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Tutti gli articoli usciti su Framescinema in questi anni

  • Recensione Mission: Impossible – Dead Reckoning – Parte uno

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    Arriva al cinema dopo 5 anni di attesa il nuovo capitolo della saga di Mission: Impossible, afflitto da non pochi problemi produttivi, tra cui le riprese durante il Covid, ma spinto dal successo dello scorso anno di un altro film con protagonista Tom Cruise: Top Gun: Maverick. La pellicola è la prima parte di un dittico diretto da Christopher McQuarrie, alla sua terza regia di un film del franchise. 

    Come già accaduto in alcuni capitoli della saga, il film si apre con la presentazione del villain del film che, con una tempistica a dir poco perfetta, risulta essere una potente Intelligenza Articiale, l’Entità, capace di portare su una nuova scala possibili conflitti mondiali,  proprio nell’anno in cui sono stati rilasciati i primi programmi di Intelligenza Artificiale gratuiti al pubblico. Un’ AI, la cui forza risiede nella sua natura digitale, capace di plasmare le menti delle persone, bombardandole con input che giungono dai numerosi dispositivi che popolano la nostra realtà quotidiana, evidente riferimento agli algoritmi su cui sono costruiti i social e il web in generale che negli ultimi anni hanno creato delle bolle attorno ai singoli individui. Un’arma su cui tutte le potenze mondiali vogliono mettere le proprie mani per assicurare il proprio dominio nel mondo del futuro, devastato dai cambiamenti climatici. Attorno alla ricerca di una chiave capace di controllare questa Entità, il MacGuffin di turno per collegare scene action e cambi di location dal sapore decisamente vintage, viene costruito l’intero film. La scelta di un nemico digitale, porta la pellicola a essere un grande omaggio all’analogico, all’ennesimo spettacolare stunt di Tom Cruise e al ridotto utilizzo della CGI: un omaggio al cinema in quanto prodotto artigianale realizzato da persone che amano profondamente la settima arte. 

    Se da un lato la sceneggiatura segue il pilota automatico senza particolari guizzi, dall’altro Cruise e McQuarrie assicurano l’ennesimo ottimo film della saga, grazie a sequenze d’azione di alto livello e grandi interpretazioni e caratterizzazioni dei personaggi.

    Questi ultimi risultano essere la principale forza del film, anche grazie ai nuovi arrivati. Il personaggio di Hayley Atwell interpreta a tutti gli effetti la co-protagonista del film, con numerose sequenze action in cui ruba addirittura la scena a Tom Cruise, come se quest’ultimo volesse farsi leggermente da parte. Personaggio intraprendente eppure pieno di difetti, interpretato da una brava attrice che – dopo la carriera all’interno dell’MCU – dimostra di essere a suo agio nel mondo dell’action. Dalla parte dei villain troviamo invece Esai Morales a interpretare la pedina umana dell’Entità, con una caratterizzazione al minimo sindacale in attesa di futuri approfondimenti. Ma la vera punta di diamante tra i nuovi innesti è indubbiamente Pom Klementieff che interpreta un personaggio spietato e macchiettistico, pienamente in linea con lo spirito della pellicola, ma che allo stesso tempo risulta essere sperimentale: la sua caratterizzazione è basata esclusivamente sulla sua espressività e su pochissime linee di dialogo, un personaggio da film muto, indubbiamente inusuale in un blockbuster hollywoodiano. 

    Se da un lato i nuovi arrivi sono funzionali alla pellicola, dall’altra non tutti i comprimari dei film precedenti trovano il giusto spazio. In particolare l’Ilsa di Rebecca Ferguson viene limitata da un ridotto minutaggio e con un arco evolutivo meno impattante sulla trama rispetto alle probabili intenzioni del regista, a causa di alcune scene action realizzate in maniera anticlimatica con lei protagonista. Oltre a Ving Rhames, Simon Pegg e Vanessa Kirby, viene ripescato dal primo film della saga anche Henry Czerny, che interpreta il direttore della CIA Eugene Kittridge, che per questo film assume parzialmente il ruolo di  comic relief.

    E infine il grande protagonista della pellicola, Tom Cruise, che dà una svolta al personaggio di Ethan Hunt. Oltre a lasciare maggiore spazio ai comprimari, Ethan in questo film, forse per la prima volta, fallisce veramente e viene sconfitto durante il film. Nella famosa scena del salto nel vuoto con la moto già mostrata nei trailer, Ethan esita, la ritiene un’azione assurda: la stessa persona  che si era attaccata ad un aereo in decollo nei capitoli precedenti. Per la prima volta è disposto a farsi da parte e lasciare più responsabilità agli altri in quanto non più in grado di sostenere tutto il peso da solo. 

    Mai come in questo film non è possibile fidarsi dei propri amici, ognuno dei quali possiede due facce, aspetto sottolineato dai primi piani sugli attori che all’interno dello stesso dialogo sono posizionati alternativamente in due diverse metà dello schermo a seconda della linea di dialogo.

    Se da un lato viene data importanza al lato epico tipico del finale di una saga, dall’altra mai come in questo film si utilizza l’ironia per alleggerire il tono: da un lato ci si prende gioco in primis dell’IMF stessa e dell’assurdità della sua struttura, dall’altro Ethan Hunt sembra più impacciato e goffo del solito. Neanche la grandeur americana e la brama di dominio degli Stati Uniti sono esenti da critiche in questo film, fattore non così comune da trovare in altri blockbuster.

    Rispetto a Mission: Impossible – Fallout, il film soffre sicuramente di un’eccessiva lunghezza e di un ritmo più compassato, oltre ad una certa mancanza di fluidità nella prima parte, dovuta in particolare a un pesante didascalismo nei dialoghi.

    Tuttavia grandi sequenze action, ottimi personaggi e alcune scene costruite con una tensione hitchcockiana, mettono in ombra i classici cliché del genere e gli altri difetti e fanno di Dead Reckoning un ottimo capitolo della saga, in attesa della conclusione in arrivo il prossimo anno.

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    Luca Orusa,
    Caporedattore.

  • Suso Cecchi D’Amico – Scrivere su misura

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    La rassegna “Suso Cecchi D’Amico: Scrivere su Misura”, presentata al Festival del Cinema Ritrovato di Bologna, offre uno sguardo sull’opera della più grande sceneggiatrice del cinema italiano.

    Suso Cecchi D’Amico nasce a Roma nel 1914, col nome di Giovanna Cecchi, in una famiglia di artisti: il padre Emilio Cecchi era uno scrittore; la madre, Leonetta Pieraccini, una pittrice. Frequenta il Lycée Chateaubriand, lavora in alcuni uffici pubblici in gioventù e nel 1938, a 24 anni, sposa Fedele, figlio di Silvio D’Amico, di cui prenderà il cognome.

