Saying For 3rd Birthday

Delicious delight (and spell)

"Here I am there. That is Alex and my three droogs. " That is Pete, Georgie and Dim And we sat in the Korova Milk Bar, smashing the "Gulliver" to know what to do in the evening. The Korova Milk Bar sold "Lattepiù," that some say milk reinforced droguccia mescaline, which is what we were drinking. It's stuff that makes you strong, and placed the exercise of his beloved ultraviolence. " Impossible not to recognize this "verse." It is the beginning of Clockwork Orange the film in 1971 (forty years now) by Stanley Kubrick said that two generations of young people, at least for our times, violence is an "basic" of existence (it is of 'man and is in 'man), and has nothing to do neither with good nor evil.

Violence Kubrick to be ironic, heavy, light, cool, funny, short, can be anything. It is by definition ambiguous. The fight, but we can eliminate - in an artificial way, by conditioning techniques - only if that men may become robots, and so are unable to live fully their time. Violence can be easily handled by those familiar with the power, and in this as in other cases, it is essential to the role of those holding the wires of the fate of others ...

Robetta a bit 'strong, of course, that here or there can remember Hobbes or our Jünger or some novelist from "state of nature" as the Nobel William Golding 83. For some the figure of the hero even recalls the myth of Plato's cave, but with a path exactly opposite. But probably the only film of the '71 side more exposed than a century that saw the fall, one by one (or mix together), the philosophical categories upon which, for better or worse, the world is run until the twentieth century. Clockwork Orange is so great fresco of contemporary nihilism, whose frame is represented by beautiful images pop, clothes, furniture and common record covers of Pink Floyd or the Beatles, accessories quite natural for the universe ... not for young nothing, like a work of Jünger (think In storms of steel ) to criticize Clockwork Orange will use terms such as "aesthetics of violence" or "stage final values. "

The film is based partly biographical novel by Anthony Burgess (British author who died in 1993), a clockwork orange published by Einaudi in 1962, and is, whatever one thinks among the most important film on the international scene of the "seventh art". A film that earned four Academy Award nominations in 1972, but much less than its real value.

Extraordinary interpretation of Malcolm McDowell in the role of the adolescent Alex DeLarge, the protagonist of the film, the copings of a gang of bullies (the four "drug" in fact), but at the same time unspeakably violent and crazy about Beethoven's Ninth Symphony (the " Choral") Beethoven's. But the interpretation of McDowell - who later will work with our Tinto Brass - at ease in the role (and currency) of the English hooligan has something heroic and creative short of substantial. Who has seen the film will remember as well as "common" scenes of violence (beatings and punishments), but the key scene in which underwent a remarkable rehabilitation therapy (individually named "Louis"), Alex is treated with eye dilator, uno strumento “infernale” (e impressionante), che causerà delle vere e proprie ferire agli occhi del ventisettenne McDowell.

Il momento creativo dell’interpretazione è posto invece all’inizio del film, durante lo stupro a casa dello scrittore Frank Alexander. Nella scena è lo stesso McDowell a “inventarsi” il motivetto “Singin’ in the rain” su invito di Kubrick che aveva chiesto all’attore di canticchiare una canzone a suo piacere. Un vero colpo di genio. Una genialata (peraltro assai criticata dall’autore della canzone), che evidenzia il contrasto solo apparente di cui vive Arancia meccanica . La violenza non è figlia né dell’ignoranza né dell’insensibilità, come comunemente si pensa. Ma è una variabile del tutto “indipendente”, e non ha madri o padri che possano fare da capri espiatori. Arancia meccanica dà insomma pochi punti di riferimento: la società va governata, i fenomeni spiacevoli come la violenza non sono estirpabili, vanno semplicemente guidati entro le aree cosiddette istituzionalizzate a tutto vantaggio del potere. L’arte, la conoscenza e perfino la buona educazione ricevuta in famiglia non rendono un uomo migliore di quello che è destinato a essere. E allora? Sembra un circolo vizioso, il circolo vizioso del nichilismo contemporaneo.

Spieghiamoci meglio: secondo una vecchia iconologia, la musica cosiddetta classica va in tandem quasi esclusivamente col professore seduto in poltrona (meglio se vecchio e con la pipa in mano), con le immagini sacre (chiese o luoghi della memoria) o con le elegantissime sale da concerto; la musica dei grandi maestri del Sette-Ottocento veicola altra cultura insomma, è un anello di una lunga catena, un riflesso condizionato che presuppone la visione di immagini altrettanto nobili. Se ci si ciba di grande musica, se si possiede una spiccata sensibilità all’arte (come Alex), non si può essere dei delinquenti. È una tipica visione ottocentesca, da Manual of deviance, a positivist view that, in part, also won our imagination now.

