Newsgroup: it.arti.cinema
Titolo: City Of God - Roger Ebert

CITY OF GOD (CIDADE DE DEUS)
January 24, 2003
Sandro Cenoura ("Carrott"): Matheus Nachtergaele
Mane Galinha ("Knockout Ned"): Seu Jorge
Rocket: Alexandre Rodrigues
L'il Ze Leandro: Firmino da Hora
Bene (Benny): Phelipe Haagensen
Cabeleira (Shaggy): Johnathan Haagensen
Miramax presents a film directed by Fernando Meirelles. Written by Braulio
Mantovani. Based on the novel by Paulo Lins. Running time: 135 minutes. Rated
R (for strong brutal violence, sexuality, drug content and language). In
Portuguese with English subtitles.
"City of God" churns with furious energy as it plunges into the story of the
slum gangs of Rio de Janeiro. Breathtaking and terrifying, urgently involved
with its characters, it announces a new director of great gifts and passions:
Fernando Meirelles. Remember the name. The film has been compared with
Scorsese's "GoodFellas," and it deserves the comparison. Scorsese's film began
with a narrator who said that for as long as he could remember he wanted to be
a gangster. The narrator of this film seems to have had no other choice.
The movie takes place in slums constructed by Rio to isolate the poor people
from the city center. They have grown into places teeming with life, color,
music and excitement--and also with danger, for the law is absent and violent
gangs rule the streets. In the virtuoso sequence opening the picture, a gang
is holding a picnic for its members when a chicken escapes. Among those
chasing it is Rocket (Alexandre Rodrigues), the narrator. He suddenly finds
himself between two armed lines: the gang on one side, the cops on the other.
As the camera whirls around him, the background changes and Rocket shrinks
from a teenager into a small boy, playing soccer in a housing development
outside Rio. To understand his story, he says, we have to go back to the
beginning, when he and his friends formed the Tender Trio and began their
lives of what some would call crime and others would call survival.
The technique of that shot--the whirling camera, the flashback, the change in
colors from the dark brightness of the slum to the dusty sunny browns of the
soccer field--alert us to a movie that is visually alive and inventive as few
films are.
Meirelles began as a director of TV commercials, which gave him a command of
technique--and, he says, trained him to work quickly, to size up a shot and
get it, and move on. Working with the cinematographer Cesar Charlone, he uses
quick-cutting and a mobile, hand-held camera to tell his story with the haste
and detail it deserves. Sometimes those devices can create a film that is
merely busy, but "City of God" feels like sight itself, as we look here and
then there, with danger or opportunity everywhere.
The gangs have money and guns because they sell drugs and commit robberies.
But they are not very rich because their activities are limited to the City of
God, where no one has much money. In an early crime, we see the stickup of a
truck carrying cans of propane gas, which the crooks sell to homeowners. Later
there is a raid on a bordello, where the customers are deprived of their
wallets. (In a flashback, we see that raid a second time, and understand in a
chilling moment why there were dead bodies at a site where there was not
supposed to be any killing.)
As Rocket narrates the lore of the district he knows so well, we understand
that poverty has undermined all social structures in the City of God,
including the family. The gangs provide structure and status. Because the gang
death rate is so high, even the leaders tend to be surprisingly young, and
life has no value except when you are taking it. There is an astonishing
sequence when a victorious gang leader is killed in a way he least expects, by
the last person he would have expected, and we see that essentially he has
been killed not by a person but by the culture of crime.
Yet the film is not all grim and violent. Rocket also captures some of the
Dickensian flavor of the City of God, where a riot of life provides ready-made
characters with nicknames, personas and trademarks. Some like Benny (Phelipe
Haagensen) are so charismatic they almost seem to transcend the usual rules.
Others, like Knockout Ned and Lil Ze, grow from kids into fearsome leaders,
their words enforced by death.
The movie is based on a novel by Paulo Lins, who grew up in the City of God,
somehow escaped it, and spent eight years writing his book. A note at the end
says it is partly based on the life of Wilson Rodriguez, a Brazilian
photographer. We watch as Rocket obtains a (stolen) camera that he treasures
and takes pictures from his privileged position as a kid on the streets. He
gets a job as an assistant on a newspaper delivery truck, asks a photographer
to develop his film, and is startled to see his portrait of an armed gang
leader on the front page of the paper.
"This is my death sentence," he thinks, but no: The gangs are delighted by the
publicity and pose for him with their guns and girls. And during a vicious
gang war, he is able to photograph the cops killing a gangster--a murder they
plan to pass off as gang-related. That these events throb with immediate truth
is indicated by the fact that Luiz Inacio Lula da Silva, the newly elected
president of Brazil, actually reviewed and praised "City of God" as a needful
call for change.
In its actual level of violence, "City of God" is less extreme than Scorsese's
"Gangs of New York," but the two films have certain parallels. In both films,
there are really two cities: the city of the employed and secure, who are
served by law and municipal services, and the city of the castaways, whose
alliances are born of opportunity and desperation. Those who live beneath
rarely have their stories told.
"City of God" does not exploit or condescend, does not pump up its stories for
contrived effect, does not contain silly and reassuring romantic sidebars, but
simply looks, with a passionately knowing eye, at what it knows.

