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Dennis Nilsen, Squartatore Per Solitudine

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Dennis Nilsen, Squartatore Per Solitudine .jsA-t^aaa* i..^vaic«aa'E3K8ssaa'ici*3Hi CULI UNA E SPETTACOLI Il regista presenta in concorso «Goodfellas » XLVN MOSTRA Il programma INTERNAZIONALE OGCI VENEZIA XLVII con Robert De Niro. «Storia d'un adolescente Sala Grande del Palazzo del Cinema ore 17 15-LA LUNA ENELESPEJO (La luna nello specchio) D'ARIE di Silvio Calozzl (Cile) che sogna di diventare padrino » Oie20 00-ITARASSACHI di F Ranieri Martinetti R Monellltl aNEMATOGRAFKA eF Ottaviano (Italia fuori concorso) ore 22 45 - GOODFELLAS (Ouel bravi ragazzi» Dall'Inghilterra «La fredda luce del giorno » di Manin Scorsese (Usa) Arena ore 20 30 - LA LUNA EN EL ESPEJO COQOFELLAS SETTIMANA DELLA CRITICA Sala Grande del Palazzo del Cinema ore 15 00 - COLO LICHT OF DAV(La fredda luce del giorno) di Fhlona Louise (Gran Bretagna) Sala Volpi RETROSPETTIVA ore 9 00 - LETCIKI, 1*35 (Aviatori) di Julij Raizman (Urss) OMAGGI E DOCUMENTI Sala Grande del Palazzo del Cinema ore 11 30-THE RAINBOW THIEF (Il ladro di arcobaleni) di Alejandro Jodorowsky (Gran Brolaona) DOMANI VENEZIA XLVII Sala Grande del Palazzo del Cinema ore 17 15 - KAWASHIMA YOSHIKO di Fong Lino Chino (Hong Kong fuori concorso) ore 20 00 - SPIELER (Giocatori) di Dominik Graf (Germania) ore 22 45 - ROSENCRANTZ AND QUILOESTERN ARE DEAD (Rosencrantz e Gulldestern sono morti) di Tom Stoppard (Gran Bretagna) Arena Un'immagine ore 20 30 - ROSENCRANTZ AND GUILDESTERN ARE DEAD di «Goodtellas» SPIELER che sarà SETTIMANA DELLA CRITICA presentato Sala Grande del Palazzo del Cinema oggi ore 15 00 - HE'S STILLTHERE (Lui e ancora II) Sotto, dlHalldanO HusaletUsa) il regista HETROSPETTIVA Martin Sala Volpi Scorsesecon ore9 00 - MOJA RODINA, 1933 (La mia parola) di losltctiejflce AleksandrZarehl (Urss) Giorgio ore 20 30-MOJA RODINA Armani OMAOOIE DOCUMENTI A sinistra, Sala Grande del Palazzo del cinema «Martha ed io» ora 11 30 - V07 LA PEOR DE TODAS (lo? La peggiore di tutte) diJIrlWeiss di Maria Luisa Bomberò (Argentina) Taccuino veneziano I bravi ragazzi di Scorsese Il tempo wm VENEZIA. Martin Scorsese, Due anni dopo L'ultima tentazione di nella hall dell'Excelsior circondato co­ de di Manhattan, per la preci­ immobile lo vedi e vorresti mangiartelo. Cristo, Martin Scorsese torna alla Mostra me sempre dalle guardie del corpo. Bay sione nel Grecwich Village. È piccoletto, parla come una e era un altro «giro» d'italiani mitragliatrice ed è un grande con Goodfellas, stona di mafiosi italoa- Lotta voleva avvicinarsi per salutarmi, molto più piccolo e più legato degli «eroi» Jiri Weiss e «Martha» regista Ogni volta che viene a mericani a New York. Con lui il fedelissi­ ma una guardia non lo nconobbe e lo ad ambienu artistici e intellet­ Venezia fa scoppiare un casi­ mo Robert De Niro (sei film assieme), spinse via in malo modo. Mi piacque la tuali Due «isole» italiane che dilvory no e ti vien voglia di maledirlo. non erano legate da alcun rap­ tra Praga e Berlino poi - appunto • lo vedi e gli ma il vero protagonista è il giovane Bay sua faccia in quel frangente La sera porto A Elisabeth Street, la via perdoni tutto Troppo simpati­ botta, che Scorsese giura di aver scelto stessa Io chiamai e gli offnt il ruolo del dove abitavo, eravamo tutu si­ co propno qui a Venezia, due anni fa «Ero piccolo mafioso Henry Hill...». ciliani e la strada era governata UMBERTO CURI in odore di nazismo Manin Scorsese, uno del più come un paesino della Sicilia. importanti registi americani Chiunque arrivasse da fuori el celebre dibattito, svoltosi a Parigi ai primi del DA UNO DEI NOSTRI INVIATI degli ultimi vent'anni, era stato DA UNO DEI NOSTRI INVIATI era sospetto Fino a 18-19 anni Novecento fra Albert Einstein e Henry Bergson, al filosofo che contrapponeva alla illusoiietà del SAURO SORELLI la -bomba polemica» di Vene­ ALBERTO CRESPI mi era proibito andare nel zia 88 con L'ultima tentazione West Side, proibito andare a tempo fisico la realtà del tempo della coscienza Central Park, proibito superare lo scienziato avrebbe esclamato «Dio lo perdo­ M VENEZIA. Ora, proprio in dini tedeschi della stessa Mar­ di Cristo I cronisti che erano al 1 Udo quell'anno ricordano co­ la Quattordicesima, lo, II, ho vi­ ni » E noto, inoltre, che alcuni anni dopo lo vista dell'imminente riunisca- tha. Chi e totalmente, intima­ me un incubo I comunicati, gli sto all'opera una violenza di stesso Einstein avrebbe finito per condividere I assunto del zione tedesca, il Mm del noto mente solidale con Fuchs e anatemi e gli inseguimenti al strada tutto sommato «tratte­ suo interlocutore. D altra parte, già molti secoli pnma la di­ cineasta cecoslovacco Jiri con la bonaria Martha e il ni­ regista, costretto ogni notte a nuta», perché tutto era sotto stinzione fra due diverse