Il mondo di Art
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Conor Fynes from Prog Archives
12 lug
Hailing from Italy is another great offering from one of the world’s most prolific regional prog music scenes. As mild mannered and personable as any man you will meet, Nicola Randone introduced me to his musical world with his latest album, ‘Linea Di Confine,’ which after repeated listens, blew me away and left me wanting more of his music. After having spent many hours wrapped up in the symphonic rock of Randone, I can safely say that this group’s work ranks up there as one of my favourite recent musical discoveries. Taking the musical style developed by generations of Italy’s best modern musical minds and putting his own personal spin on it, Nicola Randone is certainly consistent in terms of the quality of his material. And ‘Nuvole Di Ieri’ is no exception to this rule.
Like much of his other work, Randone lets this album flow seamlessly from one track to another; giving the impression that ‘Nuvole Di Ieri’ is actually the title of a forty minute song, instead of merely an album. At eighteen tracks, there are a foray of different musical ideas and moods that the music cycles through. It does not take long for things to get rolling; a short prelude introduces one of the main recurring motifs of the work before one of the most exciting tracks ‘Partenza’ comes into play. From this first ‘actual’ song alone, it’s not in question that Nicola and his fellow musicians are highly skilled and talented at their work. Although Mr. Randone has a dayjob as a graphic designer (as can be seen in the band’s beautiful album artwork) and only pursues his music out of love for the art, Randone is easily talented enough to be a full-time, professional act. On top of this skilled musicianship, the music here is very tastefully produced and arranged; there are plenty of little nuances in the music you likely will not pick up until after a few intent listens.
While the fact that ‘Nuvole Di Ieri’ is a song cycle makes it all the better in terms of cohesion, I sometimes wish that alot of the musical ideas could have been developed more and explored in further detail. While there is nary a single minute of music here I don’t find excellent or at least very good, the sheer amount of concepts that roll through the course of the album means that there is not very much time for most of the melodies and concepts to establish themselves before the album moves onwards. With many of the tracks averaging around the two minute mark, ‘Nuvole’ is certainly not the sort of work that can be analyzed track-by-track, but rather as a whole.
More so than the other music I’ve heard from Randone so far, this is a highly guitar driven album. While there are plenty of vocal and symphonic arrangements to give depth to the music, you will not go a few minutes here without hearing a guitar solo or flourish from the man himself. While heavy concentration on guitar has led to me appreciating a few albums in my collection less, the guitar work here never gets tasteless. While many contemporary guitarists exchange taste for technical flair, the guitarists here manages to make their guitars sing, all the while throwing something technically impressive our way to keep us on our toes. Being that this is a very guitar-driven album, there was definately consideration in getting a fitting tone for the axework here. Much of the lead work and guitar work here is very close to the sort of stuff that made Brian May of Queen famous for his skills. As much as he is a great composer of epic song suites and a skilled tenor, Randone really excels at his mastery of the guitar. Lead work from guitarist Marco Crispi is also a real highlight here.
‘Nuvole Di Ieri’ is a great offering to the Italian Prog scene, as well as a fit addition to Randone’s discography. While the style is more or less the same as the rest of his albums and works like ‘Linea Di Confine’ seem to have more standout moments and leave a somewhat stronger impression, ‘Nuvole’ is definately an album that will be getting repeated plays from me over the years.
Conor Fynes from Prog Archives
12 lug
It seems that every band at some point in their career, comes out with an album that while not necessarily distinguishing itself in terms of quality, is decidedly different from the others in some aspect. With the third chapter in the musical saga of Nicola Randone, a much more laid back and song-based approach to record making is used, to mixed success.
While one of the things I really love about the music of Randone is his ability to make cohesive song suites that encompass the entire course of the album, each track here feels very individual and separate from the rest. Although this is the way that many pop/rock albums are intended to be, Randone has proven itself to be a group that can do much more. This aside however, ‘Ricordo’ is still a very good piece of music, although it doesn’t quite compare to some of the masterpieces the band has released over time.
‘Ricordo’ (italian for ‘memory’) is more or less set up like Rush’s seminal ’2112′ record; a twenty minute ‘epic’ at the beginning with five shorter length songs afterwards. Having greatly enjoyed Randone’s music throughout all of what I had heard so far, the prospect of a twenty minute composition was pretty exciting. Unfortunately, while the music is pleasant with quite a few excellent parts, it didn’t quite match up to my expectations. The idea of a great epic is to cycle through a great many different sounds and emotions while making it all still sound like a single piece of music. While it does grow with each listen, the epic ‘Jill’ could have been so much more with the sort of dynamic range that is present on alot of other Randone albums. The highlight of ‘Jill’ would have to be the vocal work, both male and female. There is definately the sound here of a Spaghetti Western epic in the works; even the FX whinnies of horses help to reinforce this notion… However, unlike a proper Western, there doesn’t seem like there is proper tension (the archetypal ‘showdown’) towards the apparent ‘climax’ of the song. In any case however, there are some brilliant sections where Nicola enlists the talents of singer Maria Modica which work very well over the soothing symphonic arrangements underneath.