Aa P ha scritto:
<omissis>
Fernando Meirelles' Film «City of God» spielt im schlimmsten Armenviertel
Rio de Janeiros. Drei Jungen müssen sich in einem Milieu voller Drogen, Tod
und Willkür für einen Weg entscheiden - ihren Weg.
Von Sascha Rettig
Bilder aus "City of God"
Den Anfang macht ein zerrupftes, fast nacktes Huhn. Weil seine Füße zu
locker zusammengebunden waren, konnte es auf dem Weg zur Schlachtbank
entkommen. Jetzt rennt es ums nackte Überleben durch die Straßen der
schmutzigsten, ärmsten und gefährlichsten Favela Rio de Janeiros, der Cidade
de Deus, der Stadt Gottes. Es wird von den Jugendlichen verfolgt, denen es
entwischen konnte und kann sich erst, nachdem es um Haaresbreite den Reifen
eines LKW ausgewichen ist, für einen Moment in Sicherheit wähnen. Wenn es
ums Überleben geht, zählt jede Sekunde, jede Bewegung.
Der Anfang von Fernando Meirelles' auf wahren Begebenheiten basierenden
«City of God» ist so rasant und unberechenbar wie der gesamte Film und zeigt
auf ganz einfache Art und Weise, wie das Leben in diesem suburbanen Slum
funktioniert. Hier, wo Ende der 60er Jahre ein ganzer Vorort aus den immer
gleichen kleinen Häusern, die an Wohncontainern erinnern, aus dem Boden
gestampft wurde, spielt sich das Leben auf Messers Schneide ab, an einem
Abgrund, in den man schnell hineinfallen kann. Hier ist das Leben der
gesellschaftlichen Underdogs bestimmt vom Drogen nehmen und dealen, von
Gewalt und permanter Gefahr. Menschenleben haben hier keine lange
Haltbarkeit und werden rücksichtslos vergeudet.
Drei Jungs vor dem Abgrund
«City of God» verfolgt mal mehr, mal weniger choronologisch vom Ende der
60er bis Anfang der 80er Jahre das Heranwachsen dreier junger Männer
zwischen Slum-Kindheit, triebhafter Adolenzenz und der Entwicklung zu
kalten, unberechenbaren Killlern: Da ist Dadinho (Leandro Firmino da Hora) -
erst Löckchen und als Großer dann Locke genannt - der schon als Kind bei
einem Überfall die Lust am Töten entdeckt hat und später zur kriminellen
Instanz und zum gewalttätigen Drogen-Zar aufsteigt. Er beherrscht die
Vorstadt zusammen mit Bené (Phelipe Haagensen), den man gemessen an den
Verhältnissen schon liebenswürdig nennen könnte, mit Spaß am Leben und
später mit blondem Afro, der sich durch die Drogendealerei ein
hedonistisches Leben leisten können und dann den Ausstieg schaffen will.
susanna

