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Ocean in a rainy day

Pause.

Here are the thoughts of water. And then the wind.

Up to dissolve.

Solo. I want to be that gull.

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"It only remains yet to respond to a question that, inevitably, is made by each listener or reader when he discusses the regularity of our facilities under the arrangement: "But did you know this in advance ? You had planned this in advance ? Did you planned everything in advance ? ".

A similar question usually betrays complete ignorance of those who puts it about the practical arrangements of the creative process.

is completely wrong to think that, once the script - more or less "iron" that is - it is also concluded, with a meticulous pre-determination, all the creative process and the discovery of its rigorous compositional formulas.

Things are not so or, at best, are only very partially so. Especially when the game is in a building of such "symphonic" in which the pieces are related to the dynamic relationships suggested by the articulation of a broad theme of emotional needs and not on the basis of pure or pure narrative verisimilitude.

But the creative process is closely connected with another fact, namely the fact that during the work are never formulated those "how" and those "why" which in turn determine the selection of the "matches" and rhythms. While working an appropriate choice does not arise from a never logical evaluation, but was born [...] cedure.

can not build an idea of \u200b\u200bintellectual deductions, expressed in the framing and compositional processes.

Involuntarily People tend to think of Oscar Wilde who said that in the artist's ideas are not born "naked" but on the contrary, already dressed in marble, colors and sounds.

think the artist directly at manipulating his tools and materials. His thinking is converted into direct action, made not by a formula but by a form. (I please forgive this pun, but it expresses tremendously well the mutual relationship of all three elements).

course, even in this "spontaneity" the necessary regularity, the basis and rationale of this own and not another provision, through the filter of consciousness (sometimes happens even to be made to loud), but the consciousness not committed in the 'explanation' (doskazyvanie) of these reasons, it is exclusively the building itself. pleasure to decipher these "foundations" is part of the subsequent analytical work that is done sometimes many years after the "fever" of the 'Act' creative act when Wagner was referring to the height of his creativity, after refusing to cooperate in a theoretical journal founded by his friends wrote: "When you act there is nothing to explain" .

But why the fruits of the 'Act' creative are less stringent and regular, as we have tried to show with our study of the materials assembled. "

by SM Eisenstein, Vertical mounting

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The man who will

Martina does not speak due to trauma. She has a brother who died between arms, and that feeling has led to the terrible silence. Despite this, do not miss a detail of everything he sees. Martina is curious and intelligent. Point one: the sense of death is not the word. The word is culture. The death of the war wipes out culture.

Martina is going to be born a new baby brother. The day when the baby is born, is the day when Nazi dall'eccidio Sonnenberg is upset. That's what I especially remember our history in the name of Marzabotto. The Nazis killed anyone, without mercy. Women, men, children and elderly. Martina is one of them. But Martina - lost his mother, grandmother, grandfather, father and uncles - has a far more important tasks to be pursued: to save his little brother. Rather, finally giving life to her little brother. He does so with a delicacy disconcerting. Heartbreaking, but never in excess. Rises from a pile of corpses and ran to the boy, who one day soon, he hides it, the nurses, the vigil. When Martina is holding her little brother, once again, a little brother alive, finally opens his mouth and sings. Sings a lullaby. Second point: the way of life restores the word. The word is culture. The culture used to defeat death of mechanized war.

The man who will film is a delicate and lyrical. Silent. From the beautiful photography. From the direction that captures every detail because it is the director of the eyes of a child.

The man who is actually a boy, a boy, a child unaware of the terror and pain around him. The woman, who was and that is, is the critical step from one generation to another. It's that he has seen and that has to teach, which must feed to the sound of life (and culture) who is after her.

Perhaps it is no coincidence that in this film we are talking about life , death, war , word. Ie of feminine nouns.

The man who will, despite the masculine noun "man", a film is extremely feminine. Men are almost a side dish. The men are those who kill and who are not devoted many sequences. Instead it always about women: the mother of Martina, the belly, which continues to work and sweat, the aunt of Martina, who knows the city, which was in Bologna and who dreams of a different future, and the other aunt Martin, grappling with the discovery of love, Martina's grandmother, who although older work and effort as the daughters. The teacher and catechist Martina, always close to you, your injury and the locals. And then there Martina. Through these women pass the care of family, home, the care of war wounds of men, the meticulous preparation of food, it is women who bear the oppression of the Nazis, they say the lies that hide the partisans. The same Martina takes care of his grandfather in bed, the cure, the feeds, the company makes.

The man who will come and see the world not only through the eyes of a child, but also through the eyes of a woman. The man who will tell us of little men and little women, men and women come in spite of their simple story. Here: History. Feminine noun. Martina is the only survivor. The only one who can tell and actually make history. Without a story with words, the story does not exist. The final song becomes emblematic. One way to look after his little brother, a way to narrate the events. It is the force that can give Martina all'inenarrabile word.

The man who will have the great merit of showing us the events transforming them into art, without lapsing into mere reality or empty rhetoric. The meaning is a story that is charged with a delicate lyricism that mutes. Yes, dumbfounded.

The reaction of the viewer at the end of the film is to remain silent in the face of the wound and in this poem. A wound in Italian history that becomes poetry. Almost intent cathartic, not too far from that tragedy makes us immediately present. We men and women of today are the man who would come and that he should understand the teachings of men and women who have been.

Martina (without exaggeration one of the best characters of the entire Italian cinema) is always there, present with his mother's moving direction. Martina is the mother because, against the war, he chose life. Her femininity, of course, no way reduces the woman's body as a woman in labor. His being a mother is beyond that. First, a head work and observation. With his eyes Martina has chosen poetry. With his singing has given rise to a story.