Come dio comanda Directed by Gabriele Salvatores . Italy 2008
With Elio Germano , Filippo Timi, Fabio De Luigi , Angelica Leo , Vasco Mirandola .
With Elio Germano , Filippo Timi, Fabio De Luigi , Angelica Leo , Vasco Mirandola .
In a wasteland of the North-East Italy, including stone quarries, houses sparse e anonimi centri commerciali, vivono un padre e un figlio. Rino Zena, disoccupato e ostinato, educa Cristiano, un adolescente timido e irrequieto che i compagni schivano e le ragazzine umiliano. Soli contro il mondo e contro tutti, hanno un solo amico: Quattro Formaggi, un disgraziato offeso da un incidente con i fili dell'alta tensione e ossessionato da Dio, dal presepio e da una biondissima pornodiva. Uniti da un amore viscerale, Rino e Cristiano tirano avanti un'esistenza orgogliosa che reagisce alla prepotenza del prossimo e all'ingerenza dei servizi sociali. Dentro una notte di pioggia e fango una ragazzina cambierà per sempre i loro destini. Gabriele Salvatores raccoglie per la seconda volta la sfida di Niccolò Ammaniti. Eppure non si tratta veramente di una sfida, piuttosto di un completamento, di uno sviluppo, di una naturale trasposizione dalle parole alle immagini. Il regista milanese si mantiene infatti sostanzialmente fedele al dettato del romanzo omonimo, con qualche minima variante e alcuni interventi chirurgici. La sua operazione consiste nel lasciarsi il tempo di trattare ciò che ha scelto di conservare e nell'evidenziare la natura “cinematografica” del libro.
Così dopo il viaggio verso la coscienza e la disubbidienza (all'ingiustizia) di Io non ho paura , Salvatores gira un('altra) favola nera, affollata di lupi, agnelli e bambine col cappuccio rosso, che procede in direzione contraria e parallela dentro un cono d'ombra e nella risonanza panica del paesaggio. Dopo essere andato a Sud, l'autore si sposta nel lontano e mitizzato Nord, palesandolo e rivelandone i tratti spaventosi. Un luogo di sassi e fango abitato da tre personaggi immersi in un sordo rancore nichilista, che si trascinano giorno dopo giorno tra voglia di integrazione e profonda insicurezza. Come dio comanda descrive le ferite e le miserie di “precari” dell'esistenza sgradevoli e violenti. Una tipologia impossibile da integrare che riesce a trasmettere lo strazio della propria condizione umana per la verità che esprime e che vive di espedienti in una realtà dove tutti sono diventati troppo ricchi. L'impetuoso padre di Filippo Timi porta in sé una ferita that social services have been diagnosed but do not bother to heal. No one protects or supports it in everyday life, no one offers him a chance to get out of danger at every possible normal existence. Zena is an unreliable person, forced to struggle against the implacable logic of a social worker who threatens to take away the child, and only real chance of love, and their basic right to be a family.
Then, the blink of an infinite time will trigger an event beyond their means, something unexpected in the nature of fate. Combining a private tragedy with no sense of community, Salvatores, the question arises of how to keep doing movie from reality and from his stories, without falling in the moral ambiguity of mimesis of reality. Then look at pictures imprints of ethics that respects the complexity of the bodies and staged events with which they are the vehicle. These considerations is produced as a desire to watch the first the lives of three characters, resulting in the tragedy of their everyday while.
's a story within and at the same time collectively, the evil designs available to a population, combined with the interior of the cruel and crazy characters: the effect is very strong and can also lead to misunderstandings of the Italians.
the origin of the new movie directed by Gabriele Salvatores after four years of silence is how God intended the novel by Niccolò Ammaniti, dried, stripped of other characters, condensed on the essential father-son relationship and the crude brutality of some people of Northern Ireland. Filippo Timi is very good in the character of his father, the rookie Alvaro Caleca personifies the good son, Elio Germano, the madman, is poorly secured, sometimes coy (but it's nice that we have made two fake arms and hands to hug, to caress, and has a mania for the porn stars of television). The hard film gives an impression of times in a portrait of the characters Maneschi and para-fascist, but is built and designed very well, with a force great, exciting. From The Print
, December 12, 2008
of Lietta Tornabuoni La Stampa
Così dopo il viaggio verso la coscienza e la disubbidienza (all'ingiustizia) di Io non ho paura , Salvatores gira un('altra) favola nera, affollata di lupi, agnelli e bambine col cappuccio rosso, che procede in direzione contraria e parallela dentro un cono d'ombra e nella risonanza panica del paesaggio. Dopo essere andato a Sud, l'autore si sposta nel lontano e mitizzato Nord, palesandolo e rivelandone i tratti spaventosi. Un luogo di sassi e fango abitato da tre personaggi immersi in un sordo rancore nichilista, che si trascinano giorno dopo giorno tra voglia di integrazione e profonda insicurezza. Come dio comanda descrive le ferite e le miserie di “precari” dell'esistenza sgradevoli e violenti. Una tipologia impossibile da integrare che riesce a trasmettere lo strazio della propria condizione umana per la verità che esprime e che vive di espedienti in una realtà dove tutti sono diventati troppo ricchi. L'impetuoso padre di Filippo Timi porta in sé una ferita that social services have been diagnosed but do not bother to heal. No one protects or supports it in everyday life, no one offers him a chance to get out of danger at every possible normal existence. Zena is an unreliable person, forced to struggle against the implacable logic of a social worker who threatens to take away the child, and only real chance of love, and their basic right to be a family.
Then, the blink of an infinite time will trigger an event beyond their means, something unexpected in the nature of fate. Combining a private tragedy with no sense of community, Salvatores, the question arises of how to keep doing movie from reality and from his stories, without falling in the moral ambiguity of mimesis of reality. Then look at pictures imprints of ethics that respects the complexity of the bodies and staged events with which they are the vehicle. These considerations is produced as a desire to watch the first the lives of three characters, resulting in the tragedy of their everyday while.
astray
furious love between father and son in a province of Northern Italy, wasteland at the foot of the mountains and the woods: factories, industrial buildings, townhouses, shopping centers, huge mills, piles of trees cut and stacked. Floods. Gray sky. Ignorant and brutal ideas wrong, started on what Fabrizio De Andrè called "the wrong way." The father is often unemployed, violent, arrogant, xenophobic, turpiloquente, does not believe in freedom but in the gun, the teenager tries to resemble and be respected by him, they love 'a love of dark and obscure. " They live together, alone. The father tries to educate his son as he can, as you know: the natural urges for revenge and opportunism, slaps to the controls. The son she adores, venerates him, imitates him. It 'a former friend of theirs worker shot in the head in an accident and became half mad (Elio Germano). A long terrible night, filled with rain and blood, everything will change for all three.'s a story within and at the same time collectively, the evil designs available to a population, combined with the interior of the cruel and crazy characters: the effect is very strong and can also lead to misunderstandings of the Italians.
the origin of the new movie directed by Gabriele Salvatores after four years of silence is how God intended the novel by Niccolò Ammaniti, dried, stripped of other characters, condensed on the essential father-son relationship and the crude brutality of some people of Northern Ireland. Filippo Timi is very good in the character of his father, the rookie Alvaro Caleca personifies the good son, Elio Germano, the madman, is poorly secured, sometimes coy (but it's nice that we have made two fake arms and hands to hug, to caress, and has a mania for the porn stars of television). The hard film gives an impression of times in a portrait of the characters Maneschi and para-fascist, but is built and designed very well, with a force great, exciting. From The Print
, December 12, 2008
of Lietta Tornabuoni La Stampa
Review Modern Times
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