Monster Fridge For Sell

Matrix Spike Lee does not do miracles against

I went to see Spike Lee's film "Miracle at St. Anna" for two reasons. The first because we are faced with the great director, one of the most interesting of the American scene. The second with the intention of immersing myself in an important moment in our history (World War II and the Resistance) and subject to too many bad revisionism attempts to confuse or delete the values \u200b\u200bof our Republic and democracy.

For the second aspect of concern remain, because the building is not historic, indeed many novels, as evidenced by the author at the beginning of the film, and some disappointment leaves. From this point of view is more valuable than the service provided Minoli in his fine show "We are history", for the exact historical reconstruction and the story of the massacre survivors. The film is based on the novel by James McBride and it wants to keep research "mystical - metaphysical."

As regards the first aspect of the film was pretentious. Lee has implanted a building very complex and full of stuff. As in a puzzle that do not always succeed in matching all the tiles. There is everything and more: the American interracial conflict, the inhumanity of war, the loss of their moral boundaries, the burden of anxiety about the consequences of his actions, chance and fate, the eternal war between good and evil, betrayal, faith and uncertainty toward God

short, a difficult subject complex and that Lee has not handled with ease, causing loss of enamel to its ability to investigate the human mind and the baseness of society, the contradictions of a world of violence that makes his favorite guide, as occurred in other works.

The film opens with one of the main characters watching a film with John Waine old hero in the U.S. that brings freedom and democracy in places where it is brutally suppressed. Spike Lee suggests that it does not want to narrate from the perspective of black and white, good and bad on the one hand all of the other as is the American style. He wants to put more nuances to say that things are more complicated and do not always reach their intended purpose, without denying, however, that the two sides have different value, indeed the one are the opposite of the other.

The narrative fabric has many smudges despite the ploy police deployed at the beginning to give rise to the long flashbacks that gradually brings us back to those terrible events of ' 44 in Tuscany, on the Garfagnana mountains, around the river Serchio, and area of \u200b\u200bSant'Anna di Stazzema, when the Germans during the retreat for the advance of the allies, had formed the line Gothic and decimated the inhabitants of the villages with the excuse of being complicit with the partisans (German terrorists view). A Sant'Anna were killed around 560 civilians, men, women, elderly and children with great ferocity in logic to sow terror and contempt for a people who had an ally turned rival.

The film, even if it lasts two hours and a half, is moving and at times even overly melodramatic aura, mystical ed'incanto coming from the baby (Angel) and the African-American soldiers that they become care, living in a world of childhood magic and religion, you can follow to the end.

Faced with what is happening, the impossibility that reality can lead to redemption, the film offers other emergency exits that are found in the magical world of the child and the marble head, "head of Venus" that the black American saldatone (the giant chocolate as he calls the child, Angelo, which saves lives) you carry around like a magic talisman religious. Two other films I recall it, is definitely a "Life is Beautiful" Benigni, where the horror of the extermination is the enchantment of the eyes of the young protagonist and the other a light of redemption, perhaps also the director, " The night of San Lorenzo, "the film by the Taviani brothers 82, with which the filmmakers tell the same war through the eyes of the girl, the protagonist of the film, the colors of the old fairy tale and epic. In the film, the Taviani brothers, the night of the war promises a day of hope. In Spike Lee, it seems that the accounts are not yet concluded, if it all starts with a murder waiting for years, as a historical revenge. A veteran, now alone with his sad memories to sell stamps and to keep the head of the Venus of the bridge of his dead friend to save the child, in 1983, with a gun given to him by a German captain who saved his life, shoot the partisan traitor who allowed the massacre. Just that child will save him from conviction for murder. He became a rich man, the biggest seller of security systems, in a world where fear reigns now (or creeping of a war imminent?).

Ulrich