Bowling Shoes Cost 2 Rent

The important thing is to finish


Stefania off the light.
With notes by Amelie leave this space for free minds,
open and available as a friend with beer in hand
(feel strange bedfellows in the groom, and love
see these pages fragrance) .
The thoughts of the author but on another fly in space,
you to investigate where / how / why.
Want to die again, then?

Easy Homemade Novelty Cakes With Templates

Fear and Loathing in Las Vegas Ed Wood

this hallucinatory and hallucinatory Fear and Loathing in Las Vegas (Italian translation Fear and Loathing in the wrong from the original Las Vegas / Fear and Loathing in Las Vegas). Last work of former Monty Python director Terry Gilliam (former author of visionary films as Brazil and the Army of 12 Monkeys), the film is viscerally tied eponymous autobiographical novel by Hunter S. Thompson was released in the United States in the "far" 1971. Nestled in the "drug culture" of the late 60s the novel tells the quick ascent and descent through the violent adventures of two characters in Las Vegas a typical expression of that passage. Raoul Duke (an extraordinary Johnny Depp), aka dummy by the same author, doctor of journalism, and his wacky lawyer Dr. Gonzo (Benicio Del Toro an unrecognizable). Laurel and Oil caught in the middle of a drug party, Don Quixote and Sancho Panza to grips with the windmills generated by the effects of hallucinogens. An extraordinary descent into the underworld in a desperate search ganglia, fragments of a fading American dream. The murderess of John Kennedy, the Vietnam War, and a little later Nixon and Watergate. The end of an era, the crushing of a ideale.Baule filled with every kind of narcotic drug, mescaline, ether, acid, grass, the two "no heroes" across the Nevada desert to reach Las Vegas. In the city is waiting for them with the difficult task of telling the famous "Mint 400", busted for bikers race through the dunes of the American desert. But the more difficult it will survive their epic quest for the "American Dream." A place, an idea, a space now (re) closed in on itself. The portrait of the generation "sex, drugs and rock and roll" is upset, stressed, distorted through the distorting lens of drugs. Narrated by using images that are often suspended between hilarity and horror, between objectivity and subjectivity narcotic. A member of the psychedelic record book that is translated in the film through a hallucinatory imagery, a deliberately ungrammatical use of the camera. A rare case of osmotic relationship between matter and told narrative technique. A sort of perverted and prolonged visual stream of consciousness: a clear sky crossed by a flock of fake bats, patrons a bar that become horrifying Jurassic reptiles, decorative elements that take lives suddenly. The film, in the spirit of the book, he strives to not ever tell a priori between reality and fantasy, leaving the final decision is up to the viewer. See about the extraordinary opening scene with the attack led to the two main characters from a horde of bats fictitious (?). The whole story seems to unfold in a sort of parallel reality. A World Apart, based on a series of "exaggerated" by the effect of hallucinogens. Another dimension with which it is possible for the characters interact in the usual manner. The initial trip through the desert thus assumes a very specific meaning symbolic. Abandonment aware of any limit, any social convention, for each value. A rite of passage that acts as the ultimate goal to find an animal level primal fear of being deprived of any man. Here come Duke and Dr. Gonzo bare, cleansed, before the ultimate expression of fiction, of unbridled capitalism, of counterfeiting: Las Vegas. City of Vice, the game of perdition. City specially created out of nothing and nothing is surrounded by desert with the specific intention of being an outlet for repressed lusts and perversions in society. A detachment of mind which becomes physically separated also in Las Vegas. Mind and body travel on two different orbits. A Las Vegas everything is legalized, anything goes, everything is so fake as to seem almost real. So even forcibly submerged in the mass of tourists who inhabit the weird way the two main characters are hiding, highlighting their diversity. Openly showing their eccentricities, the two homogenize the human landscape around them. The frustrating search for the American Dream from the depths of society, the mass and places that populate it. The "pop culture" is replaced abruptly to the "drug culture". Tom Jones, "Mission Impossible", Humphrey Bogart icons that new advances. There solver and cathartic awakening in Fear and Loathing in Las Vegas because there is no substance of sleep. Sleep and nightmare are generated the same raw material, inscribed into each other. Fear, disgust, horror and delirium. Will not willing to surrender before the discovery of a lost dream, an opportunity missed, the final abandonment of an era. Duke and Dr. Gonzo's stuffed with all sorts of drugs, without distinction, without preference. A prey to terrible hallucinations, sudden and unexpected mood swings. Violence and crying, ineptitude and sudden rages. Closer to their state of mind, the film proceeds to tear, ignoring any logical consistency, away from any disorderly narrative center. In a large hotel room Raoul Duke stunned the television screen sets. Under his different look everything flows: Vietnam, Nixon, Barbara Streisand, the youth protest. The TV picture transships bounds of the screen and is reflected on the walls of the room. An iris greatly expanded under the influence of the drug is able to understand the most critical points of a society being destroyed. The 1971 as 1999. Years marking the end of an era is open to uncertainty. The lid is lowered, the visionary eye closes. Duke and Dr. Gonzo leave Las Vegas to Los Angeles. There is only one road to Los Angeles: "Just two other freaks in the freak kingdom."