accezioni del tempo era stata chia­ Weiss, Martha e lo, comparso pote Emi), che ha modo di cambiare albergo per sfuggire controllo, solo in seguito il rita in termini molto precisi peri Greci altro fi infatti il tempo ieri in concorso alla 47» Mostra completare la sua problemati­ sia ai cattolici integralisti, sia quartiere é stato pian piano come kronos, come successione, come «numero» e «misura» veneziana, acquista un parti- ca -educazione sentimentale» alle iene del quarto potere conquistato dai portoncani. del movimento (secondo la definizione aristotelica), altro colare valore storico e politico, Questo e il decorai (ondo di Qucst anno II caos è più circo­ Ecco, Il film racconta la storia è, invece, il tempo di cui parlavano Eraclito e Platone, Vaion, giusto per II latto che la stessa una tragedia che sta ormai scritto, dovuto a uno sposta­ di un ragazzo che vede I ma­ la durata Nel primo caso, ci troviamo In presenza di un tem­ opera evoca l'epoca tragica montando inesorabile Nel '38, mento degli appuntamenti per fiosi da lontano e sogna d'es­ po che scorre uniformemente scandendo la processualità del revanscismo nazista trion­ dal Patto di Monaco in avanti, le interviste ma II risultato, In­ sere uno di loro Una storia a del divenire, lungo una direzione irreversibile, nel secondo torno alle 17 di ieri è stata una suo modo romantica su una caso, abbiamo a che fare con il costante riproporsi del sem­ fante nei Sudeti e si situa nello la situazione intemazionale pre identico a se stesso, in una mobilità solo apparente di scorcio preciso in cui prolifera­ precipita I nazisti, ormai sca­ comitiva di cronisti In trasu- New York che non esiste più manza da un corridoio all'altro lo oggi abito sulla Cinquanta- persone ed avvenimenti rono rovinosamente pretesti e tenati, hanno II sopravvento settesima e non esco mai di provocazioni destinati di It a dovunque In Cecoslovacchia, dell Excelsior, bloccato dal ca­ Non vi è dubbio che è quest'ultima dimensione, l'accezio­ rabinieri e dalle guardie del casa La violenza è legata alla poco a innescare la seconda già sotto il tallone tedesco, di­ droga e quindi é paranoica, in­ ne eomea del tempo, quella che domina nel film di Ivory. corpo, scortati dalle addette convincente conferma della possibilità offerta dal cinema di guerra mondiale In quegli vampa la persecuzione contro stampa della Wamcr. controllata. Quando c'è di stessi anni, Jiri Weiss era un gli ebrei 11 dottor Ernst Fuchs, mezzo il crack chiunque può accelerare o ritardare il tempo secondo le intenzioni e le fi­ Alla fine la mitica stanza nalità dell'autore In questo caso, per poter coerentemente giovanotto che già si occupava nonostante le sue benemeren­ 126, la stessa dove Scorsese ci uccidere chiunque». orofesslonalmente di cinema ze sociali e morali, è presto fat­ rappresentare il tema di tondo del film, cioè I immodificabi- aveva accolti due anni fa, di­ In fondo, é Scorsese stesso a lità della middle class statunitense e del suo monolitico siste­ In dissidio, peraltro, con i suoi to segno di pesanti intimida­ venta accessibile E, sorpresa, dirlo, i mafiosi di Goodfellas ma di valori Ivory ha in una certa misura congelato i tempi genitori viveva da tempo con zioni Finché esasperato è co­ ad accoglierci non ci sono solo sono un pò come certi eroi della narrazione I molteplici avvenimenti descritti non si di­ uno zio provvido e saggio che, stretto a lasciare la sua casa, il il regista e lo sceneggiatore Ni­ violenti del West «Nel vecchio spongono lungo una direttrice di sviluppo diacronico ma in spoetizzato da tar.te cose, ave­ suo studio. Sempre premuroso cholas Pileggi (autore del libro West c'erano delinquentelli di un certo modo coesistono, evidenziando I immutabilità di va sposato la propria domesti­ per la sorte della sua amata cui si ispira il film Goodfellas), strada come Billy the Kid che un mondo capace di attraversare fasi diverse restando sem­ ca Martha suggerisce a quest'ulti­ anche Robert De Nir 5, uno dei nella fantasia popolare diven­ pre Identico a se slesso ma, tedesca e quindi non sog­ divi più ombrosi del mondo, tavano eroi Ma la mia non è la Nasce, dunque, da un latto seduto II sul divano a due metri L'unico riferimento esterno alle vicende descritte, é costi­ concretamente autobiografico getta ad alcuna persecuzione, stona di Billy the Kid Vi diro tuito dell'avvicendarsi delle stagioni, e dunque da una sorta da noi. vestito di un giubbotto una cosa da ragazzi, vivendo la vicenda che da corpo al film di divorziare temporaneamen­ di daino, faccia da uomo qua­ di ciclico etemo ritomo, piuttosto che da una dinamica li­ Martha e io, interpretato con te La povera donna, pero, dà per strada, abbiamo imparato neare ed irreversibile. Lo scarto fra due opposte espenenze lunque La presenza di De Niro presto che i più duri non sono l'abituale.
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