    Inizia a scrivere sceneggiature, firmandosi inizialmente Susy D’Amico, nella prima metà degli anni ’40. La sua prima sceneggiatura mai giunta sullo schermo si intitola Avatar, tratta da Theophile Gautier, e il primo film effettivamente realizzato con la partecipazione ai testi della nostra è Mio Figlio Professore di Renato Castellani nel 1946. Suso lavorerà ininterrottamente per 60 anni collaborando con tutti più grandi registi italiani tra cui Zampa, Lattuada, Camerini, Pietrangeli, Antonioni, Visconti, Fellini, De Sica.

    Come raccontato dal figlio Masolino, curatore insieme alle sorelle Caterina e Silvia della rassegna dedicata alla madre nell’ambito del Festival del Cinema Ritrovato di Bologna:

    Quella dello sceneggiatore è un’attività servile, nella quale non a caso romanzieri affermati, orgogliosi della qualità della loro pagina, si sono trovati a disagio. Tutti, scrittori e sceneggiatori, mettono nella preparazione del film il loro talento oltre che per inventare storie, per riprodurre la vita, per entrare nella testa delle persone; e i registi piegano questo talento ai loro fini. Ecco, forse, mi sono detto, dov’era la marcia in più di mia madre, sempre tanto richiesta. Lei univa alla sua capacità di capire e conoscere la gente e il mondo esterno, quella di  capire anche il regista che l’aveva chiamata, e quello che costui aveva in testa. Era una psicologa di registi. Sapeva, o presto imparava, cosa voleva Visconti, cosa Blasetti, cosa Zampa. Così penso che il vero omaggio che le si può rivolgere non consista tanto nel cercare la sua mano, mano che lei non esibiva affatto, in questo o in quel film, ma nel passare in rassegna un numero di pellicole diverse tra loro quanto i registi con cui lei lavorò: registi che appunto, possiamo pensare anche grazie al suo aiuto, in quelle occasioni diedero il meglio di sé.

    Il modus operandi dell’epoca prevedeva la collaborazione di numerosi sceneggiatori, tanto che risulta spesso difficile risalire alla genesi di una battuta o di un dialogo, tuttavia il tocco inconfondibile di Suso Cecchi D’Amico la rende la più grande sceneggiatrice della storia del cinema italiano, seconda forse solo a Cesare Zavattini.

    E proprio con Zavattini Suso aveva partecipato nel 1948 alla sceneggiatura di Ladri di Biciclette. Una sceneggiatura nata dalle esperienze dirette, dall’osservazione della strada e dei suoi personaggi poi trascritti dagli sceneggiatori. Tutti coordinati da De Sica con uno Zavattini che cercava di tenere le redini del tutto, con la convinzione che la paternità di un film non potesse essere lasciata in mano al solo regista. Gli sceneggiatori erano numerosissimi, alcuni non avevano quasi messo mano ai dialoghi, ma allora andava così. Forse il contributo di Suso al film fu eccessivamente ridimensionato rispetto a quello di Zavattini, ma non era certo trascurabile.

    Suso inoltre capì come nessun altro le potenzialità di Anna Magnani sullo schermo, soprattutto nella commedia drammatica.

    Ad esempio L’Onorevole Angelina di Luigi Zampa del 1949, ispirato a dei fatti di cronaca, proteste mosse soprattutto da donne nella periferia romana ci mostra la nostra eroina improvvisarsi leader politica per farsi carico delle necessità della sua gente. L’Onorevole Angelina è forse la più politica tra le commedie neorealiste. In bilico tra femminismo e conservatorismo familista, tra pulsioni rivoluzionaria e rinuncia al populismo, vediamo Angelina scatenare guerre, deludere ed essere delusa, passare da popolana a condottiera, per poi crollare e risalire. Non c’è fiducia nel cambiamento, ma c’è speranza. Anche se la speranza porta rinunce. Angelina deve rinunciare alla politica per riuscire a tenere in piedi la sua famiglia, suo marito rinuncia alla sua posizione di pater familias per riconciliarsi con la moglie, perfino il borghese (qui umanissimo) rinuncia ai suoi profitti. Gli individui si sacrificano per il bene della collettività che tuttavia non tarda a mostrarsi rabbiosa e ingrata verso chi si è esposto per essa. Ma come spesso avviene in questo tipo di cinema italiano, tutto si perdona.

    Nella Città L’Inferno di Renato Castellani (1958) invece vede la Magnani interpretare Egle, un’assidua frequentatrice del carcere romano di Rebibbia. Ispirato al romanzo autobiografico Via delle Mantellate di Isa Mari, il film è frutto del grande lavoro di documentazione di Suso Cecchi D’Amico che ha passato molto tempo negli ambienti della piccola criminalità.

    A metà tra il neorealismo e il cinema verità (molte delle comparse sono vere detenute) il film nella sua apparente amarezza è in realtà un acquerello di amicizia e cameratismo femminile.

    Le detenute sono tutte amiche e amorevoli tra loro, non c’è ostilità nemmeno verso suore e sorveglianti o verso chi cerca di approfittarsi dell’altra, la stessa Cecchi D’Amico disse che “i criminali le sembravano tutti simpatici”. Sembra che nessuna di loro voglia davvero andarsene, che la vita di carcere sia migliore delle alternative di miseria e sopraffazione nel mondo esterno. Il carcere, al contrario dell’Italia del dopoguerra, in questo film non sembra una giungla crudele in cui combattere per la sopravvivenza. Difficile crederlo, ma il fascino resta.

    La collaborazione più iconica tra Suso e Anna resterà sicuramente Bellissima, di Luchino Visconti (1951). Il tramonto del neorealismo. La borgata romana volge per la prima volta esplicitamente lo sguardo al cinema. Anna Magnani all’apice della sua carriera interpreta una madre che carica sulle spalle di sua figlia sogni e aspettative da stella del cinema. Sono i sogni della madre che nemmeno lei sapeva di avere. Si accettano inganni, umiliazioni, miseria e a tratti anche la violenza. Anche qui il finale sembra assolvere tutti, come ogni film italiano. Sembra sempre che non ci sia spazio per i cattivi.

    Visconti dirigerà nuovamente la Magnani, nei panni di sé stessa e su sceneggiatura di Suso in Anna, episodio del film collettivo Siamo Donne (1953) in cui vediamo la nostra attrice in un banalissimo litigio con un tassista dagli effetti esilaranti.

    La versatilità di Suso le permette di spaziare dalla desolazione umana nelle opere di Michelangelo Antonioni come I Vinti (1952), fino a storie prettamente napoletane (ambiente a lei familiare) come il film di camorra Processo alla Città (Luigi Zampa, 1952) o il melodrammatico La Contessa Azzurra (Claudio Gora, 1960) Interessante notare in entrambe il ruolo del protagonista Amedeo Nazzari, grande amico di Suso. Se ne La contessa Azzurra vediamo il classico donnaiolo mediterraneo, in Processo alla Città vediamo un uomo solo contrastare una città intera, cercando di bonificare un clima infame senza potersi fidare di nessuno. Suso non apprezzò il casting di Nazzari, figura troppo sicura di sé che poco si prestava ad essere “sconfitto in partenza”.

