This is exactly what happened in "Climax". Actors scream and panic for the whole time, and while this at first is effective because it creates a sense of discomfort, if does not evolve into something else, it is annoying. I don't even know what I watched in the last 20 minutes, because it was impossible to understand what was going on. I understand that the director wanted to give a sense of confusion and he manages to do it at the beginning, by rotating the camera, or with unusual shootings, but then he decided to randomly panning and zooming, and I was completely lost.
#Malena movie climax movie
There are a few scenes that are really uncomfortable, especially when drugs start to kick in, but then the movie becomes crazy. In the other half finally things start to move: we see characters tripping and while we go on, the situation gets worse and worse. I was almost giving up after 35 minutes of absolute nothing, just a bunch of people dancing and speaking about dirty and trivial stuff. First of all, it is too long and the buildup is too slow. I often search for strange and different movies that separate from the most "conventional" and commercial cinema, but unfortunately not all experiment are good and "Climax" is the perfect example of a failed trial. It doesn't help that the movie's action grows steadily gloomier, leading to a public humiliation that seems wildly out of scale with what has gone before and to an ending that is intended to move us much more deeply, alas, than it can.I love when directors experiment and try to push boundaries. "Malena" is a simpler story, in which a young man grows up transfixed by a woman and essentially marries himself to the idea of her. Please.) But Fellini sees the humor that underlies sexual obsession, except (usually but not always) in the eyes of the participants. She continues to shine brightly in Renato's eyes, however, even after his field of knowledge is broadened when his father takes him to a bordello for the old "I give you the boy-give me back the man" routine.įellini's films often involve adolescents inflamed by women who embody their carnal desires. This descent in the world requires her to spend a great deal of time half-dressed before Tornatore's appreciative camera. She must abandon her teaching job because of the unjustified scandal and eventually is reduced by wartime poverty to dating German soldiers. The story involves Malena's bad luck after her husband is called up by the army and her good name is sullied by local gossip. They use Malena as subject matter for their autoerotic pastimes, but for Renato, she is more like a dream, like a heroine, like a woman he wants to protect from herself-with his bare hands, hopefully. The story is told by Renato ( Giuseppe Sulfaro), who as the movie opens is admitted to the local fraternity of girl-watchers. Malena, who is a schoolteacher and of at least average intelligence, must be aware of her effect on the collective local male libido, but seems blissfully oblivious her role is not so much dramatic as pictorial (a word I am using in the Playboy sense). She is all they can imagine a woman could be, arousing their imaginations, and more, with her languorous swaying passage. In a Italian town in 1940, a group of adolescent boys waits for the beautiful Malena to pass by. The setup scenes are like low-rent Fellini.
There is noting quite so awkward as a film that is one thing while it pretends to be another.
The film torturously tries to transform this theme in scenes of comedy, nostalgia and bittersweet regret, but somehow we doubt its sincerity, maybe because the camera lingers so lovingly on the callipygian charms of the actress Monica Bellucci. Giuseppe Tornatore's "Malena" tells the story of a woman whose life is destroyed because she has the misfortune to be beautiful and have a great butt.
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