 <omissis>
Film brésilien de Fernando Meirelles
Jean François Rauger
Dans les banlieues de Rio, à partir de 1960, les gangs règnent en maîtres.
Dans cet univers de morts violentes et de règlements de comptes, le
narrateur, le jeune Fusée, tente de trouver une issue à sa condition en
devenant photographe. Présenté comme inspiré d'une histoire vraie, La Cité
de Dieu se veut une descente aux enfers sans espoir. Les auteurs s'ingénient
à imaginer des situations atroces et à dépeindre des personnages privés de
leur enfance. La mise en scène, entre les tics hystériques du clip, de la
publicité et la mauvaise digestion d'une rhétorique virtuose venue du cinéma
américain, relève d'un espéranto filmique discutable et jette un doute sur
la sincérité d'une entreprise qui fleure l'opportunisme.
Q
--------------------------------
Inviato via 
http://usenet.libero.it

殘酷大街真實採樣的故事情節
　遙遠南半球巴西里約（Rio）的天主之城（CITY OF GOD）貧民區，是當地青少年黑幫
的大本營.毒品是他們的奶水，槍枝是他們的玩具，幹架與閃條子是他們每天都要搞的
遊戲。
　阿炮從小在黑色的天主之城裡長大，就和身邊的玩伴一樣，生活已被暴力，血腥，毒
品環繞，面對流血不流淚的殘酷生長環境，他告訴自己，有一天他一定要想辦法遠走高
飛，徹底脫離這一切！
　無意間他得到了一台相機，當他開始學會用真實的鏡頭代替肉眼，用臨場的紀錄取代
記憶的血腥、墮落與暴力，他終於找到向黑街後巷揮揮手的方式，從此以後，再也沒有
人能夠阻止他。
　無法無天的故事用編年史的方式鋪陳，整個電影以一個11歲的小男孩阿砲當主軸，用
他的眼睛來看天主之城（CITY OF GOD）黑街後巷的暴力血腥史。
　1960年後期-天主之城（CITY OF GOD）貧民區的黑街後巷隨時都聚集著到處幹架混日
子的街頭遊童，他們從小打家劫舍，偷拐搶騙，舔著血跡和毒品長大。在這裡長大的阿
砲知道自己如果不想和他們一樣，不是在槍林彈雨裡掛掉，就是在過量毒品裡HIGH死
...成為一名攝影師，大概是唯一的解套之道吧...於是他開始立定目標，並一步一步朝
它前進。
　和阿炮同樣年紀的小豆子則和阿砲背道而馳，夢想自己長大能成為當地最勁爆的角頭
老大，於是，小豆子毅然而然加入幫派，從販毒小弟開始幹起，並拿起槍，開始過著殺
人不眨眼的生活。
　1970年-10多歲的阿砲繼續在正常和犯罪的邊緣之間遊走，為了維生，他也參與搶劫
犯罪，但另一方面，則繼續堅持著自己的攝影之路；至於小豆子，已經成為野心勃勃的
角頭新勢力，藉著販賣古柯鹼，朝罪惡的深淵大步前進。
　1980年初期-無意間，18歲的阿砲終於得到生平第一架相機，並用它開始拍攝紀錄自
己長大的環境；而小豆子則已成為當地最屌最海削的毒梟皇帝。小豆子被曾和他一起出
生入死的哥兒們簇擁著，指揮著9到14歲的童子兵團到處為非作歹，他惡勢力龐大，甚
至撈過界犯下一樁強暴案件，導致嗜血的復仇者出現，使得永不安寧的天主之城，即將
再度掀起一場腥風血雨的殺戮風暴...
小說催生電影的製作緣起
　無法無天改編自巴西作家帕洛林(Paolo lins)長達600頁的同名小說，精采呈現了跨
越1960年到1980年，位於巴西城市里約（Rio）衛星市鎮天主之城（CITY OF GOD）貧民
區的黑街幫派犯罪實錄，帕洛林從小生長在天主之城（CITY OF GOD）的大街上，書裡
面的每個鮮活角色，全都是他眼睛看到的，耳朵聽到的。
　他深深知道在這裡貧民區長大的孩子，每個人都知道自己頂多活到18、19歲，因為他
們可能在7、8歲就開始接觸毒品，暴力，搶劫，然後無法自拔地永遠陷入這樣的罪惡循
環裡。後來因為某種因緣際會，有人將他歷時8年的深刻觀察才寫出的小說丟給導演費
南度，當他仔細把整部書讀完，發現這本書銳利地揭露出一個他熟悉又陌生的世界。
　那是陽光巴西的另一面，一個政府無能不舉的黑暗世界，完全和正常世界隔離，失去
了希望和光明…導演在身心震撼之下，和編劇興起把小說動手修改成電影劇本的想法，
並讓它成為一部能在兩個小時左右，用電影語彙精采訴說的劇情片事。
-- 
Stefano
aka Senbee Norimaki
ICQ# 4243376
droguz-at-libero-dot-it

