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Have you ever thought about how words are appropriate to its meaning?
Spring. Primavera. Printemps. Frühling. There's always an "R" at the beginning, that makes the word more arious, cheerful, bright. An "R", sorrounded by vocals (or just with an "I" close to it), is the letter of joy. And spring, in fact, is the season of life - of rebirth.

The sun knocks at my windows, behind the curtains (I llllove my purple organza curtains), and I feel summer coming. And I want to leave, deeply, desperately, almost breathlessly. Just another exam, just Kundera's lesson (and I'm trembling of anxiety and excitement), then I'll leave. Where, I just don't know; there are some proposals I'm thinkin' about.

Just wanna leave me behind, probably. For a bit. I feel very strange, in this last period. It's the sense of a lack that periodically comes back and makes me feel this way. I'm wondering what will happen when (if?) I'll finally fill up the gap.

And now, let's come back to XVIIIth century's theatrical activities.

I write it here, 'cause there's noone to tell, and also nowhere to keep it into.
It's useless to say I'm sorry  for the life you've never have, but I feel this way. 
I smile if I think the last time you've been here I came to say *hello* and told you my latest news. I was very happy, and you were, too. Such a tender memory.
I don't remember if you (had) believed in God or not. If you did, go and make His cheecks redden as you can.

It the end, old dear fool, I just wanted to say: bye.

I don't (want to) believe it pt. II
Just seen The Painted Veil. And I am really outraged, because of the end.

I started to think that something was wrong when I saw Million Dollar Baby, which had the Oscar, too. I thought: well, not bad at all, but... what is the message? What's the purpose? And was her death due to reach that purpose?
, I answered to me. Yes, - in that case
Then, I saw Cold Mountain (no comment, please ^^), and I asked to me the same. But the answer was very different.

In the ancient tragedy, the hero must die because of the Fate. It was not really (or, better, completely) his fault; Fate had chosen that destiny for him, and it couldn't be different.
In fact, he was guilty, someway. Let's take Edipo, or Antigone: they don't go against system, but situation/fate/bad luck is against them, indeed. They have to pay with suffering, for they want something they couldn't have.  

So, tragedy makes us hurting because shows the impossibility of renouncing.
Edipo can't stand his pain: so, he makes himself blind, for he can't see what he has(n't) got (anymore). He can't live, but in some way he can't even die: he prefers the worst bad, the middle, the oblivion.

But, coming back to start. When we watch a (dramatic) film, now, what do we see? A tragedy? The fallen (the inescapable fallen) of someone? 
No. Most of times, we see a story where a two people (could such) love each other but they are too much superficial or weak or egoist to realize that; and then, when they are become able to overcome their pride, usually one of them dies.
But he/she dies without a reason. Simply nonsense

Romeo and Juliet is a tragedy, in the real way of sense.
She loves him and he loves her completely, without being afraid of anything. Just love. But.
Their families hate each other equally, and totally. The youngs know that their love has not to be, but they simply ignore that. They are brave, they are pure, they are unconscious of everything but them.

In the end, there is a reason for their death. And, most of all, that reason is (or it wants to be showned) bigger than them.

And today? Why Ed Norton's character in The Painted Veil must die? Why? (Ok, Ed Norton characters die - or end bad, anyway - almost always, but it's not the point). *She has to pay for her stupidity*? But PLEASE!

I think drama (read: a nowadays dramatic film) is the empty side of tragedy. 
No reasons, no messages, no morale. The emptiness. The shallow. The void. The nothing, and nothing else. 
Just pain. A dose of pain to full our empty superficial unuseful lives (let me be provoking just a time).
Maybe the plot is not bad, till the end; then, it resolves in a nonsense pang. 

Sometimes I'd want to restore censorship. 
I've already a slogan: no morale, no film.
And I don't want to say I would every film had the same morale (or ethic, or message to send); au contraire, I'd want everyone staying behind a camera had a concept in his mind. An idea that's not (only) expressing something exciting. 

At last, long life to Woody Allen.

The Irony

You are The Wheel of Fortune

Good fortune and happiness but sometimes a species of
intoxication with success

The Wheel of Fortune is all about big things, luck, change, fortune. Almost always good fortune. You are lucky in all things that you do and happy with the things that come to you. Be careful that success does not go to your head however. Sometimes luck can change.

What Tarot Card are You?
Take the Test to Find Out.

Waiting for the second part of The Last King of Scotland to come. Until now, it's not bad, but I think the first part it's too long, and also too much hard to believe. A guy that becomes the personal adviser of a leader (and what a leader, I write in). 
Whatever, changing speech...

Some days ago, I've "discovered" Amos Oz, and I've fallen in love with him.
He seems so equitable, fair-minded; he's able to take a clear look upon his situation, upon Arabians (Palestinians) and Jewish (Israeli), and he talks about compromise, the uncomfortable compromise noone wants to hear about. 
I think that who succeed compromises (without been destroyed by those ones) has the real strength (Strength be with you!, said the Jedi :P - minimizing addicted). After all, middle way is the more difficult to chosen, 'cause it needs strength (exactly) and equilibrium them both.

And when I take a glance to my world (well, try to), even if sight is my foremost sense, sometimes I feel like I'm blind.

I don't believe it
Just finished to write my last story. I'm quite satisfied, even if I think writing (tales, or novels) is not my... well, my talent. I don't know if I have a talent anymore (I simply don't mind - well... trying to, really).

This evening, I tried to watch AnnoZero (I mainly wanted to see Travaglio and listen to his umpteenth taunt). But.
I didn't like how Santoro lead the debate. He was too much coloured (even more than usual, even more than Floris!), and topic has been discussed superficially (without consider that omosexuals are probably tired by these useless political strives on TV). Travaglio was a delusion, too. He was just amiss.

