watching with great interest a family of brothers with different personalities roaming the city. After two hours, the part where Simon humiliated Rocco and Nadia started to be bloody. Father Rocco was a mess, and Simon was a fool. It was a complete mess, and I took Ciro's perspective all the way - as expected, after reading the book, the idea would be a little more "modern civilization". I am very sympathetic to the role of Nadia. In the end, anyone will be offended by such a miserable move.
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Luca Parondi: I was a kid when we moved here. It was Simone, not Vincenzo, who made me understand that in our hometown we were beasts of burden, confined to work in blind obedience. He said nobody should be a slave and we must never neglect our responsibilities.
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Luca Parondi: Rocco's a saint, but what can he do in this world? He won't defend himself. He's so forgiving. But one mustn't always forgive.