Kubrick, a great observer / interpreter of the advance or advances, reverses this conviction. Break the chain that links images to music and artistic expressions "stereotyped" in a completely natural (as will happen in almost all his movies, think of the most famous 2001: A Space Odyssey ), uses the notes of the great Rossini as the theme for the misdeeds of the four "drug", and indeed even the "pianissimo" and "very strong" may be the orchestral source of inspiration for the violence that consumed by blows of knives and sticks. It is an extraordinary range of aesthetic revolution, upon which, perhaps, he never thought enough ... In the film, music copyrights, as a further note of ambiguity, the woman composer Wendy Carlos (born Walter, that man ), combines its electronic arrangements with the mythical "Moog", creating effects suggestive of a real contamination, played on the weight of time and changes due to inevitable progress.

An aesthetic revolution that is the language used in Clockwork Orange, a different means of communication, a monitor on the ambiguities and changes in the twentieth century and particularly in the sixties.

Obviously we can only speak of the link between art and individual sensitivity. But we can also say the language used by Alex and his gang, an artificial language also, ambiguous because a triple junction (English, Russian, and slang), invented by Burgess: the so-called Nadsat ("Gulliver" for example stands for " head "," Devocka "stands for" girl "and" Bog "for God), which symbolizes a universe" new " exclusive, made by young people and young people. Almost necessary in this "world apart" and in the sixties - when the novel was published - is the emergence of youth in full, and even more necessary in that "round him" From the wide represented "class" of violence. In this case, surely even more that in the revolution for the use of music, Kubrick was able to anticipate a time when a language "encrypted" characterizes the membership of a group.

in 2007 after 36 years from first release, A Clockwork Orange was finally aired for the first time in an Italian television late night (La7), thanks to the decision to turn down the ban under the age of 14 years (before it was instead under the age of 18). For several years, then, Kubrick's masterpiece has gained new audiences, that is always new levers with which the film seems dedicated masterpiece. It should, however, in that regard, do not forget a basic lesson: the aestheticism of violence, hyper-reality with which it is represented, is not an "invitation" to practice but rather is itself a "call "condemnation. A great director is not screaming in fact. It acts as a great essay indicates directly and silently the moon. All that is left is only our responsibility ...

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Happy family

begin by saying what Happy Days, the well-known sitcom aired in the United States since 1974 and in Italy since 1977, is not. Or rather what is not. It is easy to understand the title: America is not "bad," America at war and in war, but even that is not worried by political turmoil and some handfuls of young 'Gascon or a little' burnt '. Happy Days sitcom is probably the best known of the history of U.S. programs exported to Italy, and was born as the story of a family of Milwaukee - the Cunninghams - set in the years between the fifties and sixties, happy years (and idealized), wedged between the U.S. efforts: McCarthyism, the Korean War - ended summer of 1953 - and that much of the ponderosa Vietnam.

In particular, Happy Days, is not American Graffiti, George Lucas's film of 1973 between the first evidence of the revival Use the fifties and sixties, film to which the series is often compared, and an America that draws '62, very little "happy" .

That Lucas is an America that is going to look out over the years of lost illusions, well represented by four friends (Richard Dreyfuss, Ron Howard, Charles Martin Smith and Paul LeMat) who wander aimlessly in a night like many others, unable to imagine and adults to take a step toward the antechamber of the "dream". American Graffiti is the "prologue" of an America that approaches the brink of a psychological and information environment, the challenge in a nutshell (and thereby almost indefinable) of the thugs and their race car. One goal, one purpose, only entertainment: women, songs of DJ "Lone Wolf" and the violence of a small big city mysterious and elusive.

Happy Days version is rather tame and familiar America before Vietnam. The face of "noble" of a medal in sterling. America is a bit 'of miraculous conformist fifties, the explosion of the middle classes but also del baby boom . Happy Days celebra la famiglia com’era, come non è e come (forse) mai sarà. Papà (Howard), mamma (Marion), due figli maschi (Charles e il più noto Richard) e una femmina (Joanie). Lui possiede un negozio di ferramenta, lei è casalinga, i ragazzi sono poco più che adolescenti .