Why can't we be less nitwit?

No time
I'd want two lives. I have no(t enough) time to study, or watch films, or read, or...
Well, to be honest, I prefer leaving, above all. But I have to stay here and study (exams are not very far); this month, at least. And...

... well, I think I'm quite losing time staying here. 
Have no shocking news, so... a bientot.

"You kiss by God..." "Oh, He took many things from me"
Just seen Stardust Memories, and I've just thought: he's done almost everything I'd do (in writing), but he's done it better (in directing).

I love that man, 'cause he's a genius: he can create something new everytime he makes a film, even if the core of the story is always him. Him and all his paranoias (such as art, sex, sex, sex and God. Not necessarily divided). 

Of course, I'me speaking about Woody Allen, which is my favourite director at all.
He is smart, deep and ironic, and watching this last film I thought that I've never seen him smile, though he makes comic films.
And that's the fact: comedians never laugh. They chuckle, or grin, at most, nothing more. I've never seen Allen smile, even during interviews. He's always... not sad, but (worst!) neutral, as a blank canvas, as an Andy Warhol's serial portrait.

It's as if he has transformed into an immortal charachter, givin' up to life. And it's the way I see him, more or less.

Stardust Memories has reminded me about Fellini's Otto 1/2: the story of a filmaker that retraces his life while he's making a new film (in Fellini's story plot and development was different, but no matter). In the end, there also sounds to be the same music (if I'm wrong, correct me). 
And... well, that's the most sad Allen's film I've ever seen. The final is fantastic, but so empty you can feel a bit cold, and shiver, when lights go down and round of applause is dead.

Beyond my admiration, I think Woody Allen is one of the few that deserves to meet God: in fact, maybe only him and Dante have quoted/sweared Him such times, or been such intimate with Him.

Just seen The Manchurian Candidate.
Meryl Streep's performance was just incredible (but she's her - nay, Her), and also Denzel Washington and Liev Schreiber weren't bad at all.
But. I don't want to talk about ther proof.

When the film finished, I thought: maybe America allows these movies 'cause they are such incredible that people forget them all after a thrill. When they go out, the chill of night is more (MORE) persuading and real than the shiver which give those political plots.
And I think yes, in films we (we = common people) cannot believe, most of times, to what we are seeing; we think that's too terrifying, too hard to believe, and we think Americans are crazy, with such mania of grandeur we cannot ever understand (and/or bear). And that's not wrong, but there's more - (there's always something behind :P - I have to be a bit dissacrante - there's not this word in english! o_O - otherwise I'll seem like JHVH, when I use this language).

I have started to think that Censorship is the very Big Brother of our world. 'Cause it's the filter through which we watch things.
And that's not the mirror of our deep fears, but the pantomime of our last fears (and myths), such as sex, or religion. I think we've already come through these taboos. I also think nowadays our taboos should be the Fourse Horsemen of the Apocalypse: War, Famine, Pestilence and Death (not any our single passing, I mean the worldwide death).
But that's not so. And we are more impressioned by a morbid story of sex than from a war movie. Reality doesn't touch us, simply.
So, they can show us reality, and we won't believe that anyway. And that's the fact, indeed. Quite grotesque.

Yesterday night...
... I've seen The Departed.
For the first time, I thought italian subtitle was not awkward, 'cause actually Good and Evil have the lead role in this movie.

At the beginning, I have to say that I enjoyed a lot this movie (enjoyed? Am I sure that's the right verb? May I have to say: I was involved, disturbed, almost shocked... yes, these sound better), and my Literature teacher was right when she said Scorsese chose a fantastic screenplay.

Consequentially, I have to say what I've thought going out the cinema, and that was - as I wrote to a friend of mine - it's a very sick world if we are more shocked by a film on mafia (or crime, in fact), than by news story.
And we are.

At any rate, The Departed makes us (well, me) reflect on themes we are not used to think of.
And I'm not talking 'bout crime or omicide or (wrong) justice or stuff alike; this story makes think 'bout Role which everyman ought to have. 

I think we're not very different from Characters, or Actors (not for nothing Actors are this Age's major artists), so I reckon everyone of us has to choose its role and follow it.
I'm not saying we mustn't change; of course we can (we must). I only say we can't be something we are not. And I've done that a lot of time - still doing?

Any of us has its role, its place, its destiny. In the movie, the (vapid, even almost obtuse) psychiatrist said (the only brilliant cue of that character): If they wouldn't be what they are, you weren't what you are.
She was talkin' with her boyfriend (Matt Damon, a policeman), and she told a great truth, by me; Good and Evil have to be together anyway. We just can choose our side, but we will always have an Opposite, an Enemy, an Antagonist, and it can be everyone: our teacher, our boss, our politician class, God, even our mother.
The only thing I've noticed 'bout differences between Good and Evil is that (usually) Evil means (self)Distruction, and Good means (self)Building
As a matter of fact, Evil dies almost always. And that's because it wants to die, indeed.

In the movie, at some point, Billy tells Costello to leave narcotraffic, 'cause you don't need money anymore.
Costello's answer was: I don't need money since I stole three dollars when I was thirteen.
Or something like that.
Anyway, he doesn't do what he does for money, or even sex; he does that beacuse he wants to, that's all.
Just like the protagonist of Lord of War (great movie, too), which  sacrifices everything he has (first of all his family) to be what he is. 

I believe that in a world which has lost God, we search (and find) the Fate in our DNA. But only few of us dares to follow what they find.