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Cineforum 519 IL CINEMA E IL SUO DOPPIO IL CINEMA

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Cineforum 519 IL CINEMA E IL SUO DOPPIO IL CINEMA Copertina_519.ai 1 03/12/12 14.34 cineforum 519 IL CINEMA E IL SUO DOPPIO IL CINEMA · SERGIO LEONE REDUX FOCUS · 4 SCHEDE · UN SAPORE DI RUGGINE E OSSA SPECIALE Cineforum Speciale Un sapore di ruggine e ossa Via Pignolo, 123 24121 Bergamo Haneke, Soldini, Virzì, Friedkin TRA I FILM DEL PROSSIMO NUMERO Anno 52 - N. 9 novembre 2012 Spedizione in abbonamento postale Focus Sergio Leone Redux OLTRE LE COLLINE DL 353/2003 (conv.in L.27/2/2004 n. 46) art. 1, comma 1 - DCB Giuseppe Bertolucci IO E TE cineforum 519 Poste Italiane S.p.a. € 8,00 Il cinema e il suo doppio Le anatomie dell’invisibile Lo trovi su cinebuy.com, Amazon Kindle Store iBookstore, Ultimabooks.it, ibs.it bol.it, lafeltrinelli.it, mediaworld.it libreriauniversitaria.it e in molti altri store In vendita a € 6,90 Disponibile in pdf, epub, mobi La rubrica di Sergio Arecco Il cinema e il suo doppio si è qualificata negli ultimi cinque anni come uno degli appuntamenti periodici più significativi di «Cineforum». E’ stato quasi naturale pensare, a un certo punto, di proporre una selezione di quei saggi in una veste diversa, accorpandoli in una successione ragionata, selezionati da Sergio Arecco medesimo. Il risultato mette in rilievo un pensiero di cinema e un’idea di critica, che nel lavoro del loro autore si esplicitano di maniera trasparente e coerente, in un continuum che va al di là dell’autonomia e della compiutezza in sé di ogni singolo saggio. [email protected] || www.cineforum.it || Tel. +39 035 361361 519_01-03_Editoriale.qxd 3-12-2012 12:01 Pagina 1 GRUPPI DI FAMIGLIA Adriano Piccardi Una coppia che cerca di generare un figlio. Un vedovo Haneke è un cinema che divide. Lo sappiamo. Succede che di figli ne ha due, entrambi fuori controllo, e viene visi- anche tra i nostri collaboratori. Se la recensione pubblica- tato (quasi) ogni sera dalla moglie defunta (che fuori con- ta su questo numero parla del film con toni di adesione trollo lo è per definizione). Due anziani coniugi: lei irrever- favorevole, è ben vero che vi si possono ritrovare note e sibilmente malata, e lui che devotamente se ne prende sottolineature facilmente ribaltabili da chi ha vissuto il cura lungo un cammino senza speranza. Un figlio che film con sentimenti opposti. Questa volta è la responsabi- vuole fare uccidere la madre per ricavarne i soldi dell’assi- lità dello spettatore/lettore a essere sollecitata… curazione sulla vita e che, per ottenere questo, è pronto a Virzì e Soldini, infine. Di ritorno in Italia, ci troviamo “impegnare”la sorella e a estorcere la complicità del padre alle prese con una famiglia “che s’ha da fare”, da comple- ebete e della sua nuova compagna decisamente senza tare con l’aggiunta del figlio che è simulacro della fiducia scrupoli. Un’altra coppia che, al di là di ogni ragionevole nel tempo che verrà; e di una da ricomporre, grazie a un ri- aspettativa, riesce a trovare la strada per affermare il pri- matrimonio con un’altra donna, alla quale – così sembra, mato del sentimento soltanto dopo aver provato fino a che quando finalmente il fatto si compie – la moglie defunta punto la mera fisicità può unire due esseri “interrotti” non vedeva l’ora di cedere il passo. Tutti i santi giorni e Il molto più di quanto non potessero prevedere. comandante e la cicogna sono a tutti gli effetti due film La famiglia, in alcune sue manifestazioni anche non sulla speranza che non vuole morire. Il primo dei due si necessariamente ortodosse, è protagonista assoluta di que- concentra sulla storia di coppia, affidando il suo messag- sto numero di «Cineforum». Friedkin non esita in Killer gio di irriducibile fiducia agli individui nella loro peculiare Joe a pescare nella deriva morale e sociale in cui si muo- singolarità, alla loro forza interiore che esclusivamente può vono i suoi personaggi, arrivando così a darci il quadro impedirne la sconfitta, davanti alla brutalità dei tempi. Il ipnotico e allarmante di un gorgo verso il quale stiamo secondo affida le sue considerazioni a una cornice che ci forse scivolando tutti. Audiard non ci dice poi cose tanto rimanda alla Storia (alle «morte stagioni, e la presente…»), diverse, anche se in apparenza ci mostra una vicenda “che e nella quale magia e ironia si sposano riverberandosi poi finisce bene”: quale futuro ci aspetta se l’unica salvezza ce sui toni della messinscena. Due film perfettamente calzan- la può garantire l’esercizio della fisicità sempre estrema, la ti alla nostra realtà nazionale, nella quale vorremmo tutti fede cieca nel corpo e nelle sue pavloviane reazioni? Sia riuscire a leggere in filigrana quei segni di una gentile resi- Friedkin che Audiard si muovono in un orizzonte non stenza al disastro, che ci permettano di sollevare un po’ lo estraneo a quello di un darwinismo sociale, sia pure solo sguardo dalle macerie in mezzo alle quali camminiamo. suggerito, che ci affascina esplorare grazie alle capacità Consapevoli che volare è un’altra cosa. narrative dei due cineasti e alla loro messinscena che non si dimentica di chiamare in causa senza riserve le nostre responsabilità di spettatori. Su quale futuro aspettarsi cia- Meglio tardi che mai. Precisiamo che al saggio di scuno di noi, una risposta prova a darla Haneke, mostran- Dalila Missero, Le citazioni pittoriche in Martha di doci un’ipotesi di viale del tramonto di coppia, affidando- Rainer W. Fassbinder, da noi pubblicato sul n. 517, è stato attribuito il Premio Ferrero 2011. Onore al meri- si, per quanto ne riguarda la verisimiglianza, all’arte inter- to e le nostre congratulazioni all’autrice. pretativa di due mostri sacri riconosciuti. 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