"Senbee Norimaki"  ha scritto nel messaggio:
[cut]
Pd'A su tutto!
: )))))))
Mariella

 殘酷大街真實採樣的故事情節
Cos'e` una gara?
Guardate che vi posto la recensione in
tedesco e poi non mi assumo responsabilita`
se chiudono il NG per eccesso di traffico.
:-)
bye,
-- 
  Piergiorgio Sartor

Mentre lo costringevo ad ascoltare l'opera omnia di Toto Cutugno,
Piergiorgio invoco pieta' dicendo:
PS> Senbee Norimaki wrote:
??>> 殘酷大街真實採樣的故事情節
PS> Cos'e` una gara?
PS> Guardate che vi posto la recensione in
PS> tedesco e poi non mi assumo responsabilita`
PS> se chiudono il NG per eccesso di traffico.
L'ha gia postata Susanna!!!!!
Ah, io ho mandato la recensione in cantonese (cinese tradizionale: usare la
codifica Big5), quindi potete ancora mandare quella in coreano, mandarino
(cinese semplificato), e giapponese.


 se chiudono il NG per eccesso di traffico.
ma perché, quella della susanna in che lingua è?


 L'ha gia postata Susanna!!!!!
Uh, ma dov'e`?
Forse il mio server l'ha mancata...
bye,
-- 
  Piergiorgio Sartor

 ma perché, quella della susanna in che lingua è?
Come detto, non la vedo, almeno per ora.
bye,
-- 
   Piergiorgio Sartor

 "City of God" does not exploit
City of god non mostra o giustifica, non pompa storie per abusati effetti, non
contiene sciocche storie romantiche, ma guarda semplicemente alle cose, con
l'occhio appassionato di chi guarda a cio che conosce.

 遊戲。
La Cina e' vicina?
P.