    Nella fase di levante della sua carriera, nel 1984, dopo aver toccato Boccaccio e Casanova, troviamo quello che è probabilmente il più grande film di donne della storia del cinema italiano. Certo, il regista è un uomo, Mario Monicelli, così come quattro sceneggiatori su cinque, ma il tocco di Suso e un cast corale in cui spiccano Liv Ullman e Catherine Deneuve rendono unico Speriamo Che sia Femmina. Film crepuscolare, amaro: un pezzo di cinema nordico trapiantato in Toscana. L’aristocrazia contadina ormai allo stremo, una banda di donne in cerca di se stesse (senza uscire dalla propria tenuta possibilmente) con un contorno di maschi imbecilli. Film anni Ottanta nato vecchio, contro il nuovo che avanza, ma dal fascino unico, e meraviglioso testamento di una meravigliosa autrice.

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    Nicolò Cretaro,
    Redattore.

  • Far East Film Festival – Nel 2024 cinque capolavori restaurati

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    Arriva dal Far East Film Festival un annuncio che entusiasmerà i cinefili in generale, ma soprattutto i cultori del cinema orientale. Cinque capolavori prodotti dal celebre Chiu Fu-sheng saranno presentati durante la 26ª edizione della manifestazione udinese. 

    La cinquina, introvabile da decenni in Occidente, sarà composta da The Mission di Johnnie To, Vivere! e Lanterne Rosse di Zhang Yimou, Il maestro burattinaio e Città dolente di Hou Hsiao-Hsien.

    Il produttore ha deciso di restaurare le pellicole partendo dai negativi originali e di proporli al festival friulano nato nel 1999 e dedicato al cinema d’Oriente. 

    I titoli scelti sono opere pluripremiate: Leone d’Oro per Città dolente nel 1989, Leone d’Argento per Lanterne rosse nel 1991 e Grand Prix per Vivere! nel 1994.

    La notizia è stata resa ufficiale dallo stesso Chiu Fu-sheng e dagli organizzatori del Far East Sabrina Baracetti e Thomas Bertacche durante una conferenza stampa avvenuta a Taiwan.

    Queste le parole di Baracetti:

    “Ammiriamo da sempre il talento e il lavoro di mister Chiu e ci siamo impegnati a lungo per vedere realizzato questo nuovo sogno. Sì, perché portare a Udine cinque restauri di questo valore, già destinati ad entrare nella storia, è davvero un sogno che si realizza: non c’è un altro modo per dirlo!”.

    I due responsabili dell’evento hanno inoltre annunciato che il Gelso d’Oro alla Carriera 2024 sarà consegnato proprio al produttore taiwanese, figura fondamentale nel cinema asiatico dello scorso secolo.

    Il pubblico dovrà attendere poco per poter finalmente rivedere i cinque capolavori sullo schermo cinematografico!

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    Maria Cagnazzo,
    Redattrice news.

  • SAG-AFTRA – Hollywood: dopo gli sceneggiatori, in sciopero anche gli attori

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    Ore decisamente difficili a Hollywood, dove il SAG-AFTRA (Screen Actors Guild – American Federation of Television and Radio Artists), il massimo sindacato statunitense che rappresenta oltre 160 mila attori dell’industria del cinema e della televisione, ha indetto una conferenza stampa con cui ha ufficialmente annunciato la propria entrata in sciopero contro l’AMPTP (Alliance of Motion Picture and Television Producers), associazione che rappresenta oltre 300 studios cinematografici, televisivi e piattaforme streaming.

    Lo scontro arriva dopo quattro settimane di trattative infruttuose tra le due parti, e va ad aggiungersi allo sciopero attualmente in corso indetto ad inizio maggio degli sceneggiatori, rappresentati a loro volta dal WGA (Writers Guild of America). Questo nuovo strike ha preso ufficialmente il via a mezzanotte di venerdì 14 luglio e sarà portato avanti fino a quando non sarà riconosciuto ai membri dei SAG-AFTRA un contratto equo con l’associazione rappresentante dei produttori americani.

    Il sindacato degli attori non entrava ufficialmente in sciopero dal 1980, mentre uno sciopero in contemporanea con il sindacato degli sceneggiatori si era verificato in precedenza solo una volta nel 1960. Quest’ultimo, in particolare, ebbe un ruolo decisivo e permise agli attori di ottenere una pensione, l’assicurazione sanitaria e dei compensi residual.

    Le motivazioni dello sciopero

    A prendere la parola con toni molto duri durante la conferenza stampa è stata Fran Drescher, amata protagonista della sitcom La tata e oggi presidente della SAG-AFTRA. La popolare attrice ha ribadito i temi al centro del dibattito, cioè i compensi degli attori (andati a ribasso negli ultimi 10 anni) e la richiesta di maggiori garanzie sull’utilizzo dell’intelligenza artificiale. Il SAG-AFTRA chiede sostanzialmente che i contratti degli attori vengano aggiornati a fronte di questi grandi cambiamenti in seno all’industria di Hollywood.

    A titolo esemplificativo, a proposito dell’IA il direttore esecutivo nazionale e capo negoziatore Duncan Crabtree-Ireland ha parlato di una sconcertate proposta dell’AMPTP, secondo cui le comparse dovrebbero vendere la propria “scansione” alle rispettive aziende di rappresentanza in cambio di un giorno di paga, in modo che le produzioni possano poi impiegare le loro immagini per sempre senza dover corrispondere alcun compenso. 

    Da parte sua, l’AMPTP sembra voler mantenere il pugno di ferro i questa situazione, come già sta facendo con lo sciopero degli sceneggiatori: il CEO della Disney Bob Iger ha dichiarato di ritenere che il WGA abbia delle aspettative “non realistiche”, e che lo sciopero stia ostacolando la ripresa del settore nel post-Covid. Un altro dirigente ha rivelato a Deadline che per il momento la strategia dell’AMPTP nei confronti degli sceneggiatori è quella di andare avanti fino a ottobre, quando gli sceneggiatori saranno a corto di soldi. Diverse altre fonti hanno ribadito la dichiarazione e riconosciuto l’approccio freddo come il ghiaccio. Un insider lo ha definito “un male crudele ma necessario”.

