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). ^
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