[Fabrizio Pirovano]

^ Post vaguely dedicated to a person - "Bats, Bats!".

Opera definitely haunted and if - two hundred. The color is lost and enter into a dynamic and humorous almost impossible to bring all of the framework of Renoir (green instead of blue, purple instead of pink - commutative in the art of color?). The sense then, seems to do everything possible to sidetrack ... although there appears to be a logic to the melancholy vision of the end credits. We lose the balance during most of the images - of our rubbish. It certainly made an ode to the belly of the Benicio emeritus, as well as the slender legs of Mr. Duke (who me a lot of those ricordan Saimon). ^

What Type Of Primer To Use Bmx

Director: Tim Burton . 1994. USA.
Model: Johnny Depp, Martin Landau, Sarah Jessica Parker, Bill Murray, Patricia Arquette, Lisa Marie, Vincent D'Onofrio
Duration: 124 '


Far from Hollywood, the fifties. In the thirties a theater half dilapidated director Edward D. Wood Jr. brings to the stage a day after the show panned by critics. By day he worked as a porter at the studios film and one day discovers that a manufacturer is looking for a director to make the biography of a homosexual. Edward proposes to man confessing his passion for women's clothing, but they reject it anyway. Back home he meets the actor Bela Lugosi, who played a lot of forgotten horror of Universal, which creates a relationship of friendship. Weiss returned by the manufacturer, proposed the name of Lugosi as the star and then they decide the film Glen or Glenda produrgli?. Edward also took the opportunity to confess to his wife, Dolores Fuller, his vice. Finished shooting the film offers a distributor who believes that this is a joke and the Manufacturer's screams Weiss against any failure. At a meeting of the big catch Ed Wood, Tor Johnson writing for a possible film, while continuing the decline of Bela Lugosi with the continued use of morphine. And then decided to seek funds for the next film and is contacted by a television writing Bela Lugosi for participation, and that turns out to be a complete disaster. Television studios, however, know the magician Criswell, a charlatan who knows but the world of entertainment. Then organized a party to raise funds to make the movie, but get nothing. Desperate, Ed Wood in a bar knows the young Loretta King, newly arrived in Hollywood willing to finance the film in exchange for the starring role. And accepts and keeps the role in Dolores, which does not take it well. When it turns out, the shooting started that Loretta has no more than three hundred dollars, the shooting stopped and the crew is forced to organize a new party, however, what sort the same effect as the first. Ed Wood finally gets a loan from the owner of a chain of meat which, however, imposes a new ending and the idiot son as an actor. After stealing a giant octopus in establishments film, the film is finished and give a party during which, however, Dolores left the group. And then one night is Bela Lugosi's Morphine shocked and suffering from a delusional attempt suicide. The actor is convinced and becomes hospitalized for detoxification. You know Ed Wood Kathy with her she begins to come out and after they confessed their pleasure nell'indossare women's clothing, they fall in even a story. For lack of money in the meantime, Bela Lugosi was forced to leave the hospital and back at home where Ed Wood takes it back for the last time in front of a camera. In the film Bride of the monster is a disaster so that everyone is forced to escape being chased by the public. A few days after Bela Lugosi dies. Difficulties in paying the rent by owner Ed Wood learns that the Baptist Church would like to make a series of twelve episodes, but he convinces them to produce his first film in order to secure a commercial return to make the series. Since fired from the television set which he worked, Ed Wood, Vampira can also contact all together and be baptized. On the set, however, things are not going well in the presence of producers when Baptists and Ed Wood is shown dressed as a woman is forced to leave the set because it offended. He took refuge in the usual bar meets the director Orson Welles struggling with funding from the movie about Don Quixote and an exchange of words with him enough to encourage him to close the film. At the first of Plan 9 from Outhere the public space may seem like work, but Ed Wood decided to leave the room. A tribute