    Le conseguenze dello sciopero

    Le conseguenze dello sciopero si faranno sentire già nelle prossime ore. A partire dal 14 luglio, tutte le produzioni cinematografiche e televisive si arresteranno, portando ad una completa paralisi dell’industria di Hollywood, già messa in difficoltà dalla sciopero degli sceneggiatori. Uniche eccezioni saranno show come le soap opera, regolate da contratti differenti, e la seconda stagione di House of the Dragon, le cui riprese sono in corso nel Regno Unito con un cast composto perlopiù da attori britannici affiliati al sindacato locale (anche se non vi è ancora una conferma ufficiale).

    Gli attori inoltre non potranno partecipare alla promozione di film e serie TV, né prendere parte alle convention o ai prossimi festival del cinema, con tutte le conseguenze del caso che rimarranno da monitorare nelle prossime settimane: potenzialmente si svolgerà senza attori anche il prossimo Festival di Venezia, tradizionalmente evento di grande richiamo per le star hollywoodiane. 

    Per tutelarsi dall’eventualità dello sciopero, diversi film in uscita nel resto dell’estate come Tartarughe Ninja: Caos mutante, Gran Turismo, Blue Beetle e Haunted Mansion hanno registrato le interviste promozionali con gli attori alla fine di giugno, mentre le grandi produzioni come Mission: Impossible – Dead Reckoning (Part One), Barbie e Oppenheimer hanno anticipato le première. Singolare specialmente il caso del nuovo film di Christopher Nolan, il quale subito dopo il red carpet londinese con il cast ha dovuto annunciare che le star del film avevano lasciato la prima per “andare a scrivere i loro cartelli per unirsi allo sciopero”.

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    Enrico Borghesio,
    Redattore News

  • Emmy 2023 – Tutte le nomination

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    Mercoledì 12 luglio alle 17:30 italiane sono state annunciate in diretta dall’attrice Yvette Nicole Brown le nomination per gli Emmy 2023, il premio assegnato dalla Television Academy alle migliori serie e miniserie televisive andate in onda nella fascia serale. 

    L’anno scorso avevano trionfato Succession e Ted Lasso con i premi come migliori serie drammatica e comica, e visto il numero di nomination sembrano pronte a replicare anche quest’anno, non fosse per la presenza di numerosi altri contendenti: vi sono infatti molte altre serie targate HBO nella sezione drammatica, come The White Lotus, Succession, The Last of Us e House of the Dragon, e un paio di outsider come The Bear e Abbott Elementary nelle categorie comedy.

    The Last of Us, acclamata serie tv ideata da Craig Mazin e Neil Druckmann e ispirata all’omonimo videogioco di Naughty Dog, vede candidati entrambi i protagonisti, Bella Ramsey e Pedro Pascal, affiancati da numerose guest star, mentre (prevedibilmente) quattro sono gli attori candidati per Succession: Jeremy Strong, Kieran Culkin, Brian Cox e Sarah Snook. 

    Orgoglio in Italia per le nomination a Sabrina Impacciatore e Simona Tabasco, candidate entrambe come attrici non protagoniste in una serie drammatica per la seconda stagione di The White Lotus, serie tra giallo e critica sociale creata da Mike White e interamente girata in Sicilia.

    Guida la classifica delle nomination Succession, con ben 27 candidature, seguita da The White Lotus a quota 23, Ted Lasso con 21, The Marvelous Mrs. Maisel con 14 e Barry con 11.

    A meno di slittamenti dovuti all’eventuale prolungamento dello sciopero degli sceneggiatori (e degli attori), la 75esima cerimonia di premiazione degli Emmy è prevista per il 18 settembre 2023 su Fox.

    EMMY 2023 – TUTTE LE NOMINATION

    Miglior serie drammatica

    Andor

    Better Call Saul

    The Crown

    House of the Dragon

    The Last of Us

    Succession

    The White Lotus

    Yellowjackets

     

    Miglior attore protagonista in una serie drammatica

    Jeff Bridges, The Old Man

    Brian Cox, Succession

    Kieran Culkin, Succession

    Bob Odenkirk, Better Call Saul

    Pedro Pascal, The Last of Us

    Jeremy Strong, Succession

     

    Miglior attrice protagonista in una serie drammatica

    Sharon Horgan, Bad Sisters

    Melanie Lynskey, Yellowjackets

    Elisabeth Moss, The Handmaid’s Tale

    Bella Ramsey, The Last of Us

    Keri Russell, The Diplomat

    Sarah Snook, Succession

     

    Miglior attore non protagonista in una serie drammatica

    1. Murray Abraham, The White Lotus

    Nicholas Braun, Succession

    Michael Imperioli, The White Lotus

    Theo James, The White Lotus

    Matthew Macfadyen, Succession

    Alan Ruck, Succession

    Will Sharpe, The White Lotus

    Alexander Skarsgård, Succession

     

    Miglior attrice non protagonista in una serie drammatica

    1. Smith-Cameron, Succession

    Jennifer Coolidge, The White Lotus

    Elizabeth Debicki, The Crown

    Meghann Fahy, The White Lotus

    Sabrina Impacciatore, The White Lotus

    Aubrey Plaza, The White Lotus

    Rhea Seehorn, Better Call Saul

    Simona Tabasco, The White Lotus

     

    Miglior guest star (attore) in una serie drammatica

    Murray Bartlett, The Last of Us

    James Cromwell, Succession

    Lamar Johnson, The Last of Us

    Arian Moayed, Succession

    Nick Offerman, The Last of Us

    Keivonn Montreal Woodard, The Last of Us

     

    Miglior guest star (attrice) in una serie drammatica

    Hiam Abbass, Succession

    Cherry Jones, Succession

    Melanie Lynskey, The Last of Us

    Storm Reid, The Last of Us

    Anna Torv, The Last of Us

    Harriet Walter, Succession

     

    Miglior sceneggiatura in una serie drammatica

    Beau Willimon, Andor («Una via d’uscita»)

    Jesse Armstrong, Succession («Le nozze di Connor»)

    Gordon Smith, Better Call Saul («Punta e spara»)

    Peter Gould, Better Call Saul («Conviene salutare Saul»)

    Sharon Horgan, Dave Finkel, and Brett Baer, Bad Sisters («La puntura»)

    Craig Mazin, The Last of Us («Molto, molto tempo»)

    Mike White, The White Lotus («Arrivederci»)

     

    Miglior regia in una serie drammatica

    Benjamin Caron, Andor («Lampi di ribellione»)

    Peter Hoar, The Last of Us («Molto, molto tempo»)

    Mark Mylod, Succession («Le nozze di Connor»)

    Andrij Parekh, Succession («L’America decide»)

    Lorene Scafaria, Succession («Living+»)

    Dearbhla Walsh, Bad Sisters («La puntura»)

    Mike White, The White Lotus («Arrivederci»)

     

    Miglior serie comica

    Abbott Elementary

    Barry

    The Bear

    Jury Duty

    La fantastica signora Maisel

    Only Murders in the Building

    Ted Lasso

    Mercoledì

     

