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Dati dalle informazioni generali inglesi.Modifica per tradurlo nella tua lingua.
To Clare, who bravely kept me company not just through Superman and E.T., which is easy, but through Zombie Flesh-Eaters and The Evil Dead, which is not so easy. A living refutation of the theory that people continually exposed to monsters become inured to them, she screamed most satisfyingly to the last.
Incipit
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Fantastic cinema is almost as old as cinema itself, for the very good reason that fantasy is implicit in the very nature of film.
Citazioni
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There is only one drawback to polling opinion from a panel of judges rather than relying on one judge only. This is a slight flattening effect: fewer five-star or one-star judgements. This is because, though each single judge may have quite a generous list of, say, five-star films, one strongly dissenting voice is enough to eliminate quite a few of these. For this reason, readers are advised to note that films with four and a half stars may well be very good indeed.
Spielberg's technical expertise, allied to his seldom erring instinct for mythologies that keep their power in a secular world, has already worked miracles both commercial and aesthetic. It would be no surprise at all if his future accomplishments were even greater than those in the past, for he is thoughtful, extremely talented, and true to his own vision, and also, most importantly, he is still rather young. His next twenty-five years will be interesting to watch.
But when its inventor hastily shuts most of the computer down, this single terminal retains autonomy, and subjects the inventor's wife (Julie Christie) to a calculatedly fetishistic ordeal, imprisoning her in her house and finally, in a scene of the most astonishing tastelessness, impregnating her. (So much for the common belief that machines are impotent.) Julie Christie is quite upset, as well she might be, for the artificially-inseminated ovum is put in a special incubator and eventually hatches into the cutest little metallic-scaled baby ever seen.
The film has been cut in such a way that its subtext is almost invisible. I do not suppose that more than one in a hundred viewers took the point (also ambiguous in the original novel) that Rick Deckard, the slayer of androids, may without knowing it be a specialized android himself. He has, in common with the androids that he hunts, a curiously intermittent deficiency in human feeling. There is a subtle point being expressed here about what actually makes us human, and about destruction making us less human. For an SF movie, Blade Runner is very adult.
Cheerfully episodic, wholly surrealist, largely incoherent, [Phantasm] was ignored or loathed by most critics. But I think the point is that life is not logical, that we impose meaning on the world only to keep from mental collapse; underneath, bizarre and arbitrary things are happening. Around the next corner the Tall Man may be waiting for any of us. What is so pleasing is that Mike accepts this lunacy, and actually manages to survive it, for a while. He is no helpless pawn of fate.
Made semi-professionally by a recent college graduate, Sam Raimi, [The Evil Dead] also reversed conventional values with its story of clean-cut college kids holidaying in a remote rural shanty, and becoming possessed by demons. No taboo is left unturned; there is something to offend everyone. A woman is raped by a tree (sexist exploitation); dismemberment becomes a moral imperative, because the ghouls can only be destroyed if cut up (sadism); strong men become whimpering cowards (realism); the sole survivor is demoniacally attacked from behind in the closing seconds (not playing fair); we see this from a demon's-eye viewpoint (illegitimate audience identification).
It is notable that low-budget horror films seldom offer consolation. In each of the last four films discussed there is an apocalyptic ending; evil spreads; American society is being ripped asunder by forces it will not recognize but cannot contain. This, at bottom, is what all these films are about.
Lucio Fulci makes the sort of movie that nice people do not go to see.
This is a film about mental disintegration, so what could be more appropriate than encouraging one's actors to go so far over the top they soar out of sight?
Only one thing is missing -- a story. A quest whose result we are told at the beginning is no quest at all. It is boring. Predestination does not make for nail-biting tension.
Ultime parole
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It has nowhere been the argument in this survey that the fantastic end of the cinematic spectrum has automatic claims on our attention that other types of movies do not have. But so long as the majority of film critics and film historians continue to regard fantastic cinema as the poor relation, as something of an embarrassment even now that it has come into money and dresses better (with all the vulgarity, of course, of the nouveau riche), then a survey of this kind will have a useful function. The function is to direct attention not just at the Buñuels and the Bergmans (we knew about those already), but at the Spielbergs and Cronenbergs, the Larry Cohens, the Romeros and even the makers of films like The Evil Dead, who (to change the metaphor) toil in the same vineyards, and whose wine may be equally worth laying down in the cellars of the mind.
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