"Senbee Norimaki"  ha scritto nel messaggio:
[cut]
      City of God
      ?ŁhŁ\? Ł`ŁhŁhŁd?ŁqŁlŁjŁhŁj? ŁkŁlŁjŁeŁ`ŁdŁg?ŁhŁjŁo ŁhŁ\ Ł^?ŁhŁ`Łd
Łg?ŁfŁj? ŁnŁb? ŁmŁoŁgŁgŁjŁl?Ł\? ŁnŁb? Łk?ŁfŁb? ŁkŁl?ŁkŁ`Łd ŁhŁ\
Ł\ŁkŁjŁpŁ\Łm?ŁmŁ`Łd ŁkŁjŁd?Łh Ł\Łk? ŁnŁjŁo? Ł_?Łj ŁmŁoŁhŁjŁg?ŁfŁdŁeŁj??
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ŁnŁl?ŁkŁj Ł`ŁdŁlŁsŁhŁdŁe? Łj ŁKŁ`?? Ł\ŁkŁjŁoŁmŁd?ŁaŁ`Łd Ł\Łk? ŁnŁjŁh Łn?ŁkŁj
Ł\ŁoŁn?. ?ŁkŁjŁo Łb ŁkŁ\ŁdŁ_ŁdŁe? Ł`Ł^ŁeŁfŁbŁgŁ\ŁnŁdŁe?ŁnŁbŁnŁ\ Ł\ŁhŁcŁ`?
ŁeŁ\Łd Łb ŁmŁoŁgŁgŁ`ŁnŁjŁq? ŁmŁ` ŁmŁoŁgŁgŁjŁl?Ł`? Ł_ŁdŁ\Łe?ŁhŁbŁmŁb?
ŁhŁ\ŁlŁeŁsŁnŁdŁe?Łh ŁpŁ\ŁhŁn?ŁaŁ`Łd ŁhŁ\ Ł`?ŁhŁ\Łd Łj ŁgŁjŁhŁ\Ł_ŁdŁe??
ŁnŁl?ŁkŁj? Ł^ŁdŁ\ ŁnŁbŁh Ł`ŁkŁdŁ]?ŁsŁmŁb. ŁVŁj City of God Ł`?ŁhŁ\Łd Łb
ŁdŁmŁnŁjŁl?Ł\ ŁnŁjŁo Sandro Cenoura ŁkŁjŁo ŁkŁdŁmŁnŁ`?Ł`Łd ?ŁnŁd ŁnŁj
Łk?ŁcŁj? ŁnŁjŁo Ł^ŁdŁ\ ŁnŁb ŁpŁsŁnŁjŁ^ŁlŁ\Łp?Ł\ ŁgŁkŁjŁlŁ`? ŁhŁ\
Ł\ŁkŁjŁnŁ`Łf?ŁmŁ`Łd ŁnŁj Ł`ŁdŁmŁdŁn?ŁlŁd? ŁkŁjŁo ŁcŁ\ ŁnŁjŁh ŁjŁ_ŁbŁ^?ŁmŁ`Łd
ŁgŁ\ŁeŁlŁd? Ł\Łk? Ł\ŁoŁn?Łh ŁnŁjŁh Łn?ŁkŁj, ŁJ ŁdŁmŁnŁjŁl?Ł\ ŁnŁjŁo Ze
Pequeno ŁkŁjŁo Ł\Łk? ŁgŁdŁeŁl?? Ł`?ŁqŁ` ŁgŁdŁ\ ŁgŁ\Łe?Ł]ŁlŁdŁ\ ŁmŁq?ŁmŁb
ŁgŁ` ŁnŁb Ł]?Ł\ ŁeŁ\Łd ŁnŁj Łc?ŁhŁ\ŁnŁj, ŁjŁd ŁdŁmŁnŁjŁl?Ł`? ?ŁfŁsŁh
Ł`ŁeŁ`?ŁhŁsŁh ŁnŁsŁh Ł\ŁhŁcŁl?ŁkŁsŁh ŁkŁjŁo ŁaŁjŁoŁh ŁeŁ\Łd
ŁkŁ`ŁcŁ\?ŁhŁjŁoŁh ŁmŁ` Ł\ŁoŁn?Łh ŁnŁjŁh ŁeŁ\ŁnŁ\ŁoŁfŁdŁmŁg?
Ł]Ł\ŁmŁdŁmŁg?ŁhŁ`? ŁmŁnŁbŁh ŁkŁlŁ\Ł^ŁgŁ\ŁnŁdŁe? ŁgŁ\ŁlŁnŁoŁl?Ł\ ŁnŁjŁo Paulo
Lin ?ŁkŁs? ŁnŁbŁh ŁkŁ`ŁlŁd?Ł^ŁlŁ\ŁrŁ` ŁmŁnŁj ŁjŁg?ŁnŁdŁnŁfŁj Ł]ŁdŁ]Łf?Łj
ŁnŁjŁo... ŁR Fernando Meirelles Ł`ŁlŁ^?ŁmŁnŁbŁeŁ` Łs? Ł`Łk? ŁnŁj