    Miglior attore protagonista in una serie comedy

    Bill Hader, Barry

    Jason Segel, Shrinking

    Martin Short, Only Murders in the Building

    Jason Sudeikis, Ted Lasso

    Jeremy Allen White, The Bear

     

    Miglior attrice protagonista in una serie comedy

    Christina Applegate, Amiche per la morte – Dead to Me

    Rachel Brosnahan, La fantastica signora Maisel

    Quinta Brunson, Abbott Elementary

    Natasha Lyonne, Poker Face

    Jenna Ortega, Mercoledì

     

    Miglior attore non protagonista in una serie comedy

    Anthony Carrigan, Barry

    Phil Dunster, Ted Lasso

    Brett Goldstein, Ted Lasso

    James Marsden, Jury Duty

    Ebon Moss-Bachrach, The Bear

    Tyler James Williams, Abbott Elementary

    Henry Winkler, Barry

     

    Miglior attrice non protagonista in una serie comedy

    Alex Borstein, La fantastica signora Maisel

    Ayo Edebiri, The Bear

    Janelle James, Abbott Elementary

    Sheryl Lee Ralph, Abbott Elementary

    Juno Temple, Ted Lasso

    Hannah Waddingham, Ted Lasso

    Jessica Williams, Shrinking

     

    Guest star (attore) in una serie comedy

    Jon Bernthal, The Bear

    Luke Kirby, La fantastica signora Maisel

    Nathan Lane, Only Murders in the Building

    Pedro Pascal, Saturday Night Live

    Oliver Platt, The Bear

    Sam Richardson, Ted Lasso

     

    Guest star (attrice) in una serie comedy

    Becky Ann Baker, Ted Lasso

    Quinta Brunson, Saturday Night Live

    Taraji P. Henson, Abbott Elementary

    Judith Light, Poker Face

    Sarah Niles, Ted Lasso

    Harriet Walter, Ted Lasso

     

    Miglior sceneggiatura in una serie comedy

    Bill Hader, Barry («wow»)

    John Hoffman, Matteo Borghese e Rob Turbovsky, Only Murders in the Building («So chi è stato»)

    Brendan Hunt, Joe Kelly e Jason Sudeikis, Ted Lasso («Addio, vi salutiamo»)

    Christopher Storer, The Bear («Cambio di programma»)

    Mekki Leeper, Jury Duty («Ineffective Assistance»)

    Chris Kelly e Sarah Schneider, The Other Two («Cary & Brooke Go to an AIDS Play»)

     

    Miglior regia in una serie comedy

    Tim Burton, Mercoledì («Mercoledì è un giorno triste»)

    Bill Hader, Barry («wow»)

    Declan Lowney, Ted Lasso («Addio, vi salutiamo»)

    Amy Sherman-Palladino, La fantastica signora Maisel («Quattro minuti»)

    Christopher Storer, L’orso («La recensione»)

    Mary Lou Belli, The Ms. Pat Show («Don’t Touch My Hair»)

     

    Miglior miniserie

    Lo scontro

    Dahmer – Mostro: la storia di Jeffrey Dahmer

    Daisy Jones & The Six

    Fleishman a pezzi

    Obi-Wan Kenobi

     

    Miglior attore protagonista in una miniserie o film

    Taron Egerton, Black BirdKumail Nanjiani, Ecco a voi i Chippendales

    Evan Peters, Dahmer – Mostro: la storia di Jeffrey Dahmer

    Daniel Radcliffe, Weird: The Al Yankovic Story

    Michael Shannon, George & Tammy

    Steven Yeun, Lo scontro

     

    Miglior attrice protagonista in una miniserie o film

    Lizzy Caplan, Fleishman a pezzi

    Jessica Chastain, George & Tammy

    Dominique Fishback, Sciame

    Kathryn Hahn, Le piccole cose della vita

    Riley Keough, Daisy Jones & The Six

    Ali Wong, Lo scontro

     

    Miglior attore non protagonista in una miniserie o film

    Murray Bartlett, Ecco a voi i Chippendales

    Paul Walter Hauser, Black Bird

    Richard Jenkins, Dahmer – Mostro: la storia di Jeffrey Dahmer

    Joseph Lee, Lo scontro

    Ray Liotta, Black Bird

    Young Mazino, Lo scontro

    Jesse Plemons, Love & Death

     

    Miglior attrice non protagonista in una miniserie o film

    Annaleigh Ashford, Ecco a voi i Chippendales

    Maria Bello, Lo scontro

    Claire Danes, Fleishman a pezzi

    Juliette Lewis, Ecco a voi i Chippendales

    Camila Morrone, Daisy Jones & The Six

    Nicey Nash-Betts, Dahmer – Mostro: la storia di Jeffrey Dahmer

    Merritt Wever, Le piccole cose della vita

     

    Miglior sceneggiatura in una miniserie o film

    Lee Sung Jin, Lo scontro («The Birds Don’t Sing, They Screech in Pain»)

    Joel Kim Booster, Fire Island

    Taffy Brodesser-Akner, Fleishman a pezzi («Tempo per me»)

    Patrick Aison e Dan Trachtenberg, Prey

    Janine Nabers e Donald Glover, Sciame («Punta»)

    Eric Appel e «Weird Al» Yankovic, Weird: The Al Yankovic Story

     

    Miglior regia in una miniserie o film

    Paris Barclay, Dahmer – Mostro: la storia di Jeffrey Dahmer («Ridotto al silenzio»)

    Carl Franklin, Dahmer – Mostro: la storia di Jeffrey Dahmer («Episodio uno»)

    Dan Trachtenberg, Prey

    Valerie Faris e Jonathan Dayton, Fleishman a pezzi («Tempo per me»)

    Jake Schreier, Lo scontro («La grande fabbrica»)

    Lee Sung Jin, Lo scontro («Figure di luce»)

     

    Miglior reality competitivo

    The Amazing Race

    RuPaul’s Drag Race

    Survivor

    Top Chef

    The Voice

     

    Miglior conduttore di reality

    Nicole Byer, Nailed It!

    Amy Poehler e Maya Rudolph, Baking It

    Padma Lakshmi, Top Chef

    RuPaul, RuPaul’s Drag Race

    Bobby Berk, Karamo Brown, Tan France, Antoni Porowski e Jonathan Van Ness, Queer Eye

     

    Miglior varietà sketch show

    A Black Lady Sketch Show

    Last Week Tonight With John Oliver

    Saturday Night Live

     

    Miglior varietà talk show

    The Daily Show

    Jimmy Kimmel Live!

    Late Night With Seth Meyers

    The Late Show With Stephen Colbert

    Il problema con Jon Stewart



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  • Torino Film Festival: Giulio Base sarà il nuovo direttore artistico

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    Il 12 luglio un comunicato del Museo Nazionale del Cinema ha annunciato il nuovo direttore artistico del Torino Film Festival. Nel 2024 il pubblico troverà Giulio Base al timone della celebre manifestazione cinematografica nata nel 1982.

