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Ano Natsu, Ichiban Shizukana Umi Il Silenzio Sul Mare 1991 Un Film Di Takeshi Kitano

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Ano Natsu, Ichiban Shizukana Umi Il Silenzio Sul Mare 1991 Un Film Di Takeshi Kitano I FUORICAMPO OVVERO GLI IMMORTALI IRREPERIBILI Rassegna Audio-Video 2010 Défilé di Autnno 3 Sabato 23 ootbre 2010, ore 17 Palazzo Cini a San Vio Ano natsu, ichiban shizukana umi Il silenzio sul mare 1991 Un film di Takeshi Kitano 101’ Con Kurôdo Maki Hiroko Oshima Sabu Kawahara Susumu Terajima Toshio Matsui Yasukazu Ishitani Naomi Kubota Tatsuya Sugimoto Tatsuya Sugimoto Tetsu Watanabe Keiko Kagimoto Kengakusha Akiyama Musica di Joe Hisaishi Fotografia di Katsumi Yanagijima Quasi opera prima del grande regista giapponese, è un film nel quale la celebre poetica della sottrazione del regista si presenta al suo stato più puro. È sinora l'unico suo film dal quale sia totalmente bandita la yakuza, ma l'atteggiamento molto definito dei personaggi nei confronti del proprio destino è sempre lo stesso, e il discorso complessivo si fa molto umano ed universale. Il conflitto viene incarnato interamente da una febbrile sfida tra il protagonista Shigeru e il mare, assumendo le forme di una vicenda pienamente diretta e combattuta fra natura, la sensibilità, l’handicap e i vari composti simbolici di queste tre dimensioni. Il rapporto con la morte si fa estremamente intimo ed implicito. La storia d'amore tra due creature sordomute, di tenerezza inusitata e di pari forza, (tema presente in misura minore anche in Boiling point , Sonatine , Hana-bi e Dolls ) riesce a commuovere, intenerire e divertire, nonostante la trama ridotta ad un niente e un soggetto che in mani altrui avrebbe avuto buone probabilità di risultare forse volgarmente patetico. Tutto ciò grazie al pudore e all'essenzialità della messinscena, che privilegia i campi lunghi e i piani-sequenza, contrappuntati da primi piani allestiti sull’'espressività di una maschera No, e da rigidi piani d'insieme frontali che rimandano alle composizioni-fotografia del finale. Memorabili le sequenze del litigio muto e della piegatura degli abiti sbagliati. Il film si inserisce in questa rassegna per la memorabile istituzione ‘musicale’ del silenzio soggettivo prodotto dell’handicap dei protagonisti che crea una condizione di colonna sonora soffocata in un altro silenzio tutto inghiottito nella immensità dell’oceano. Il mare sordomuto, anch’esso, diventa così il vero protagonista del dramma, impone il suo ritmo al film, con le sue ondeggianti lentezze che nell'estetica e poetica di Kitano rappresentano lo sgorgare delle emozioni; domina una mareggiata che porta tutto per poi togliere tutto, una emozione regalata, un amore. Kitano controlla ogni aspetto della sua opera, a partire da un'ottima sceneggiatura che, nonostante la imperiosa ripetitività di alcune scene, tiene alta l'attenzione grazie ad alcune sottotrame e all'umorismo, all’ironia quasi strozzata, tipica del regista nipponico. Evidente omaggio al cinema francese con un montaggio dichiaratamente bressoniano, Il silenzio sul mare gode della delicatezza di un buon haiku e la grande bellezza di un interminabile paesaggio.. .
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