The rest of the songs have many of the same strengths and weaknesses that the epic did. Things feel a little too subdued with this one; mellotron, keyboards and soft vocals take place where heavier organs, and electric guitars took the forefront. While it’s definately good to do something different in terms of an album, I have to admit I enjoy Randone when there is always something new and exciting coming around the corner for each track instead of something more uniform. Of the shorter tracks, my personal favourite would probably be ‘Culia’ which at seven minutes, is a mini epic in itself; it almost feels like it covers more ground than ‘Jill’ itself, despite being less than half of the length. Half way through, some of the harder rock starts pouring through, which sounds all the more exciting due to the inherent lack of it over the course of the album.
The performance in terms of musicianship is very professional, but once again; I cannot praise it as highly as on masterpieces such as ‘Nuvole Di Ieri’ and ‘Linea Di Confine,’ simply because there is less diversity and technicality here. Still, the instruments are played with feeling to them, and Nicola’s voice is as strong and emotive as ever. The production for some reason however, feels a bit more lo-fi than even on the previous release ‘Nuvole Di Ieri,’ which sounded crystal clear. Here, some of the electric guitar work sounds like it wasn’t mixed quite as well as it should be, which is a shame due to the fact that some of the best sections on this album are driven by axework.
It’s not that I instantly disdain Randone for making something that is more ‘mellow’ than their other albums; I love Opeth’s ‘Damnation’ as much as anyone else out there. The fiery passion here just doesn’t seem to shine out as much. While this feels like a bit of a low point, theres still alot of beautiful sections and gorgeous keyboard work to dive into. Certainly an album that a mellotron fan will love! A lower point of the Randone saga, but still competitive with much of the other music coming out of the modern prog scene.
Hans Ravensbergen from ProgWereld
7 lug
Bij Progwereld hebben wij de wijsheid niet in pacht. Het zal menigeen vast verbazen, maar na bijna tien jaar moet dit hoge woord er maar eens uit. Zo, pffff, héhé, dat lucht op… Ook wij gluren wel eens over de schutting van ons progressieve tuintje in het perceel van de buren. Daar hebben wij geen enkel probleem mee omdat wij weten dat de buren ons ook in het oog houden, zonder dat wij overigens naar elkaar roepen dat het gras er groener is.
Ondergetekende is zo’n recensent die er gewoon voor uitkomt de buren in het oog te houden. En laat hij daar in het tuintje van zijn overbuurman nu een fraai plantje ontdekt hebben, wat bij nadere verkenning Randone blijkt te heten. Na enig spitwerk in de encyclopedie voor mensen met groene vingers blijken de zaadjes voor dit fraaie plantje te zijn gekweekt door ene Nicola Randone, nota bene een Italiaans grafisch ontwerper. Deze Nicola Randone blijkt al geruime tijd bezig te zijn om in zijn achtertuin in Catania iets moois te kweken. Al experimenterend wist hij vanaf 2002 een viertal fraaie plantjes te kweken die het best wortel bleken te schieten in tuintjes die vol stonden met een ander meer populair klinkend ras. Zijn laatste kweek “Hybla Act 1” strekte zijn wortels echter uit naar het perk waar progressieve zaden waren geplant.
Op ons beleefde verzoek wat van zijn nieuwste zaden te sturen werd door Randone gelijk positief gereageerd. Wat heet! Zijn nieuwste product “Linea Di Confine” bleek verpakt te zijn in een paar centimeters dik boekwerk met daarin het complete verhaal over het ontstaan van zijn nieuwste creatie, inclusief fraaie afbeeldingen (het deed me ook weer even denken aan “Not As Good As The Book” van The Tangent). Er was een aparte verpakking aan toegevoegd waarin zich al zijn eerdere kweken bevonden. Je kunt dus wel raden hoe het balkon van ondergetekende er nu uitziet.