    Base verrà presentato ufficialmente alla fine della 41ª edizione del Festival e avverrà formalmente il passaggio di testimone con il suo predecessore Steve Della Casa.

    Queste le parole espresse dagli organizzatori dell’evento in merito alla selezione del regista e produttore:

    “La scelta del Comitato di Gestione è maturata valutando molto positivamente il progetto presentato, oltre alle caratteristiche del candidato che presenta profonda conoscenza del cinema e della sua storia, spiccato gusto sia per il cinema cinephile che per il cinema popolare, ottimi rapporti con l’industria nazionale e internazionale nonché elevate competenze di gestione e di comunicazione.”

    Enzo Ghigo, presidente del Museo Nazionale del Cinema, ha sottolineato che l’idea di porre Base alla guida del Torino Film Festival non è stata influenzata da valutazioni esterne e nasce esclusivamente dalla disamina dei meriti del candidato.

    Giulio Base lavora nel mondo del cinema da più di 40 anni e ha firmato come regista 29 titoli tra lungometraggi e fiction tv, in qualità di attore ha recitato in 45 film ed è uno dei giurati del David di Donatello. Dal 2021 fa parte della Commissione di Classificazione Opere Cinematografiche presso il Ministero della Cultura (Direzione Generale Cinema) e nel 2022 è stato presidente della giuria “Classici” alla Mostra del Cinema di Venezia.

    Non ci resta che aspettare il 2024 per scoprire il programma del Festival concepito dal nuovo direttore artistico.

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  • Ombre da Oriente – Kiki: Consegne a domicilio (1989) di Hayao Miyazaki

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    Torna al cinema in Italia Kiki – Consegne a domicilio (Majo no takkyūbin). È uscito nel 1989 ed è il terzo film di animazione della casa di produzione Studio Ghibli, nonché quello che ne ha avviato il successo, essendo stato il campione di incassi giapponese di quell’anno. Il regista e produttore Hayao Miyazaki è anche autore della sceneggiatura, mentre il soggetto è tratto dall’omonimo romanzo per ragazzi di Eiko Kadono del 1985.

    Kiki è una giovane strega di tredici anni, che vediamo ascoltare con trepidazione le previsioni meteo per decidere se sia il momento buono per partire. Ha infatti l’età per il noviziato, l’anno in cui ogni strega si allontana dalla famiglia per imparare a vivere in modo indipendente. Nonostante le preoccupazioni dei genitori sceglie di partire quella sera stessa, a cavallo di una scopa e accompagnata solo da Jiji, il suo gatto nero. Si ferma in una grande città portuale, dove si trova inizialmente molto spaesata, e incontra Osono, che ha una panetteria e le offre una stanza in cambio del suo aiuto. Dato che il volo è l’unico potere magico che possiede, Kiki decide che la sua attività sarà un servizio di consegne a domicilio. Adattarsi alla sua nuova vita richiederà un grande sforzo per la ragazza, inizialmente ingenua e dal carattere burrascoso, che scoprirà non solo di avere molto da imparare ma anche che può succedere addirittura di perdere – apparentemente – i poteri che ha già. 

    A differenza della maggior parte dei film di Miyazaki, che raccontano molto della cultura giapponese (fra i più celebri ricordiamo Principessa Mononoke del 1997), l’ambientazione in questo caso è occidentale. Koriko è una città immaginaria, disegnata mescolando le caratteristiche delle diverse città europee che Miyazaki in persona ha visitato durante la lavorazione. Le insegne dei negozi assomigliano a quello che potevano essere il Belgio o la Germania del secondo dopoguerra, la torre dell’orologio richiama quella di Stoccolma, ma si vedono anche dei tram e alcune vie dall’aspetto più mediterraneo.

    Nonostante la protagonista sia una strega a tutti gli effetti, gli elementi fantasy sono pochi e integrati nella società moderna. Il fatto che Kiki sia vestita di nero, possa volare solo sulla scopa e sia accompagnata da un gatto nero non ha alcuna connotazione negativa: si percepisce, soprattutto nei dialoghi con gli abitanti della città, che l’esistenza delle streghe è percepita come un fenomeno raro ma tutto sommato normale. La trama è estremamente semplice, a tratti aneddotica, non c’è un vero antagonista né grandi colpi di scena; tuttavia non si ha mai l’impressione di un film noioso grazie alle atmosfere, sempre leggere e accoglienti, e alla caratterizzazione dei personaggi. Nei suoi svariati tentativi di rendersi indipendente, Kiki non incontra mai un mondo ostile, e viene spesso aiutata da altre donne, in particolare Osono, che assume un ruolo materno nei suoi confronti, e Ursula, una strega più grande che ha già compiuto il percorso del noviziato. Quest’ultima, mentre fa amicizia con la protagonista e le racconta la propria storia, appare quasi come una versione di Kiki dal futuro: ha vissuto le stesse difficoltà, ha anche lei un gatto nero che però non parla da umano (così come Jiji da un certo punto non parla più). Inoltre Kiki fa amicizia con un suo coetaneo, Tombo, dando vita ad alcune delle scene più simpatiche e realistiche. 

    Ciò che rende la storia apprezzabile e non banale è il fatto che pur essendo di fatto una fiaba, non ha un finale perfetto: alla fine delle mille peripezie Kiki vola ancora sbattendo contro gli edifici, la consapevolezza che ha acquistato non è un incantesimo che la fa diventare automaticamente adulta. Coerentemente con il realismo di tutto il film, e anche con il tipo di ottimismo concreto e mai illusorio di Miyazaki, Kiki – Consegne a domicilio non promette nulla di fuori dagli schemi ma esalta la bellezza “piccola” delle avventure quotidiane. Vale la pena rivederlo sul grande schermo per godere appieno dei colori e dei disegni, che costituiscono buona parte dell’indiscutibile valore di questa pellicola.

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    Federica Rossi,
    Redattrice.

  • Wonka – Magia e cioccolato nel nuovo trailer con Timothée Chalamet

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    È finalmente approdato online il primo attesissimo trailer, accompagnato dal primo poster, di Wonka, prequel di La fabbrica di cioccolato di Roald Dahl con Timothée Chalamet nei panni del famoso cioccolatiere Willy Wonka. 

    Il trailer ci introduce al mondo di questo ambizioso giovane, che è “una sorta di mago, inventore, e cioccolatiere”, determinato dopo molti viaggi a produrre dolciumi ma ostacolato dal temibile Cartello del Cioccolato. Ad aiutarlo a realizzare il suo sogno una ragazzina, la madre interpretata da Sally Hawkins, e un Umpa Lumpa interpretato da Hugh Grant con la faccia dipinta di arancio.

