Newsgroup: it.arti.cinema
Titolo: The best of youth

Ecco la recensione di Roger Ebert, uno dei piů seguiti critici americani de 
"La meglio gioventů" a cui ha dato un voto di 4 stellette (su un massimo di 
5). Da notare la sua definizione di "logopedista".
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20050331/REVIEWS/50310004/1001
The Best of Youth
BY ROGER EBERT / April 1, 2005
Every review of "The Best of Youth" begins with the information that it is 
six hours long. No good movie is too long, just as no bad movie is short 
enough. I dropped outside of time and was carried along by the narrative 
flow; when the film was over, I had no particular desire to leave the 
theater, and would happily have stayed another three hours. The two-hour 
limit on most films makes them essentially short stories. "The Best of 
Youth" is a novel.
The film is ambitious. It wants no less than to follow two brothers and the 
people in their lives from 1963 to 2000, following them from Rome to Norway 
to Turin to Florence to Palermo and back to Rome again. The lives intersect 
with the politics and history of Italy during the period: the hippies, the 
ruinous flood in Florence, the Red Brigades, kidnappings, hard times and 
layoffs at Fiat, and finally a certain peace for some of the characters and 
for their nation.
The brothers are Nicola and Matteo Carati (Luigi Lo Cascio and Alessio 
Boni). We meet their parents, Angelo (Andrea Tidona) and Adriana (Adriana 
Asti), their older sister Giovanna (Lidia Vitale), and their kid sister 
Francesca. And we meet their friends, their lovers, and others who drift 
through, including a mental patient whose life seems to follow in parallel.
As the film opens, Nicola has qualified as a doctor and Matteo is still 
taking literature classes. Matteo, looking for a job, has been hired as a 
"logotherapist" -- literally, a person who takes mental patients for walks. 
One of the women he walks with is Giorgia (Jasmine Trinca), who is 
beautiful, deeply wounded by electroshock therapy, and afraid of the world. 
On the spur of the moment, Matteo decides to spring her from the institution 
and take her along when he and Nicola take a summer trip to the "end of the 
world," the tip of Norway.
Giorgia is found by the police, but has the presence of mind to protect the 
brothers. Nicola continues on his journey and gets a job as a lumberjack, 
and Matteo returns to Rome and, impulsively, joins the army. They are to 
meet again in Florence, where catastrophic floods have drowned the city. 
Nicola is a volunteer, Matteo is a soldier assigned to the emergency effort, 
and in the middle of the mud and ruins, Nicola hears a young woman playing a 
piano that has been left in the middle of the street.
This is Giulia (Sonia Bergamasco). Their eyes meet and lock, and so do their 
destinies. They live together without marrying, and have a daughter, Sara. 
Giulia is drawn into a secret Red Brigade cell. She draws apart from her 
family. One night she packs to leave the house. He tries to block her way, 
then lets her go. She disappears into the terrorist underground.
Matteo meanwhile joins the police, takes an assignment in Sicily because no 
one else wants to go there, and meets a photographer in a cafe. This is 
Mirella (Maya Sansa). She wants to be a librarian, and he advises her to 
work at a beautiful library in Rome. Years later, he walks into the library 
and sees her for the second time in his life. They become lovers, but there 
is a great unexplained rage within Matteo, maybe also self-hatred, and he 
will not allow anyone very close.
Enough about the plot. These people, all of them, will meet again -- even 
Giorgia, who is found by Nicola in the most extraordinary circumstances, and 
who will cause a meeting that no one in the movie could have anticipated, 
because neither person involved knows the other exists. Because of the 
length of the film, the director Marco Tullio Giordana has time and space to 
work with, and we get a tangible sense of the characters growing older, 
learning about themselves, dealing with hardship. The journey of Giulia, the 
radical, is the most difficult and in some ways the most touching. The way 
Nicola finally finds happiness is particularly satisfying because it takes 
him so long to realize that it is right there before him for the taking.
The film must have deep resonances for Italians, where it was made for 
national television; because of its politics, sexuality and grown-up 
characters, it would be impossible on American networks. It is not easy on 
Italy. As he is graduating from medical school, Nicola is advised by his 
professor: "Do you have any ambition? Then leave Italy. Go to London, Paris, 
America, if you can. Italy is a beautiful country. But it is a place to die, 
run by dinosaurs." Nicola asks the professor why he stays. "I'm one of the 
dinosaurs."
Nicola stays. Another who stays is his brother-in-law, who is marked for 
kidnapping and assassination but won't leave, "because then they will have 
won." With the politics and the personal drama there is also the sense of a 
nation that beneath the turbulent surface is deeply supportive for its 
citizens. Some of that is sensed through the lives of the parents of the 
Carati family; the father busies himself with optimistic schemes, the mother 
meets a grandchild who brings joy into her old age.
The film is being shown in two parts, three hours each, with separate 
admissions. You don't have to see both parts on the same day, but you may 
want to. It is a luxury to be enveloped in a good film, and to know there's 
a lot more of it -- that it is not moving inexorably toward an ending you 
can anticipate, but moving indefinitely into a future that is free to be 
shaped in surprising ways. When you hear that it is six hours long, reflect 
that it is therefore also six hours deep. 

