On March 17, 1976, the controversial giant died. I was immediately passionate about failure, but after a short while I brought a fast era and I was attached to it by its slowness. Now that you have the middle symbol of impermanence, it’s a good idea to record its character a great man in his time and with the risk of falling into our midst a terrible niche of archaeological culture without knowing it, which is even more incomprehensible to the new generations, victims of the decline of necessity.
Luchino Visconti did not live with Prisa until after that Olympic consciousness which allowed her to be the same without the short hair. Born in Milan in 1906, he was one of the lovers of the Lombard capital, where the nobility of his father’s family was combined with the magnificent bourgeois of his mother’s family.
The young man received an education that undoubtedly benefited him, because in his house they connected all the cultural novelties of Paris, and the family had its own stage at La Scala, a sign of power and a platform to engage in first-rate social relations, those who in the future could be catapulted on a trajectory further into the world.
Visconti may have adapted to having a team of horses, but with thirty years of experience in art thanks to her friendship with Coco Chanel, who in 1936 introduced her to Jean Renoir, the man decisive in directing his steps, as much as in a position of anti-fascist militancy that convinced him red conde to accept the communist cause with rigor and coherence.
As an assistant to the French, he was able to direct his first film in 1942 with Obsessionfilm adaptation The driver always calls twice and multiple goals to inaugurate without the weirder neorealism, take the contemporary influence to attack the aesthetic dogmas of fascism and show how cinema can be used as a useful policy for society.
As soon as the second world conflict ended, he confirmed it The earth tremblesA key point of neorealism was to shoot outdoors, use non-professional actors and use Sicilian dialect, which angered the audience outside during the Venice Film Festival in 1948. luchaban against the monopoly of capital and will become part of their case.
Photo ‘Noches Blancas’, de Visconti,
Visconti’s greatest splendor was manifested during the fifty years when his energy suited him to combine with acidity and adequate doses of polemical cinema, theater and opera. In the seventh art, he ordered the death of neorealism Bellísima (1951), laid the foundations of the historical melodrama Meaning (1954) and before perfection was the prelude with White nights (1957), a fantastic and fresh adaptation of his beloved Dostoyevsky’s novel.
The stage tables were a field of experiments that gave her numerous insights, from the actor’s handling of the stage intuition that could be applied in other scenes, for example in La Scala, where dedicated himself to the new Maria Callas in various historical montages, de Vestal on The headstrong one. In 1956, he manifested himself alongside other intellectuals against the Soviet invasion of Hungary, he who was no stranger to anyone because of his communist convictions, was heterodox, who had no inclination towards directors and very little represented the independence of the creator, free from any dogmatic course.
In the 1960s, his character achieved greater fame due to the amount of his achievements and his eternal birth in the opposite direction. At the beginning of the decade, I compared him to the other monsters of Italian cinema in full Rocco and his brothers in 1960, just as Federico Fellini and Michelangelo Antonioni did the same Sweet life y Adventure. The three films were censored in theaters by a special shutter mechanism that retracted to prevent the viewing of scenes less suitable for Christian Democratic morality. These three, each in their own style, give a twist to the cinematic world and endow it with the ability to offer novels with images that transcend and surpass literature.
En el caso de nuestro protagonista el cóctel entre denuncia social, estetismo desenfrenado y sugerencias homosexuales en un mundo tan masculino como el del boxeo le granjeo aún más enemistades, que debieron callar cuando en 1963 se consagró más si cabe con Il gattopardo. Su mérito fue el de adaptar una novela conservadora en un filme progresista que no sólo es el retrato de la senda hacia la unificación italiana, sino un monumento con mimbres para acuñar lenguaje cotidiano, deslumbrar con la narración y permanecer en la retina del espectador mediante momentos memorables.
Tras ese baile final de cuarenta y cinco minutos y obtener la Palma de oro en Cannes poco más podía esperar, salvo engrandecer su leyenda. Sus dos siguientes películas no cumplieron las expectativas, bien porque Vaghe stelle dell’orsa, en España traducida como Sandra, confundió por el retorno al blanco y negro, bien porque su adaptación de El extranjero (1967) de Camus es, quizá, el agujero negro de su filmografía, insalvable pese al protagonismo de Marcello Mastroianni en el rol de Meursault.
Do not be curious that Visconti met Camus when his real dream was to transfer him to the big world with French literature. research Hampered by the virtues of a director who could be flawed at times, Proustian has the kind of ambitious perspective from the moment of detail that could destroy any production house, as Titanus did on a successful production line. Gatopardo.
The last renaissance must not be paradoxical. The movements of 1968 caused an earthquake in the cultural world, where each of its members was left at the mercy of the tide of history. For him, unlike other professional companions such as Pier Paolo Pasolini, he honestly matched her and created a Germanic tetralogy to condense all the fetishes of her childhood, her love for Thomas Mann and her star lover of the time, the German Helmut Berger, a very bad actor who is adequate to the point of inconceivable.
Ese cuarteto, de Caída de los dioses (1969) on Family group indoors (1974), de Death in Venice (1971) a Ludwig (1973), could not be realized in our time, lacking so much European wisdom and content to record these works, tildándolas de decadentes. The latter reacts to a reading that is not deep, ignores fragments unacceptable to the prevailing morality and neglects the philosophical value of the content, structured with the usual mastery of the Milanese.
The central European-inspired poker vision is even darker because, from 1972, Visconti saw his farewell as a consequence a stroke that forced her to change the way she directed and thought about filmingabrazandose to zoom to send certain intensity, due to ausentes en Innocent (1976), a cinematic testament emanating from the same year of his death, which coincided with the emergence of a new cinema intended for the masses and a society that gradually gave up the symbol of ideologies and has yet to accept consumption as the highest flagsin combate ni nobleza.
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