ŁkŁfŁ`?ŁmŁnŁjŁh ŁgŁ` Ł`ŁlŁ\ŁmŁdŁn?ŁqŁhŁ`? ŁbŁcŁjŁkŁjŁdŁj?? ŁkŁjŁo
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ŁDŁp?ŁhŁjŁhŁn?? ŁnŁjŁo? ŁhŁ\ Ł\ŁoŁnŁjŁmŁqŁ`Ł_Łd?ŁmŁjŁoŁh ŁmŁ` ŁgŁ`Ł^?ŁfŁj
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Ł\ŁnŁg?ŁmŁpŁ\ŁdŁlŁ\ ŁlŁ`Ł\ŁfŁdŁmŁgŁj? ŁkŁjŁo Ł_ŁdŁ\ŁkŁh?Ł`Łd ŁjŁf?ŁeŁfŁbŁlŁb
ŁnŁbŁh ŁnŁ\ŁdŁh?Ł\ ŁeŁ\Łd Ł_ŁbŁgŁdŁjŁoŁlŁ^Ł`? ŁnŁbŁh Ł\?ŁmŁcŁbŁmŁb ŁnŁjŁo
ŁhŁnŁjŁeŁdŁgŁ\ŁhŁn?Łl. ŁR ŁnŁl?ŁkŁj? ŁgŁ` ŁnŁjŁh ŁjŁkŁj?Łj ŁgŁjŁhŁn?ŁlŁ`Łd
ŁnŁ\ ŁkŁf?ŁhŁ\ ŁeŁ\Łd ŁmŁoŁhŁ_?Ł`Łd ŁnŁd? ŁdŁmŁnŁjŁl?Ł`? ŁnŁsŁh ŁbŁl?ŁsŁh
ŁmŁ` Ł_Łd?ŁmŁnŁbŁgŁ\ 30 ŁqŁl?ŁhŁsŁh Ł`?ŁhŁ\Łd Ł\ŁiŁdŁjŁcŁ\?ŁgŁ\ŁmŁnŁj?.
ŁSŁ`ŁlŁdŁmŁm?ŁnŁ`ŁlŁj Ł`ŁhŁnŁoŁkŁsŁmŁdŁ\Łe?? Ł`?ŁhŁ\Łd ?ŁgŁs? ŁjŁd
ŁmŁeŁbŁh?? ŁnŁb? Łg?ŁqŁb? ŁjŁd ŁjŁkŁj?Ł`? ŁgŁ` ŁnŁbŁh
Ł\ŁoŁcŁ`ŁhŁnŁdŁe?ŁnŁbŁn? ŁnŁjŁo? ŁeŁ\Łd ŁnŁjŁh Ł`ŁoŁlŁbŁgŁ\ŁnŁdŁe? ŁnŁl?ŁkŁj
ŁeŁdŁhŁbŁgŁ\ŁnŁjŁ^Łl?ŁpŁbŁm?? ŁnŁjŁo? Ł_?ŁhŁjŁoŁh ŁnŁbŁh Ł`ŁhŁn?ŁkŁsŁmŁb
?ŁnŁd Ł`ŁeŁnŁoŁf?ŁmŁmŁjŁhŁnŁ\Łd Ł_?ŁkŁfŁ\ ŁmŁjŁo. ŁR ŁmŁeŁbŁhŁjŁc?ŁnŁb?
Ł\ŁkŁjŁpŁ`?Ł^Ł`Łd ŁnŁbŁh Ł`?ŁeŁjŁfŁb ŁmŁoŁ^Łe?ŁhŁbŁmŁb ? ŁnŁjŁh ŁpŁnŁsŁq?
Ł`ŁhŁnŁoŁkŁsŁmŁdŁ\ŁmŁg?. ŁGŁ`Łh ?ŁqŁ`Łd Ł\ŁoŁnŁ\Łk?ŁnŁ`?: Ł^ŁoŁl?ŁaŁ`Łd
ŁgŁdŁ\ ŁnŁ\ŁdŁh?Ł\ Ł^ŁdŁ\ ŁnŁbŁh ŁpŁn?ŁqŁ`ŁdŁ\ ŁeŁ\Łd ŁnŁbŁh
Ł`Ł^ŁeŁfŁbŁgŁ\ŁnŁdŁe?ŁnŁbŁnŁ\ ?ŁkŁjŁo Łb ?ŁhŁhŁjŁdŁ\ "happy end" Ł`?ŁhŁ\Łd
?Ł^ŁhŁsŁmŁnŁb. ŁDŁkŁjŁeŁjŁl?ŁpŁsŁgŁ\ ŁnŁj ŁnŁ`ŁfŁ`ŁoŁnŁ\?Łj Łn?ŁnŁ\ŁlŁnŁj:
Łb ŁnŁ\ŁdŁh?Ł\ ?ŁqŁ`Łd Łe?ŁhŁ`Łd ŁnŁjŁh Łe?ŁeŁfŁj ŁnŁb?. ŁR Łe?ŁeŁfŁj?
ŁnŁjŁo Ł\?ŁgŁ\ŁnŁj? ?ŁgŁs? Ł_Ł`Łh Łf?Ł`Łd ŁhŁ\ ŁeŁfŁ`?ŁmŁ`Łd.
      ŁYŁlŁdŁmŁn?Ł_ŁjŁoŁfŁj? ŁSŁlŁdŁgŁbŁe?ŁlŁb? .
      Mariella