heard of director Tim Burton to a genre, to a world, and above all a way of making films which had many technical and operational deficiencies, but with a vitality that was sincere, even if sometimes overly positive. Who is Ed Wood Tim Burton second, then? Gone down in history as one of the worst film directors (born 1924 and died in 1978), Tim Burton becomes the symbol of the darker side of Hollywood's most famous (that opening sequence plane escapes from almost written overlooking the hills of California ), a film made of scoundrels and, old glory, alcoholics and drug addicts, a film made up of lives that are lost or abandoned on the streets to themselves. Ed Wood is essentially a loser, and would not have been otherwise if you look better than Tim Burton's filmography, devoted to diversity and the shortcomings, the minds anxious and sad that populate his imagination and this world (and also to celluloid). It is certainly a challenge for Tim Burton's homage to a true failure, but thanks to the success of the film seems to win in agility and is also avenged his lost hero. It is a film with circular structure, which opens and closes like the biography of a man brackets (and also of a whole troupe referred to in the end titles) who had the courage to make films more than any other passion (besides then put his vices in the streets) and in the end he, too, has slipped into oblivion alcoholism and loneliness. Portrayed by a talented and increasingly good Johnny Depp, Ed Wood becomes a comedian, a caricature that has desperately light in the eyes of imagination, hope, and which binds his life for others, but also a lack of adherence to reality. It is the eye illuminated by Johnny Depp and Tim Burton films over the strings of a tender, cheerful, funny, educated and above all beautifully shot, I live in his dirty black and white. Do not miss the hundreds of small details that make the body on a forgotten historical reality (the producer by the name jew, old television programs, the direction of the silent film) a film taste but fantastic liar, but no intuitive technique, lively and cheerful but in essence profoundly sad (the relationship of friendship between Ed and Bela). The biography Ed Wood is also therefore a means to open the doors to the viewer of the show, of his tricks (the film in the cinema), its most ridiculous figure (which often come from television already) but in which there is always room for small feelings (broken up into a cohesive group). Certainly the approach of Tim Burton, who has always used his audience to the fantastic and in the sale, but here shows a closer disenchanted (the impurities they are accustomed to the magician charlatan Criswell) but not for cynicism, but it never really sinks If anything is really good at bringing out the story of a fictional character irraccontabile. It's the film that speaks and tells of the film is not with a delicate sense of contempt (who is really sucking the blood, Bela Lugosi? Morphine? Success? Ed Wood?). Its success is measured from a distance with complete clearance of low-cost genre films (the effects, perhaps unintended, will be seen years later with the recovery of the first American genre films, then Italian mostly) free real stars ( Lapsed or star) and animated by extras from the strong physical features and bad artistic content (an example of all the catch wrestler Tor Johnson). For fans of classic horror movies, Ed Wood is also a mosaic of quotations (from shots to the arrangement of lights, from billboards to stars called into question) and that will be taken up and reused in another gesture of love for the classic film genre, the sci-fi brought to the big screen by Tim Burton himself with the next Mars Attacks! (1996) where, however, is not given to any particular biography (Ed Wood has used the one written by Rudolph Grey). The film won the Oscar for best supporting actor Martin Landau (himself an interpreter of many who plays Dracula and Bela Lugosi in a hilarious homage to the genre apostrophised) and for the trick, which was also attended by Rick Baker. The music of the film were composed by Howard Shore, almost unique signature of the movie soundtracks of Canadian director David Cronenberg. To create the right atmosphere, the composer used the theremin, a special tool that Soviet production is played by touching them with your hands because it is an electromagnetic field to make it vibrate. This instrument was chosen among others in Hollywood because it was used largely as a consequence for flying saucers.

