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(re) reading "For Massimo Troisi. Essays, memories, interpretations."

Today we talk about the latest book published on Massimo Troisi, a collection of essays edited by friends and Aulicino Salvatore Salvatore Iorio. We'll do it our way, without talking too much but frankly, my heart always turned to our passion, but with the most objective as possible, exposing our personal thought. Pointing things better, more valuable ones ... and a little less.

praiseworthy initiative this anthology "For Massimo Troisi. Essays, memories, interpretations, even more praiseworthy the type of road shows The two curators are carrying around that has been extended into real events dedicated to Massimo with several interesting speeches of people linked to him directly or indirectly.

The book opens with a preface by Enrico Giacomelli, which defines movies troisiani "slow, lame and a little film." Back on the controversy probably the fixity of the camera, return the mistake of not considering the fixed plane as the best technical solution for film comedy. Probably just "start again from three," and sometimes "Sorry I'm late," film are clearly contaminated with an array of theater and then "little film". Then Max finds the courage to experiment and seek their own directorial style, some with no results Fellini but not "limp". Also highly questionable statement that "the theater is by nature an unrealistic pace," and thus the film Troisi, we have instead is a pace much closer to real life, with pauses, silences all days, without the intervention of the assembly, the flux from an extension and setting material.

Delicious text (and music) the song "little 'hurt' or core, dedicated to Massimo Gianfranco Sansone, played live at the 2009 Premio Troisi. Poignant final verse "We bring all staje 'mmiez' 'and rrose / Puortece well to me "...

Patricia Smith spoke with an essay that skillfully captures the mechanism of the jokes comedians Troisi and inspiration of that immense Peppino De Filippo, never enough mentioned. Alberto Castellano offers the striking juxtaposition with Eduardo in "The Postman" by the melancholy face of comedy. very interesting analysis on the choice of dialect Troisi made by Nicola De Blasi, which explains why in his opinion best, it was understood throughout Italy. Mimica and context apart , "the uncertainty of speech leads to the other party to a cooperative attitude." I do not understand people who just would not understand it, in fact (the Gian Luigi Rondi shift ...).

Antonio Farese credit for successfully responding to a statement by the late Mario Monicelli, who called the Italian actor Massimo most overrated. Sure that he, the son of a famous journalist and leader of a career in film down even with undeniable talent, he had plenty of choice to respond with a Accorsi and Scamarcio or so.

Mario Franco tells us about the role and size of the island in "Il Postino", and then the silence and aphasia Massimo; Pasquale Iaccio its uniqueness and inclassificabilità, Tiziana Paladini his Pulcinella, taking a song from his previous "The heart and soul." Fascinating Carolina linguistic analysis of Stromboli, which locates in spontaneous speech (excluding "The Postman"), the peculiar figure of movie dialogue troisiani.

Let our words Lello Arena, which re-evaluates the director Troisi and undertakes to miss atrocious Massimo still irreplaceable and very current. Giulio Baffi would have loved to Viviani, with its innovative language and music, and he would like to return to the theater (if he could beat the laziness). Valuable testimony of the great Renato Barbieri, has left us puzzled for a moment that instead of Alfredo Cozzolino. To read his words would have almost no reason to regret Maximum: console ourselves thinking rather to the fact that the jokes and find the most exhilarating of his films were born from situations which he lived, that in "Groundhog Day three is" merged his life more than that of Massimo, who without him, "The Postman "was never filmed.

For Roberto De Simone Troisi was born to write and always, with his provocative and personal language he knew what had happened to kidnap telling most banal of everyday life. Andrea Esposito relates introspection and existential precariousness of Max to his illness already present in childhood; Nico Mucci tells us about his professionalism, his painstaking work, his half-hour facial gymnastics before going on stage.

the book concludes with essays on each film. Technically precise and detailed to Valentina Abussi on "Groundhog Day Three," which reveals the array of films in theatrical scenery and lighting nelel. Salvatore Ferraro asked if "Dead Troisi, viva Troisi! it's just a joke or a sad prediction ... hard to say, the truth is probably in the middle, living with the disease but Massimo leading a normal life in the 80s (an age of constant activity with the national football players, which he founded ). Antonio Varriale "Sorry I'm late" to meet effectively the sentimental comedy, Massimiliano Gaudiosi notes that "we can do is cry" is just Massimo funny monologues to carve out (but in the deleted scenes of the movie there were also different with Benigni's character). Salvatore Iorio edited the section on "The ways of the Lord is finished" film for him, not entirely successful. Small inaccuracy: the protagonist Camillo never told that he was sick after the heroic rescue of an elderly man during a fire, but says this about his friend Orlando. The same Iorio believes the scene of the attack by the fascists to the two technical limitations, ineffective and unbalanced. Personally, the same sequence impressed me since the first release, provoking strong emotions in me and making good the tragedy of what happened, with a hand-held camera frenzy and a tight fitting. Episode almost unique in the cinema trois, with regard to these dramatic. Manuela tapes look troisiani common traits of the characters in the movies with Scola and "Hotel Colonial", while Salvatore Aulicino analyzes "The Postman" not without a few other small inaccuracies (the author will forgive my pedantry by riveting) novel Skármeta has no title to the film of the same name ("Ardiente Paciencia" in Chile, "Neruda's Postman" in the Italian edition), Neruda is not about sunset when recommend Mario to walk on the beach to find inspiration for new metaphors, the same does not record the sounds of the island with his son since the latter born until after his death. Finally, images of the recording of these sounds is not about the alternating black and white / color, reserved solely to the representation of the death of Mario during a communist rally.

A book that deserves to be in the library of an avid Troisi, who has the undoubted merit of gathering opinions and viewpoints authoritative and sometimes sharp on the peculiar aspects of his films, which otherwise would live isolated and without a appropriate framework. Many pens are certainly of great competence in the field, what is lacking is the voice of true passion which still today many people, the emotional point of view of those who may not have studied film or did not know Max but it's a cult of his art and philosophy daily. Maybe for the next initiative (and how they are doing magnificently Aulicino and Iorio traveling presentation of the book), it would be an idea to give space to troisiani hardened, unscrupulous and sentimental, thus enriching the end result, in an attempt to offset criticism of , technique and heart.

Cristiano Esposito

The book, published by Laceno / Notebooks Cinemasud (Avellino), can be ordered in bookstores. Anyone interested in purchasing (176 pp., € 12) if you wish, you can still write directly to the editors (salaulicino@libero.it; siorio1@aliceposta.it). ISBN 978-88-6320-074-4

Available at:
- Kiosk / Library 'Bay of Comics' - Piazza E. De Nicola 3 - Torre Annunziata (Na)
- stationer 'The C'art' - Via Maresca 8 - Torre Annunziata (Na)
- Library 'wasters' - 8 Via San Pietro a Majella - Naples
- Library 'Neapolis' - 4 Via San Gregorio Armeno - Naples
- Library 'Vesuvio Books' - Via Cavalli di Bronzo 24 - San Giorgio a Cremano (Na)

and ordered from the bookstores.