    TRAILER ORIGINALE

    TRAILER ITALIANO

    Timothée Chalamet, che quest’anno rivedremo ancora nei panni di Paul Atreides in Dune 2 diretto da Denis Villeneuve, è il terzo attore ad interpretare Willy Wonka, dopo i due adattamenti del 1971 con Gene Wilder, di cui questo nuovo film è espressamente un prequel, e quello del 2005 con Johnny Depp diretto da Tim Burton.

    Così recita la sinossi del film: “Scritto e diretto da Paul King, sceneggiatore e regista dei film di Paddington, arriva un mix inebriante di magia e musica, caos ed emozione, il tutto raccontato con cuore e umorismo favolosi. Con Timothée Chalamet nel ruolo del protagonista, questo spettacolo cinematografico irresistibilmente vivido ed originale farà conoscere al pubblico un giovane Willy Wonka pieno di idee e determinato a cambiare il mondo un boccone delizioso alla volta, dimostrando che le cose migliori della vita iniziano con un sogno, e che se si è abbastanza fortunati da incontrare Willy Wonka, tutto è possibile.”

    Diretto da Paul King, già regista di Paddington e Paddington 2, e basato su una sceneggiatura curata da Simon Farnaby e dallo stesso King,

    Oltre a Timothée Chalamet nei panni di Willy Wonka, il cast del film vede tra le sue fila Calah Lane, Keegan-Michael Key, Paterson Joseph, Matt Lucas, Mathew Baynton, Rowan Atkinson, Jim Carter, Hugh Grant, la candidata all’Oscar Sally Hawkins e l’attrice premio Oscar Olivia Colman. Completano il cast Natasha Rothwell, Rich Fulcher, Rakhee Thakrar, Tom Davis e Kobna Holdbrook-Smith.

    Presentato da Warner Bros. Pictures in associazione con Village Roadshow Pictures, e prodotta dalla Heyday Films, il film vede coinvolti come produttori David Heyman (già produttore di Harry Potter), Alexandra Derbyshire e Luke Kelly. Trai i produttori esecutivi figurano invece Michael Siegel, Cate Adams, Rosie Alison e Tim Wellspring.

    Wonka approderà nelle sale italiane il 14 dicembre 2023 e in quelle statunitensi il giorno successivo.

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    Enrico Borghesio,
    Redattore news.

  • Napoleon – Trailer del nuovo film di Ridley Scott con Joaquin Phoenix

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    È stato finalmente rilasciato da poche ore il trailer del nuovo film del leggendario regista Ridley Scott che si intitolerà Napoleon e narrerà le vicende del generale francese, interpretato dal premio Oscar Joaquin Phoenix che torna a collaborare con il regista dopo Il Gladiatore (2000).

    TRAILER IN ITALIANO

    TRAILER IN LINGUA ORIGINALE  

    L’attesissimo trailer si mostra al pubblico con la tipica epicità del regista e con una messa in scena che preannuncia una bellezza unica delle immagini.

    Trama ufficiale:

    Napoleon racconta l’epica ascesa e caduta dell’imperatore francese, Napoleone Bonaparte, ripercorrendo la sua inarrestabile scalata al potere attraverso la burrascosa relazione con il suo unico vero amore, Giuseppina, mostrando le visionarie strategie politiche e militari del grande condottiero in alcune delle scene di battaglia più realistiche e spettacolari mai realizzate.

    Il cast è formato dal già citato Joaquin Phoenix (Joker) a cui si aggiungono Vanessa Kirby (Pieces Of A Woman), Tahar Rahim (The Mauritanian), Youssef Kerkour (House Of Gucci), John Hollingworth (In The Earth), Alfredo Tavares (La Maledizione Della Queen Mary) ed Edouard Philipponnat.

    La regia, come detto precedentemente, è affidata a Ridley Scott, autore di film celebri come Blade Runner, Il Gladiatore e Alien che recentemente è tornato a far parlare di sé con House Of Gucci e The Last Duel.

    La sceneggiatura è scritta da David Scarpa (Ultimatum Alla Terra) che dopo questo progetto tornerà a collaborare con il regista per la sceneggiatura de Il Gladiatore 2.

    Il film è prodotto da Apple Studios e Scott Free Productions e uscirà nelle sale italiane, grazie a Eagle Pictures, a partire dal 23 novembre 2023.

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    Michael Pierdomenico,
    Redattore news.

  • Profondo Rosso – L’ordinario orrore di Dario Argento

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    Uscito per la prima volta nelle sale il 7 marzo 1975, Profondo Rosso torna il 10 luglio 2023 nei cinema italiani in una nuova edizione restaurata in 4K. Il capolavoro di Dario Argento ha saputo rinnovare l’horror italiano inaugurando una nuova stagione per il genere: dagli effetti speciali gore, ai quali collaborò Carlo Rambaldi, alla colonna sonora firmata dal gruppo rock progressivo Goblin, Profondo Rosso ha lasciato un forte segno nell’immaginario collettivo. 

    Per celebrare il nuovo restauro e stimolare la visione del film sul grande schermo, rievochiamo i tratti salienti di Profondo Rosso – senza svelare, naturalmente, l’identità del folle assassino.

    Dal thriller all’horror

    Dario Argento, regista romano classe 1940, esordisce dietro la macchina da presa con L’uccello dalle piume di cristallo (1970), un thriller intricato caratterizzato da una regia innovativa e una sceneggiatura pregna di suspense. Sin dal suo primo film, il cineasta mostra il suo interesse come regista verso i canoni stilistici di Alfred Hitchcock e di Mario Bava – in particolare, per quanto concerne gli elementi orrorifici. Tuttavia, nei suoi primi lungometraggi, Argento è narratore di storie dal taglio thriller e giallo, come risulta ben evidente nei successivi film, ossia Il gatto a nove code (1971) e 4 mosche di velluto grigio (1971).

    Verso il termine delle riprese de Le cinque giornate (1973) – un atipico esperimento storico per il regista romano – Dario Argento inizia a pensare a un nuovo film, ritornando sulla linea dei tre lungometraggi precedentemente realizzati. Con Profondo Rosso, tuttavia, il cineasta non rientra, semplicemente, nei canoni del thriller all’italiana: egli compie un’evoluzione nella sua carriera cinematografica, effettuando una commistione tra il genere thriller – Profondo Rosso è, a tutti gli effetti, un’indagine volta a scoprire l’autore di un efferato omicidio – e l’horror – molteplici sono le scene dal taglio gore ricolme di sangue e violenza. Ed è il genere dell’orrore che andrà caratterizzando il proseguo della sua carriera registica: basti pensare che il film successivo è Suspiria, capolavoro del genere che ha ispirato, nel 2018, il remake firmato da Luca Guadagnino. 