[Bucci Mario]

"The director perhaps the most dilapidated in the history of cinema (Edward D. Wood jr., In search of fortune in Hollywood in the fifties), a circus strongman , dark actress known as Vampira, a pseudo-seer, a fearless disguise, a morphine addict and forgotten old glory (Bela Lugosi was Dracula, masterfully played by Martin Landau won the Oscar) here is the court of miracles in the middle of the tender and funny film by Tim Burton dall'immaginifico that revives with careful art faces and environments into a flaming black and white . Wood (Johnny Depp, of course. And of course, perfect) was heterosexual, but he loved to walk with heels, miniskirt, and - above all - wearing angora sweaters (vaglielo to explain to his girlfriend then shocked to find them in the drawers). He also loved science fiction low (lowest) cost, the production of Z-series, enthusiasm and friendship with a vengeance. He hated to run two times the same scene and remained in front of incredulous the distrust that surrounded his films (even though - as we discover in a tasty encounter between the two - is based on the same foundations that of Orson Welles). Sexual ambiguity of "Glen or Glenda" (us: "Two lives in one") to fake octopus and flying saucers cardboard "Plan 9 from Outer Space": Tim Burton recounts the miseries of a decent man eventually ridiculous be overwhelmed by the tenderness. "

[Alessio Guzzano]

shelf unit: Cinematerapia

Soundtrack: Interpol - The new

Best Point Nd Shoot Camara

Wild at Heart

THE YELLOW BRICK ROAD

by Wild at Heart to The Wizard of Oz

Ada Lanzaro

Wild at Heart (Wild at Heart) 1992 Director: David Lynch; screenplay: David Lynch; Cast: Nicolas Cage, Laura Dern, Willem Dafoe, Isabella Rossellini, Harry Dean Stanton, Crispin Glover, John Lurie, Jack Nance, Sherilyn Fenn, Sheryl Lee, Diane Ladd, from the novel by Barry Gifford, The Wild Life of Sailor and Lula