  I problemi dei Cunningham sono i problemi legati al tempo libero ( non grandi problemi) e soprattutto al futuro dei figli. La società del benessere, se è una vera società welfare, therefore allows to plan the future in the best way ...

To understand what it was America in the fifties and as the environment and everyday life influence each other, we report a step History of the United States of America Massimo Teodori (Newton 1996): "Even more important for the 'American Way of Life were domestic movements to metropolitan areas. Endless stretches of single-family homes surrounded by small gardens became the favorite house of the Americans who left the centers cities to live in what is called suburbs, with no civic centers and social facilities, dominated by private existences contained in the center. Automobiles, appliances and monoabitazioni represented, at the same time, the aspiration of the average landed at the social welfare and the limits of his life ... It was in this context, dominant in much of a sense of urban conformity pervaded the entire society ... ".

The Cunningham are surrounded by friends. Within the show the Generations are left behind ( Happy Days is not the Rebel Without a Cause James Dean!). Parents and children (though fans will remember that the eldest son of Cunningham, Charles, appear only rarely and then disappear completely ...), are divided roughly the same friends, or better: the relationships between adults and children are the utmost respect: the parents accepted the company of children and the children did not dare delegitimize the role of parents. Happy family in short, fully justifying the title of the series .

Ralph Malph e “Potsie” Webber, i due amici di Richard Cunningham/Ron Howard (in seguito, come sanno i cinefili, diventato uno dei registi più importanti di Hollywood), sono due tipi un po’ grulli, e sono tutt’altro che teppisti da “notte brava”... Anche Ralph e “Potsie” dunque offrono leggerezza alla sit-com: battute, risate, risatine e condotte un po’ maldestre, narrano di una certa spensierata “felicità”, soprattutto adolescenziale. Lo si diceva negli anni Settanta: una “felicità” che può essere di questa terra e soprattutto di un’America ricca, pacifica e moderna …

Everything so Happy Days? Not really. Cunningham is one of the family show a light, enjoyable, maybe at times "fairy" - the most classic of American dreams - but not a show bland or, worse, insincere. Gradually, within the 11 television seasons - 255 episodes in all - in fact the body will take the shape of a new idol for those who have never stopped loving the "disorder" (even if a disorder is a bit 'soft ). This is the mechanic of Italian origin known as Arthur Fonzarelli Fonzie .

Today, especially in Italy, after more than thirty years no one has forgotten him and who played him, that the New Yorker Henry Winkler. Or because Happy Days has been repeated for an infinite number of times - even now is planning for Mediaset - either because of that Fonzie is an unforgettable figure, indeed the limit. It is rebellious, but also reassuring, it is nice and communication (his catch and his "tics" were famous), and is rational, judicious and "neutral" quanto basta .

  Motorizzato-latin-lover carismatico nella sua “uniforme” anni Cinquanta formata da Jeans, stivaletti, maglietta e inseparabile giubbotto (il più delle volte di pelle nera), Fonzie, a suo modo, è anche molto elegante… è il tocco da maestro per l’America dei Settanta, è il cattivo non-cattivo, è la “quadratura del cerchio” all’interno di un magmatico ambiente giovanile. È il “ribellino” che tutti vorrebbero in famiglia. Fonzie è un antiborghese, che sceglie in assoluta libertà la quasi-irreggimentazione family. The witness "living" in open rebellion and that the family can be a normal (happy) third way.

At first glance, is the classic bully fifties, like the young mechanic among the stars of American Graffiti (what will the race car) . But Fonzie is more of a bully and a night owl too. He has no family and "adopt" its (the family, of course, is that of Cunningham) is a romantic rebel who loves freedom, is brave and accept challenges but that is not violent, not a provocateur, not a time waster. Appreciates honesty, is very respected and respects those who respect him. Arthur finally has an unassailable moral (read between the lines): all you need to earn it is, indeed deserve, above all must know how to keep ... In short, Arthur is basically a good, a kind of James Dean (which is his idol), which went to his death and chooses life for themselves and for others. A guy who has noticed that the rebels-without-cause they have a lot to lose. A good family (acquired), for example, with mum, dad and brothers who give respect, affection and understanding .

Fonzie is a nice-and-damn that rather than opt for the hell chose the more "bourgeois" purgatory. Not really a fool would say there ...