Wanneer we nog even teruggaan in de tijd leren we dat de carrière van Randone feitelijk in een stroomversnelling kwam na het uitbrengen van zijn debuutalbum “Morte Di Un Amore”. Dit album kwam onder de aandacht van Beppe Crovella, producer en toetsenist van de groep Arti E Mestieri. Via Crovella kon Randone meedoen aan het muzikale project “Kalevala” van het Finse Colossus, waarvoor hij het nummer Runoaanleverde. Het gaf hem naamsbekendheid die zich uitstrekte tot ver buiten de Italiaanse grenzen. Door deze aandacht en het uitbrengen van de 45 minuten durende suite “Nuvole Di Ieri” besloot hij om definitief de groep Randone te formeren.
Eigenlijk zet S.I.B. (Prologo) al gelijk de juiste toon voor het album dat ik hier bespreek. Het is een atmosferisch en lekker symfonisch klinkende instrumentaal nummer. Nicola Randone blijkt in het verdere verloop van deze cd ook nog eens over een prettig stemgeluid te beschikken. Hiermee weet hij gevoel en emotie in de soms licht theatrale nummers te leggen. Maar is dat niet een van de eigenschappen van Italiaanse muziek? Luister maar naar Differenze met een catchy refrein. Gevoel voor dramatiek wordt neergelegd door de stem van Martin Luther King, die op het einde van dit nummer nog een rol speelt. Misschien niet erg origineel, maar in dit geval wel functioneel.
Er wordt op het hele album gebruik gemaakt van een afwisselend scala aan toetseninstrumenten. Zo horen we Mellotron in Primo Dell’anno,Preghiera Di Un Re en La Caduta Della Mia Stella. Gevarieerd gebruik van piano speelt een rol in La Cella Degli Amori Estinti (met een intro dat sterk doet denken aan muziek uit “Once Upon A Time In The West”), Buona Notte (inclusief het geluid van een speeldoosje) en Preghiera Di Un Re. Orgelspel waaronder Hammond valt onder meer te beluisteren op Ritorno en het gevoelige 22 Aprile (waarin ook Mellotron en piano voorkomt).Een speciale vermelding verdient het gelikt klinkende titelnummer Linea Di Confine, waarin op het eind de van emotie doordrenkte stem van Randone te horen valt. Het is een meeslepend nummer dat gelijk staat aan een kleurig tulpenveld waar je geen genoeg van kunt krijgen en je keer op keer wilt beleven.
Word ik doorgaans wat onrustig bij een cd met een speelduur van bijna 80 minuten, “Linea Di Confine” heeft mij geen minuut verveeld. Hiervoor is de variatie in de lekker klinkende muziek en de opbouw van dit album verantwoordelijk. Liefhebbers van Marillion, IQ en Genesismaar ook die van toetsen georiënteerde poprock kan ik deze schijf zeer warm aanbevelen. Ik ga mijn plantengieter nog maar eens pakken.
Hans Ravensbergen
Heartless
23 giu
Un film a tratti disturbante, poetico, esistenzialista, visionario, credo si tratti di una di quelle opere che o ti fanno impazzire a primo sguardo o molli dopo il primo quarto d’ora imprecando contro la tendenza di questi tempi a mischiare l’horror con la poesia.
Beh, io l’ho trovato geniale, tral’altro l’interprete principale mi aveva già favorevolmente colpito in Across the Universe anche se qui recita un ruolo molto diverso.
Sono rare le volte in cui un film, alla fine, mi commuove… succede quando la storia è struggente, quando c’è sentimento e cuore (non miele naturalmente), ma anche quando hai la sensazione di imparare qualcosa.
Come è mio solito non anticipo altro perchè è giusto che possiate gustare questo film senza alcuna idea di ciò che vi aspetta.
Alla prossima
arcane beatiful from Prog Archives
17 giu
I love this website so much, especially when you win stuff, like this album.
I woke up today, and was suprised to see a big package in the post. I noticed it was a book? What the hell, I knew I won an album from a band called Randone, but I didnt know it was a book.
Yes this album does come with a book…in Italian.
Now, I did like the idea of a book accompanying an album (The Tangents Not As Good As The Book was quite funny.) But because it was Italian, a language that I do not know, I was sad because it looked to be quite good, and I couldn’t be arsed to learn Italian just to read this book ( I do know enough French & Spanish t guess some of it).
Now, onto the album.
It was suprisingly great. It really was a super dooper album from a really unheard of guy in my opinion. (Maybe he is quite big in Italy)
This album has a very neo prog vibe to it, like Marillion & IQ, but at times, splots of Genesis can be heard.
Nicola’s voice is pretty interesting and the Italian language realy does flow well with singing, as you would notice with Italian arias.