"Wild at Heart is a road movie, a love story, a psychological drama and a comedy violent. A strange mixture of all these ingredients" (Rodley 1998: 169). As a very clear narrative level and elusive to every canonical definition, the structure of Wild at Heart is classified as belonging to the category of road-movies. A film from the path of travel rather odd, though, considering that the flashbacks and parallel stories included in the narrative continuum ripped the temporality of the narrative between past and present, the here and elsewhere, preventing progress towards a final release and breaking the film into a false speech movement along the main American roads.
"Wild at Heart is an unusual road movie, as it leads nowhere" (AA.VV. 1991: 80), and the presence of the road as a narrative structure refers more to a mental place that material in a path, since there is no attempt to relate the characters with the surrounding space and the horizon as a backdrop to the story remains limited. The movement in this film is given more by moving through the inserts, filmed in the subjective (the memories of the characters, their visions) from advancing in that car and get lost in the vastness of the American continent, as happened to other couples on the run of road- movies.I continuous references to a "reverse that is not met, that is untied, and isolates the characters in their first film and then the existential loneliness "(AA.VV., 2000: 72) tell us the nature of the journey of the protagonists, a move bound to an illusory space, which indeed takes place regardless of anywhere reale.Il treatment Lynchian basic dramatic intrigue is not so bizarre when you consider the narrative style of the novel by Barry Gifford that was inspired by: The Wild Life of Sailor and Lula, who at the time of completion of film had not yet published, is a road novel that has "a ballad in the form of unstructured [...] in which the action, reduced to essentials, and no little progress" (CHION 1995: 141-142) .
In the book successive chapters separated from each other, sometimes very short and never numbered but named as if it were many small incidents unrelated to the narrative level, as the story develops along two main characters and events narrated by referring to the past, rather than occurring in the present of narration (CHION 1995: 142 and HUNT 1992: 90). The director shall respect the lack of temporal linearity in the novel placing in his film, on the sidelines of the stories which they abandon continuously Sailor and Lula, the images in a subjective or flashback to break any kind of suspense and fragment the forward thrust typical road movie. Barry Gifford, which is not party to the making of the film or the drafting of screenplay, contrary to the expectations of the press was happy ply perverse, almost morbid taken by the story in the film: if journalists speak of a "catalog of bizarre encounters and often extremely violent" (Rodley 1998: 266), Gifford comes to declare that, in his view, it is "a fantastic film. Wonderful. It's kind of big, dark musical comedy" (Rodley 1998: 266). The adjustment, according to Lynch, has done nothing but make what was a bit light 'brightest and what was a little black' blacker, highlighting contrasts, precisely "because life alternative to other wonderful aspects horrible "(Rodley 1998: 275).
At a formal level the film is the result of a combination of aggressive elements and scenes disjointed and sometimes conflicting, in which an assembly "and insisted sudden" (CHION 1992: 150) recalls the style rather rapid, accurate and fragmentary video clips. The director uses the soundtrack to accentuate this gap, using a mixture of musical styles different from each other, from rock to '50s synth sparse, minimalist songs written by Angelo Badalamenti. To punctuate the different tracks filmed central axis switching back from hard rock (the powerful guitar riffs of the Slaughterhouse Powermad), which opens the film in the scene of the beating and scans the moments of intimacy between Sailor and Lula, Im Abendrot orchestral introduction to Richard Strauss, amplified by the use of Dolby that accompanies the opening credits and the long kiss at sunset of the protagonists: "They are like two expressions of the same power of love - with the emphasis falling on the concept of power. Strauss is not in fact the composer more Nietzschean, and not only because it derived a symphonic poem by Zarathustra? " (CHION 1992: 152). Even the prose of Gifford was supported by frequent references to music played by the two in the car or in the place where you go, a characteristic also typical of any history of travel, road-road-movie or novel, worthy of respect. At the end of the film, however, contrary to the conventions of the genre and the closed end of the novel, in which Lula Sailor leaves, the couple faces a cruel fate, but decides to stay together, suggesting that the expected future as a happy family together, he also added that it was the arrival of a child: "their driving days are over" (Alexander 1993: 124). Many critics have questioned the final scene of Wild at Heart, if this is a solution for "free" economy of the story as some of the stories that will fit without any apparent logical connection, or if there is a presumption that the Lynch 'has added to have more potential in terms of commerciale.Il director himself said: "commercially is much better than there is a happy ending, but if I had not changed the ending, so that people could not have said that I tried to follow the market, I would not be faithful to the substance of the film. Sailor and Lula were to remain together, the problem was to devise ways and at the same time preserve the scene where they break up. In the end, the solution helped The Wizard of Oz "(Rodley 1998: 275).
