quarta-feira, 1 de abril de 2009

Download "O Grito" - Michelangelo Antonioni




O GRITO (1957) - Poético e comovente, um triunfo de Antonioni!
HOMENAGEM A MICHELANGELO ANTONIONI, O CINEASTA DA INCOMUNICABILIDADE E DO DESENCONTRO, QUE MORREU NESTE ANO EM 30 DE JULHO DE 2007...

O GRITO (Il Grido) Itália, 1957 – Direção de Michelangelo Antonioni - Pela primeira vez no Brasil, O GRITO é a obra-prima do mestre Antonioni que antecedeu a célebre "trilogia da incomunicabilidade". Nesta Edição de Colecionador, o filme é apresentado em versão restaurada e remasterizada. Após sofrer desilusão amorosa com uma mulher casada, com quem manteve um longo caso e teve uma filha, o operário Aldo inicia uma jornada existencial pelas estradas da Itália, em busca de respostas. Vagando de cidade a cidade, envolve-se com outras mulheres, à procura de uma saída para o vazio de sua vida. Denso, profundo e extremamente triste e pessimista, este filme dilacerante de Antonioni só chegaria ao Brasil em 1965, após o reconhecimento crítico (e mesmo por parte de público), pela trilogia A AVENTURA (L'Avventura, 1959); A NOITE (La Notte, 1960) e O ECLIPSE (L'Eclipse, 1961).
Rodado em preto e branco, com fotografia de Gianni Di Venanzo, O GRITO captou, como raros filmes italianos, toda a aridez de uma região pobre da Itália. A música de Giovanni Fusco é igualmente densa e profunda, compondo o emolduramento perfeito a este filme rodado entre o inverno de 1956/57 e que teve suas premiéres em Locarno (14/7/57), Roma (29/11/57) e Paris (3/12/58), obtendo o Grande Prêmio da Crítica no Festival de Locarno (1957) e o prêmio da jovem crítica em Colônia (1960). Poético e comovente, é um dos grandes triunfos de Michelangelo Antonioni.

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4 comentários:

  1. Ow cara, a parte 02 não ta funcionando mais =(

    Tem como arrumar aew?

    Se der tbm lança um email pra min pra me avisar (razorback@hotmail.co.jp)

    Vlw aew!

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  2. Aew, fim o download da parte dois sem problemas, tenta de novo, pode ser um problema temporário do mediafire. blz?

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  3. Este comentário foi removido pelo autor.

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  4. ”Il Grido/The Cry” is the director’s examination of the traumatic encounter of an Italian industrial worker, a decent person and gentle soul with a fiasco of his marital relationship which destroys his whole life. No, there were no black shirts intervention into his life, nor allied bombings crushed the roof of his house. The events of the film take place during the period of economic-cultural modernization after WWII that after a long Mussolini’s rule was considered as an incredible luck for all the Italians.
    Aldo doesn’t expect from life too much – he is happy just to live with the woman he loves, to have a stable job and help his daughter to grow up. But while a new promising period of intense economic and cultural development offered people opportunity to earn extra-money and enjoy more entertainment, these “benefits” were complicated by the destabilization of personal relationships, jobs and living arrangements and withdrawal from or losing concentration on political issues and thinking about life..
    Antonioni focuses on Aldo’s love life which became nomadic and fractured and finally made it impossible for him to continue to live. “Il Grido” is a “proletarian” introduction to a number of Antonioni’s films about the problems of human love in post-war life (which he made after “Il Grido”) based on the life of middle class couples (L’Avventura – 1960, “La Notte” – 1960, “L’Eclisse” – 1961, and “Red Desert” – 1964).
    Analyzing Aldo’s relationships with women Antonioni depicts what can be named as the four phases of de-privatization of intimate relationships which express degradation of amorous potentials of human love in conjunction with particularities of life under destabilizing conditions of a “nomadic” economy, mass culture of cheap entertainment and growing consumerism.
    Relations with Irma (Alida Valli) whose rare gift of psychological wholeness of her reactions made her for Aldo a personification of Being which he could unconditionally rely on, he lost by unexpectedly learning from her about her infidelity. For him it was more than the break of togetherness with a woman he loved and the mother of his daughter – losing her was for Aldo like being banished from the very origins of life. The incredible, simultaneously sensual and “abstractly enigmatic” acting of Alida Valli made Irma a personification of Italy of economic miracle, which betrayed its children (Irma leaves, and Aldo became an eternal wanderer searching for love, jobs and hope).
    Antonioni describes four phases of the shattering of the very human ability to love – psychological separation between love and sex (represented by Aldo’s relations with Alvia and Edera), intervention of despotic conditions of work into a private time (his relations with Virginia, the owner of a gas station), and intervention of other amorous/business relations into beloveds’ privacy (Aldo’s relationships with Andreina). Without love and without a decent job Aldo returns to his old town where he used to live with Irma and where she now lives with her new husband and their new born baby and Irma and Aldo’s daughter. Is Aldo return to die (without conscious intentions to be over-dramatic)?
    It is Irma’s “cry” when she saw Aldo feeling lightheaded and losing his balance on the tower of the factory where he once worked, and falling down in front of her, what provided the title of the film and what signifies the inability of the human culture to care about its sons during the most prosperous and cheerful period of Western economy.
    Antonioni is not idealizing Aldo – he doesn’t transform him into “pure victim” of circumstances or “system”. He tries to understand his psychological particularities (Aldo can share with others) which makes him unable to resist the dead ends modern culture puts under feet of many people as time bombs.

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