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Amore e rabbia 1969
Description: Five short stories with contemporary settings. In Fresh York, folks are indifferent to derelicts sleeping on sidewalks, to a woman's assault in front of an apartment building, and to a couple injured in a vehicle crash. A man, stripped of his identity, dies in bed with actors expressing his agony. A cheerful, innocent young boy walking a town road in a time of fight pays a price for this innocence. A couple talks about cinema while it watches other couple talk of love and truth on the eve of one character's return to Cuba. Striking students take over a university classroom; an argument follows about revolution or incremental change.
Released: 29 May 1969 Director: Marco Bellocchio, Bernardo Bertolucci, Jean-Luc Godard, Carlo Lizzani, Pier Paolo Pasolini, Elda Tattoli(co-director) Writers: Puccio Pucci (story), Piero Badalassi (story), Jean-Luc Godard (story), Marco Bellocchio (story), Carlo Lizzani (screenplay), Bernardo Bertolucci (screenplay), Pier Paolo Pasolini (screenplay), Jean-Luc Godard (screenplay), Marco Bellocchio (screenplay) Actors: Tom Baker, Julian Beck, Jim Anderson, Judith Malina Genres: Drama
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See La Rabbia (The Anger) - Pasoli on youtube.

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See Discutiamo, discutiamo (Belloc on youtube.

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See Jean Luc Godard, L'amore on youtube.

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See La Rabia (Pasolini) on youtube.

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Amore e rabbia Reviews:

Comments have complained that this portmanteau movie is dated. It would be better to tell it registers a crucial political, cultural, and cinematic moment. Marco Bellocchio's short movie works greatest to my thinking. His "Discutiamo, discutiamo" (Let's Talk; We're Talking; or maybe Talk and Talk, if you're inclined to be bored) is a dramatic imitation by students of the university movements of the late 1960s, and contains true differences of opinion (it begins with a lecture on Croce's aesthetics; soon there's an attempt to set a Croce paperback on fire), and opinions worth remembering once existed. "La lotta continua" (class struggle), authoritarian schooling in ruling class values, the tiny percentage of youths of terrible families in university--sure, that's so passé. And for Bertolucci there's Julian Beck as Artaud; for Pasolini, dialectic around the pleasure of Ninetto Davoli. Even Godard's go-gauche, lordly treating each opinion as a quotation, letting all the wind out of what might be concern--or Amore. (See better Bellocchio's "La Cina è vicina" for a fashionable leftism.) The Rabbia or righteous wrath of the game is mostly also left to viewers back then or now, and maybe it didn't receive rooted.


The '60s at its most annoying, this has got to be the worst of all the European portmanteau films. There's very tiny of worth in these shorts even if you're a die difficult fanatic of the directors. The one possible exception is Godard's segment, "Amore," which is type of pretty, mostly due to the two superb actresses who star in it (Christine Gueho and Catherine Jourdan). Type of an amusing cinematic deconstruction, it gets a bit lost in the leftist politics of the rest of the film. The first segment, by Carlo Lizzani, begins interestingly enough, as a cinematic study of the psychological principle of diffusion of responsibility. A girl in Fresh York Town is being attacked, but no one will support her. Then there's an auto accident, and a gravely injured girl is forced into the vehicle of an unwilling bystander. The plot gets really silly as the driver of that vehicle turns out to be a wanted criminal. The short just randomly stops. Bertolucci's segment comes next and is tiny more than some items left on the cutting room floor from his most newest feature, Partner. It's somewhat cinematically interesting, but it doesn't go anywhere and it gets annoying long before it ends. Pasolini's segment is third. It's probably the least annoying of the shorts, but it's also fully forgettable. Ninetto Davoli, that afro-ed man who appears in many of Pasolini's films, walks along a busy street, often carrying a giant flower. Photos of the Vietnam Fight are superimposed over the road scenes. Godard's sequence, which I've described above, comes next. The final and worst short is by Marco Bellocchio and Elda Tattoli. A bunch of student protesters explode into a university lecture and spout Maoist slogans. The subtitles become an uninterpretable wall of text after around one minute. It instantly brings to mind one of my favourite Kent Brockman lines from The Simpsons, when describing the 1960s: "What a shrill and pointless decade."


spotty collection of shorts by 5 directors. some are intriguing, others are just plain tedious. let's go through them in order.the first short is a merging of two stories about girls being violated. they're two various narratives that are combined to say the storyline of a girl in danger and then being saved. the first one begins off with a boy chasing a girl through the town with lots of shots of indifferent folks in their appartments doing their daily thing. there are few shots of appartment buildings that gives a sense that this girls is utterly helpless, she is lost in a globe of concrete buildings that don't give any heed to her cries for help. slash to a various storyline about a guy trying to rescue a girl from a vehicle accident, which seems like it was from other american television show.the second one is one by bertolocchi (spelling?) and is the most tedious of them all. weird artsy dancing, montage poses and strange noises emitting from these dancers. at first you think this zone is a weird therapy session cuz the dancers look like they were pulled off hte road and they sit in a circle chanting something. then they do these weird moves with lots of moaning and groaning and incoherent mutterings. i think the segment of this session is named agony, so i guess these folks are doing artsy interpretations of agony. then an old boy comes a long, who's dying and all these folks begin dancing around him. this one runs on for about 20 minutes...20 mins i'll never receive back.the third one is one about a boy running through the streets. different shots of roads with different political photos superimposed on top. i don't know what a lot of these photos are, but i deduct they're about the vietnam fight and another different political fights around the world. then occasionally, this boy has a large flower in his hands and he begins to dance in the roads to this satisfied dated italien pop music. it's these scenes that place a smile on my face cuz it's just so rediculous and fun to watch.the 4th short movie is by Jean luc godard. i've seen many godard movies and this is a very typical godard film. you've got a couple...the woman is jewish and the guy is arabic. he kisses her, carass her naked body and talks in a method only godard characters do...a mixture of musings on love and politics. intercut with other couple who talk about the movie that they're in. telling things like...."what's that over there?" "why, i think it's the opening of a film..." "i think they're gonna break up..." "if they break up, the movie will be over..." etc. i have a general understanding of what godard's references and what he is talking about, so it doesn't feel as tedious to me as it would to others. but still......those who don't have a bit of academic background in film...you'd most likely like to hold away from this.the last movie is one about a debate going on in a university as a group of marxist students interupt a class to debate about marxist ideology and general anarchy vs the university system. these students wish a marxist revolution and a overthrow of the general university system. the dean, proffessor and the students in the class call for reform from inside the system. and there goes on a debate between change within the system vs. overthrowing the system. this discussion now captivated me, despite the fact that this is cute dated politics. this movie being released in 1969, this is obviously a depiction of the kinds of political debates between students and institutions around 1968. where university students basically rioted and demostrated for a fairer university system and rejected old institutions while embracing marxism. for those who have an interest in the political demostrations of 1968 in europe, this movie documents this mission in time cute well. it's clear that the movie maker is on the side of the marxist students with the final shot of the film. so what can you tell over all about this collection of short films? overall, it's mostly a political film, especially with the last three stories and the credits rolling with the sound of dull thuds of foam bats beating folks symbolizing police brutality. i think this movie has a very specific movie audience...either young students in the late 1960s (this audience obviously no longer exists), folks who have an interest in any of the directors here or folks who are interested in the history of 1968 and wish to see an artistic representation of it. to everyone else, you've been warned. it's a collection of artsy political movies you'd probably wouldn't wish to watch.



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