Although the ghost of The Wizard of Oz has long hovered Lynchian imagination in the form of goblins, witches and ghosts that populated his earlier films, or more directly in the Dorothy played by Isabella Rossellini in Blue Velvet, Wild at Heart in the theme of the magical world of Oz is revealed more explicitly by invading the plot. The Wizard of Oz, a series of fourteen books written since 1899 by Frank Baum, was intended by the author a new kind of fairy tale, typically American and no spells, dream-fantasies of cruelty and the European tradition, represented by the brothers Grimm, Hans Christian Andersen or Lewis Carroll in Alice in Wonderland. For
Baum, Oz was a real world where a girl named Dorothy was actually gone, even if the film that Victor Fleming took out in 1939 suggested that the adventures of Dorothy in the kingdom of Oz had taken place only in a dream and sometimes indulged , contrary to the principles of the author, and a grim details crudeli.La film's plot follows that of the book to a certain point: besides the fact that Dorothy is no longer a child of five or six years, but a twelve year old girl (also played by a sixteen year old Judy Garland), the Wicked Witch of the West remains the only threat to obstruct the path, while in Dorothy's story the way he was continually thwarted by a world full of giant spiders, wild animals, trees with sprawling branches and numerous other pitfalls (HARMETZ 1981: 31-41). The subtext consists of The Wizard of Oz, a work that has influenced much U.S. cultural imaginary and the substrate, acts as a constant counterpoint (in its film version than in the novel) to the fabric of film Wild at Heart and becomes a constant point of reference, although was completely absent from the novel by Barry Gifford.Generalizzando, both stories can be regarded as a parable of innocence, trust, trustful, kind of a variant of the "American dream".
Wild at Heart may in fact be called a "childhood film, a film of a child who sees everything in great and strong contrasts (CHION 1998: 155) in which the protagonists to soften trivial (consider, for example , the necklace of candy that gives Lula Sailor) and often speak or act with an almost childish immaturity and fickleness: Lynch spoke of the same pair as two "idiots" (Hunting 1992: 87) underlines the candor and 'ingenuity, and in this sense that should be read in the many references to the world of Oz. Another distinctive feature of the film, which takes an already distinctive style of Gifford's novel, are "the captions that mark the history of" pointing "years-months-days past, but now to relate the time required to bring that present-bazaar does not come "(AA.VV. 2000: 50) This timelessness exasperated feeds the indeterminacy and favors the presence of a halo and magical fairy tale in which fit well and explains the strange appearances and visions that alternate the characters 'normal', polarizing the story about an insane coexistence of opposites. Hence the strong stigma of good and evil within the narrative, typical character of a fable, just as the lack of irony and the presence of ambiguous scenes, poised between tragedy and comedy, such as that of the death of Bobby Peru (Willem Dafoe), whose head explodes for a gunshot like a balloon, which is thematically related to the transformation of putrescent liquid wicked witch from The Wizard of Oz. Still, Lynch pauses on some shots of the wicked witch flying on her broom, the couple beside the car and a final part of the Good Witch (also borrowed from the novels by Baum), "fairy ex machina" (CHION 1995: 145) that comes down from heaven to help the Sailor, in trouble because they suffered a violent beating inside a pink bubble (1). The simplicity of the special effects used by Lynch strengthen the accuracy and reliability of vision, making it sometimes more disturbing comic. As in every fairy tale characters are characterized by a particular aspect or element of their morbid physical or personality: Juana, the torture of Farragut, has a complicated prosthetic leg while Dell, the cousin of Lula, is an unbalanced obsessed with his physical relationship with cockroaches and Mr. Reindeer, a hit man who lives in a brothel, is a sort of "sinister Wizard Oz eccentric who sits on the toilet talking on the telephone, watching naked girls dance in His bathroom" (ALEXANDER 1993: 118-119). The sequence that takes place in Big Tuna, then, is even "a study in Lynchian abjection" (Alexander 1993: 120) in which the young couple made the acquaintance of a number of misfits: "I know it's Not Exactly Emerald City .. ., "says Sailor.
Keep in mind that not always, in Wild at Heart, the mixture of "violence and destroy affectation" (CHION 1995: 154), light and shadow, humor and fear, unable to reach a perfect synthesis. This maybe because the presence of the magical world of Oz as a counterpoint to the underlying film was not planned from the beginning, but rather an idea that has arisen during the filming, a sort of divertissement copyright may choose to support of dimension of the "visionary child" (AA.VV. 2000: 104) always present in his films, or that of multiple worlds, just as important. "If I ever go looking for my heart's desire again, I will not look Any Further Than my own backyard, "said Dorothy wisely, but in Lynch's film no one seems to have a firm base to return after being lost, and this abrupt alternation between fairy tales and hard reality seems to explain the sense of displacement continued, the lack of spatial references that pervades the film. All I dream of two young players is to reach them too, along a yellow brick road, Emerald City, which is merely a normal life, away from wicked witches, away from a world that is "wild at heart and weird on top". In this sense the dedication of The Wizard of Oz to all those who are "young at heart" fits perfectly the idea of \u200b\u200ba world lynchiana narrated from the point of view, fragmentary and unresolved youth dimension, deeply imbued with heterogeneous elements, narrative fragments, mythology of rock and advertising, not especially interested in the resolution of the plot. In Wild at Heart
issues may remain unresolved unclear, and this is because the halo derivatogli fairytale universe of Oz, where "there is a certain amount of fear, but also something to be able to dream. So, in a sense, it seems true "(Rodley 1998: 270).

shelf unit: Cinematerapia

Soundtrack: Rogue Wave - Publish My Love