 　遙遠南半球巴西里約（Rio）的天主之城（CITY OF GOD）貧民區，是當地青少年黑幫
Ok, ora ho letto il tread e capito.
D'accordo con te.
P

 Dans les banlieues de Rio
Nei sobborghi di Rio le bande regnano e governano.
In questo universo di morti violente e di regolamenti di conti, il narratore,
il giovane Missile, tenta di trotvare una usicta alla propria condizione
diventando fotografo.
Presentato come ispirato a una storia vera, COG vuole essere una discesa agli
inferi senza speranza. Gli autori si ingegnano di trovare delle situazioni
atroci e a dipingere dei personaggi privati delle loro infanzie. La messa in
scena, compresa tra i tic isterici del videoclip, della pubblicita' e della
cattiva digestione di una retorica virtuosa che deriva dal cinema americano,
rileva un linguaggio cinematografico discutibile e che getta un dubbio sulla
sincerita' di una impresa che sfiora l'opportunismo.

AP> Citta' di Dio sbatte con furiosa energia quanto affonda nelle storia
AP> dei sobborghi di Rio De Janeiro.
No no no prima che vi facciate strane idee: io la mia NON LA TRADUCO! :-O


 Łg?ŁfŁj? ŁnŁb? ŁmŁoŁgŁgŁjŁl?Ł\? ŁnŁb? Łk?ŁfŁb? ŁkŁl?ŁkŁ`Łd ŁhŁ\
snip
...che lingua e'...???
se volete posto anch'io..."scanese" o "rabbiese"...???
-- 
2/12/72
========================
...una volta ero schizofrenica...
...ma ora...stiamo bene...!!!
========================

 se volete posto anch'io..."scanese" o "rabbiese"...???
Era greco... : )
Mariella

 se volete posto anch'io..."scanese" o "rabbiese"...???
NOOOOO
grazie, grazie tante, mi sei tanto cara ma non venirmi in questo thread.


mmmm... 6 e mezzo
ti ho tolto mezzo voto per "trotvare" e "usicta", ed uno tutto intero per la
traduzione di "espéranto filmique" con "linguaggio cinematografico".
esperanto è un termine molto più evocativo ed andava tradotto paro paro...
Q
PS
puoi anche evitare di mandarmi a cacare, t'ho letto nel pensiero...


 ha scritto nel messaggio

... qui non si guarda in faccia a nessuno.
susanna

 thread.
bah...per una volta che potevo rendermi utile...e rimanere
IT...ufffffffff
ok...



io posso, papà? o anche russell
Boris

 io posso, papà? o anche russell
No, nessuno di voi tre, il russel e' il re Mida della situazione, ma al
contrario.
Non vi basta icq?
fatevi un canale irc vostro, un forum, una mail list, un ng, quello che
volete, vi do lo spazio, i server, vi finanzio se serve.
Via, scio'!!
Stiamo preparando il terreno per lo scontro epocale, roba da Merlino contro
Maga Mago', seduti, buoni, non fate rumore coi pop corn.

 puoi anche evitare di mandarmi a cacare, t'ho letto nel pensiero...
Non completamente se non ti fa male da nessuna parte...
;-)


Sono annichilito da tanta violenza verbale. Vado a vivere da solo.
Boris

Aa P ha scritto:
: No, nessuno di voi tre, il russel e' il re Mida della situazione, ma al
: contrario.
: Non vi basta icq?
: fatevi un canale irc vostro, un forum, una mail list, un ng, quello che
: volete, vi do lo spazio, i server, vi finanzio se serve.
:
: Via, scio'!!
:
: Stiamo preparando il terreno per lo scontro epocale, roba da Merlino
: contro Maga Mago', seduti, buoni, non fate rumore coi pop corn.
Era fata Morgana, ma mi segno anche questa.
Il conto cresce.
susanna

 Il conto cresce.
Sei femmina, eppure ti parlo insieme, roba da esserne contenti, invece...

 殘酷大街真實採樣的故事情節
Tradurresti per cortesia?

 Rio de Janeiros.
Chi aiuta qui? Mariella?

 Chi aiuta qui? Mariella?
Uhm, e se ti aiuto... che vantaggi ne traggo? (Ricorda che anch'io sono
*femmina*!)
Mariella

 Era greco... : )
Klingon vale?
http://www.cnn.com/2003/US/West/05/10/offbeat.klingon.interpreter/index.html
bye,
-- 
   Piergiorgio Sartor