say which film is better in the current panorama of Italian cinema is not easy. In the end they both stylistic features and thematic ideas truly remarkable. It seems that the peculiarities of the two, and on the other hand, the differences are, to be able to represent the complexity of the idea of \u200b\u200bthe Italian art cinema, able to capture the image of contemporary society and the summary of its historical progress .
Class 1968 Matteo Garrone, Paolo Sorrentino born in 1970, the Roman Neapolitan first the second, both have the honor to persevere in their initial beliefs about the cinema, despite the inevitable stylistic adjustments of their applications.
aside their debut, puts the figure pointed account of the contents expressed in features of the two directors. And so the first gave rise to interesting films such as: Middle Earth (1996), Guest (1998); Estate romana (2000), The Embalmer (2002), First Love (2003) and most recently Gomorra (2008). The second he realized: Man Up (2001), The Consequences of Love (2004), The Family Friend (2006) and finally Il Divo (2008).
If you could sum up the cornerstones of Italian cinema, one might say, although no claim of categorical, that the sum on the one hand there was the cinema of Michelangelo Antonioni, as it pertains to a language based on the essentiality of the narrated events, and secondly with the film Federico Fellini's imaginative side of the transfiguration of events. Photo one (eg. Blow Up) allegory the other (Eight and a half). You could say in a case analysis of the processes and in the summary of the history. That was around the 60 '- 70', but to follow them, unfortunately, the Italian trial seems to have stopped. At least until now, with the authors under review. Let's start
from the first. It prefers the representation of simple stories, or otherwise degraded social contexts, to limit illegal migration and, ultimately the interest in realism. The method of processing Garrone, designed to investigate both the existential uncertainty of the characters so much the wider social scene that includes them, seems to be dogmatic (by 95 dogma promoted in the early nineties by Lars Von Trier and Thomas Vinterberg), tied ie a minimal crew, filming in real environments, to use the camera on the back, the sound in direct and non-professional actors. The result is a film open to improvisation, which rejects the spectacular end in itself for at the service of reality. In other words, the poetry in the film descends into a dry, almost documentary style, where more than storytelling, the focus is photography in its essence the authentic setting of the real. The later works show a predilection for stories that highlight the complex psychology of the characters but postpone the social system. Attention to the passage of reality combines a rigorous formal research, influenced perhaps by other paths of artistic director. In this way a true story loses its real relevance to become purely a pretext for a more open investigation into the bowels of the human mind. So join up Typical stylistic elements of film noir in a story in the balance between realism and painterly abstraction. The film exaggerates the story told from the recording of reality, and neutral visual processing that tends to abstraction. Even the technical features, such as the use of plan-sequence, highlighting the use of the film medium to provide voltage semantics the narrated events. With the last film (Gomorrah in 2008) certainly Garrone reached his artistic maturity. Supported by the narrative structure of the text by Roberto Saviano, the film plays its axioms governing style. A mobile filming of a documentary opposing reasoned plan and greater care in photographic composition. Prevailing sound in direct contact with a fondness for musical commentary intradiegetico, and the same assembly are put aside to show the natural environment in its development staging. I would say excellent or almost excellent end result that leaves the viewer not an immediate evaluation and sometimes superficial, but the deepest personal evaluation on facts unfiltered by the opinion of the director. We come to
Paolo Sorrentino, director and writer skilled craft. His stylistic tone of the fund is a wise use of assembly semantic and stubborn, photography and aesthetic character of the narrator (known as Voice-over or off). The characters described and placed in the center of his attention are men who believe they have control of the living situations of their own destiny, but that ultimately they are subject to the events put in place by history. Antonio "Tony" Pisapia, Titta Di Girolamo (Toni Servillo), Geremia de 'Geremei (Giacomo Rizzo), and Giulio Andreotti (Toni Servillo again) are the actors who hold both the success and failure of their personal affairs, and also the limits of the social context in which they move. Emblematic of the narrative Titta Di Girolamo in "The Consequences of Love" and oppose his cynicism between the initial and the slow disintegration of his integrity before the love for the young shop assistant of the hotel bar where he lives. But even Jeremiah's story in "The Family Friend" who believes in a single deal to double all the savings accumulated in his career as a loan shark and instead breaks hopelessly in front of the skillful scam organized by the beautiful and charming and by Rosalba ' Cowboy ambiguous. Is brought to the scene the loneliness of the characters, the ambiguities of their desires and the freezing of emotions. These are men who live trapped in their own way each and reality and that is why the stylistic choices are managed to achieve a visual effect such as to synthesize those moods.
Sorrentino is currently shooting his first English language film, This Must Be the Place, which will see Sean Penn in the lead role. Garrone, from what we learn in the press is willing to implement, with the help of Fabrizio Corona, a film about "Vallettopoli" or "slob on that universe that floats between the pages of magazines and folders of judicial inquiries." A final notation
deserves special attention of both directors of photography, and entrusted to Marco Onorato Garrone (Gomorrah for European Oscar) and Sorrentino Luca Bigazzi (Silver Ribbon for The Consequences of Love).
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