Thursday, July 15, 2010

Ikusa Otome Suvia Mediafire


Fri & Fury, by-products arising from the violence now pink, and also to the dilution television movie that won the United States, prompted a run on the old VHS. However, both Norifumi Suzuki and Sergio Leone - known to the director's favorite Tarantino - are part of the twilight time of genre cinema, numerous time when this movie is not going to be sent immediately over the world, but the figures made the cinema cliche . The key was to reinvest the image with known types of the viewer, causing the main concern of the film circulated around the style of the mise-en-scène and the iconic power of the image (another favorite of Tarantino, Brian De Palma, is primarily responsible for the shift in American cinema). After the tabula rasa of the 1980s, when an access attempt to nine real Chororo lost a total loss of reference and belief (Wim Wenders, death of cinema, etc..), It is necessary to return to the old cliches to reconstruct a film that talks about the film and that, even at the expense of some deep concern with the real, make a return to join the cult image that can create difference in the world today.

All told, Fri & Fury complies strictly and uniquely your project. The film returns to the image full power of fascination that can be adding to it a whole myriad of references carefully superimposed one after another, are the films of Hong Kong (Chang Cheh, King Hu but also and Ching Siu-tung), is the Japanese animated film (anime), both the Italian westerns (via the soundtrack). The key reference works on emotional and conceptual rather than narrative, and this is the affection that we took the positive content of the film. Suzuki sets out passionately in the foreground all its stylistic obsessions, and the evocative power and deliberately over these images is born our own passion for film. He loves his stylistic devices in the same way that painters once loved his muses (the colors, as the writers love the color ink on white paper.


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