 "logotherapist" -- literally, a person who takes mental patients for
walks.
ma ROTFL, chissà come l'ha estrapolata

 5).
Ebert da' al massimo 4 stellette.

 Ebert da' al massimo 4 stellette.
Davvero? Allora le dà troppo spesso. 

"logotherapist" -- literally, a person who takes mental patients for walks. 
 "Logotherapist" non č la traduzione di logopedista. E' una specie di
metodo per l'analisi e l'aiuto di persone disagiate, non ne so melto
di piů, non č certo il medico che ti aiuta a recuperare i problemi del
linguaggio, insomma...
 ;-)
 Anche se adesso non mi viene bene in mente il film... non mi pare di
ricordare che Boni potesse essere definito addirittura come
terapista...
 

  ;-)
no, logotherapist non esiste proprio. Avrebbero dovuto tradurre 
"speech-therapist", che traduce logopedista/logoterapista. E' evidente che la 
traduzione l'abbia fatta un italiano.

traduzione l'abbia fatta un italiano.
 No, logotherapist esiste ma non lo trovi nei vocabolari
inglese-italiano. Specialmente se parti dall'idea che sia la
traduzione di logopedista, cosa che in effetti non č.  
 Se ti fai un giro sulla rete troverai parecchi riferimenti.
 Anche perchč il critico č evidente che non abbia avuto intenzione di
far riferimento ad un logopedista, visto che sta parlando di qualcuno
che porta a spasso i malati.
 Grazie dell'attenzione.

 che porta a spasso i malati.
l'idea che mi son fatto io e' che qualcuno abbia trovato assonanza tra "logo" 
e "podo". E ha fatto casino. Altrimenti non si spiega il fatto che Ebert usi 
la parola "letteralmente". 
ciao,
alessandro


Intendi quelli che hanno fatto i sottotitoli, immagino. Credo che sia
probabile che sia andata così.

 ;-)
Hai ragione, errore mio non di Ebert.
http://www.logoterapiaonline.it


 Come si stava dicendo negli altri post, l'errore deve essere stato,
fondamentalmente, di qualcun'altro: non credo che Boni e la Trinca
facessero logoterapia; non credo che il concetto della logoterapia sia
di camminare insieme e, forse, far passeggiare un malato di mente non
è nemmeno una terapia specifica, è solo far passeggiare un malato di
mente.
Qualcuno che ha visto il film di recente o che lo ricorda bene, è in
grado di ricordare anche come venica presentato quell'impiego di
Matteo all'ospedale psichiatrico?

 that it is therefore also six hours deep.
Sempre bravo Ebert, ha colto il senso di questo film e lo ha saputo
descrivere.
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