    Diversi sono gli elementi che caratterizzano l’evidente dialogo tra i due generi: in primo luogo, la figura della sensitiva Helga (Macha Méril), all’inizio del film, la quale intuisce la presenza di una “mente perversa” nel pubblico accorso a udire la sua testimonianza come medium; questo elemento, seppur marginale nella trama, contribuisce a infondere quell’aura mistica che sarà successivamente declinata entro la raffigurazione della stregoneria in Suspiria. Al contempo, l’indagine da parte del jazzista Marc Daly (David Hemmings) risulta assolutamente coerente al filone thriller e allo stile registico del primo Argento. Ma accanto all’investigazione del protagonista, condotta insieme alla reporter Gianna Brezzi (Daria Nicolodi), si palesano sullo schermo scene in cui la suspense esplode in scene di violenza orrorifiche: basti pensare alla bambola meccanica dai caratteri demoniaci che assale uno dei personaggi del film. Tutti questi elementi concorrono a palesare quella dinamica di vasi comunicanti tra i due generi, i quali risultano assolutamente in equilibrio nel corso della narrazione.

    Personaggi atipici

    Marc Daly è un pianista jazz – e no, non come il Sebastian di La La Land (Chazelle, 2016) – introverso e schivo: il suo unico amico è Carlo (Gabriele Lavia), un giovane musicista tediato da una severa dipendenza da alcolici. Supertestimone oculare che assiste al brutale omicidio della sensitiva, Marc è intenzionato a risolvere il caso, pur con i limitati mezzi di chi non padroneggia gli strumenti del mestiere. All’estremo opposto, c’è l’intraprendente Gianna Brezzi, una giornalista che accorre sulla scena del delitto grazie ai suoi ignoti informatori. Il contrasto fra i due non produce solo le scene più comiche del film, ma rende evidente il ruolo fondamentale di Gianna nella narrazione: interpretata da una Nicolodi iconica e indimenticabile, la giornalista è un personaggio femminile atipico nel panorama cinematografico italiano dell’epoca; la sua intraprendenza, sia nelle parentesi intime con Marc sia durante l’indagine, fa di lei una vera e propria eroina del film. Il protagonista maschile, interpretato da David Hemmings – già noto nel circuito produttivo italiano grazie al suo esordio artistico in Blow-up (Antonioni, 1966) – è anch’egli atipico: lo spettatore non si trova dinnanzi a un investigatore con distintivo, o a una figura professionale affine, bensì a un pianista inglese che si ritrova casualmente al centro dell’efferato delitto della sensitiva. 

    Il carattere atipico dei protagonisti di Profondo Rosso si estende anche agli altri interpreti principali: Carlo è un alcolizzato che non cela la propria “non eterosessualità”, perennemente turbato da un trauma psicologico non meglio precisato; la madre di Carlo (Clara Calamai) è una ex-attrice cinematografica affetta da demenza che vive circondata dai propri ritratti della sua “epoca d’oro”. Queste caratterizzazioni, insolite per l’epoca, incanalano lo spettatore in una messinscena ambigua, caratterizzata da luci e ombre, in cui la chiave interpretativa sembra a volte prossima, a volte lontanissima. Eppure, è proprio nelle relazioni tra i personaggi atipici di Profondo Rosso che s’insinua l’ordinarietà dell’orrore di Dario Argento non priva di echi provenienti dai romanzi di Stephen King – di cui il regista è da sempre un fervido lettore. 

    Una Torino immaginaria 

    Dario Argento non ha mai nascosto il suo profondo amore per il capoluogo piemontese: teatro di molti dei suoi lungometraggi, Torino rappresenta lo sfondo ideale per le sue storie thriller-horror, soprattutto per l’aura mistica che caratterizza da tempi antichissimi la città. Tuttavia, Profondo Rosso non è ambientato a Torino: Argento gira ivi molte scene – soprattutto esterni – e compone una città immaginaria, un puzzle di ambienti catturati tra Roma e Perugia. Tuttavia, i luoghi più celebri della pellicola sono quelli torinesi: basti pensare alla Piazza C.L.N. in cui discutono Marc e Carlo e dove ha luogo l’efferato omicidio della sensitiva; la tanto lugubre quanto celebre “Villa del bambino urlante”, luogo chiave dell’intera indagine, è sita nel quartiere torinese di Borgo Po. Il Blue Bar, altro luogo iconico di Profondo Rosso, è invece concepito ex-novo da Argento e dallo scenografo Giuseppe Bassan, ed è un chiaro omaggio al dipinto I nottambuli di Edward Hopper del 1942. 

    La città immaginaria del film è dunque frutto di un collage articolato e caratterizzato da una moltitudine di rimandi artistici: l’urbe, in questo senso, è anch’essa un personaggio all’interno della narrazione, soggetto entro cui si incontrano e si scontrano protagonisti e comprimari che agiscono sia nelle zone di luce che di ombra. Questa importanza data agli ambienti sarà ricorrente nella successiva produzione di Dario Argento, e già nel successivo e già citato Suspiria.

    Un breve accenno al ruolo dei Goblin

    Nel 1973 i pubblici di tutto il mondo restavano pietrificati durante la visione del celeberrimo L’esorcista di William Friedkin: il tema principale, Tubular Bells di Mike Oldfield, aveva sconvolto per il suo carattere reiterativo al contempo delicato e inquietante, in quanto associato alla possessione demoniaca della piccola Regan. A seguito dell’ascolto, da parte di Dario Argento, della demo Cherry Five dei Goblin, il regista scelse di ingaggiare l’allora poco noto gruppo romano per la composizione della colonna sonora del film. È innegabile che l’apporto dei Goblin è stato fondamentale per rendere Profondo Rosso il cult che è ad oggi considerato: l’inquietudine del tema principale, unitamente alla nenia infantile che accompagna gli omicidi del killer, è rimasta negli annali della storia del cinema e della musica, al pari di temi musicali realizzati per altrettanto celebri capolavori horror, come il già citato L’esorcista o Halloween (Carpenter, 1978).

    L’ordinario nell’orrore

    Con Profondo Rosso, Dario Argento ha saputo lasciare un – profondo – segno nell’immaginario cinematografico nazionale e internazionale, gettando le basi per un genere nuovo, in cui il thriller italiano risulta essere in sintonia con l’horror allo stato puro. 

    Pur con alcune sbavature – i dialoghi, nella fattispecie, risultano al pubblico d’oggi non del tutto eccellenti – è innegabile che il lungometraggio del cineasta romano risulti essere un capolavoro del suo genere: mai prevedibile, assolutamente spaventoso nonostante lo scorrere dei decenni, Profondo Rosso è di nuovo nelle sale cinematografiche in una nuova versione restaurata. Perché non lasciarsi trasportare, allora, nelle profondità dell’orrore più oscuro?

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    Shannon Magri,
    Redattrice.