This was also sent to me by Nicola Randone himself, which is quite cool, but I feel sorry I didn’t pay for it, oh well, his loss, my gain hahahaha.
1. S.I.B. (Prolouge) – Amazing build up in atmosphere. Fantastic instrumental work. 9/10
2. Primo Dell’Anno – Very Marillion. Great use of mellortrons. The vocal harmonies are very beautifull. Love the circus song at the end. 9/10
3.Differenze – Just an amazing piece of melodic prog. The synths in this song rule. Great vocals from Nicola. Was nice to hear a Martin Luther King speech at the end. 9/10
4. Promesse – Whispering in Italian always sounds quite sinister and almost archaic to me. Amazing use of keyboards and weird use of sound effects. 8/10
5. La Cella Degli Amori Estinti – Very nice & timid. Lovely acoustic solos. 8/10
6. Spreanze – The instrumenal section sounds like Tetris haha. Quite eccentric but still great. 8/10
7. Emanuela – Wow, what a vocal performance. Just overall an amazing piece of music. Quite beautiful as well. Again, some amazing spanish acoustic work. 9/10
8. Linea Di Confine – Suprisingly very catchy. Just amazing in every possible way. The vocals really show some amazing emotion. The video for this song is also pretty cool. 10/10
9. Devresti Non Scordare – A beautiful cheesy ballad. Great chorus. 9/10
10. Buona Notte – Reminds me of an Eels song. Love the toy piano in this song. The ending is weird. 8/10
11. Preghiera Di Un Re – Incredibly beautifull intro. The piano work in this song is amazing. I love the electronica like backbeat of the song. Again the mellotron is used wonderfully. 9/10
12. Ritorno -Very Genesis. Great changes in mood throughout. 8/10
13. 22 Aprile – Quite laidback and soothing. Great organ work. 8/10
14. La Caduta Della Mia Stella – Beautiful atmospheric guitar and mellotron work. Suprisingly eerie at times. Mostly another laid back, almost ballad like song. 8/10
15. Amori – Again it reminds me of the Eels, although everybody does. It’s a wee bit too similar to the last song. The instrumental section is very weird and has a very Genesis meets latin vibe to them. 7/10
16. Epilogo – A nice way to end the album.Very beautifull ending. 8/10
CONCLUSION: I’m now able to look without fear into the world of Italian prog. Thank you Randone.
luca alberici from Tales of Wonder
13 giu
Mai come in questo caso è fondamentale e funzionale al commento della nuova fatica discografica di Nicola Randone “Linea di confine”, conoscere l’evoluzione artistica che ha portato l’artista ragusano (ma catanese d’adozione) dal rock sinfonico degli inizi (“Morte di un amore” del 2002) al rock progressivo più ricercato del successivo periodo Electromantic, culminato con l’eccellente concept storico “Hybla Act 1”.
“Linea di confine” esce dopo quattro lunghi anni di faticosa gestazione, durante i quali molti di noi probabilmente si sarebbero aspettati la preparazione ed il concepimento della seconda parte del suddetto “Hybla”. A quanto pare le ragioni del cuore hanno prevalso sulle vicende dell’antica Ragusa ma, a giudicare dal risultato, ce ne faremo certamente una ragione.
Sotto l’aspetto stilistico non parlerei di disco della svolta: molto più semplicemente in esso convivono, ben calibrati, il rock cantautorale degli inizi (ricordo veri gioielli come “Visioni” e “La giostra”) ed il rock progressivo più elaborato delle ultime produzioni. E’ proprio questo che rende “Linea di confine” il suo disco più maturo e convincente, quello che verrà ricordato per il saggio dosaggio delle componenti cantautorali e progressive che l’hanno accompagnato in 10 anni di attività.
Di svolta, piuttosto, parlerei riguardo alla sua carriera: ritenendo di non essere affetto dalla cosiddetta sindrome de “l’ultimo disco è sempre il più bello” ma neanche credendo che Nicola riuscisse a superare il già buon livello creativo degli ultimi lavori, sono rimasto abbastanza spiazzato dall’impatto emotivo che mi ha procurato “Linea di confine”.
Ho trovato il giusto equilibrio tra sentimento, espressività, ricercatezza di suoni e sfumature, una miscela adulta al punto giusto ma anche fruibile al grande pubblico che, tradotto in illustri riferimenti, è come immaginare un incrocio tra Le Orme, Franco Battiato e più in generale il rock progressivo italiano, di fatto le influenze più determinanti per Randone.
Le liriche sono pregne di sofferenza e raccontano di una costante ricerca e comprensione dei motivi che hanno causato la fine di una storia d’amore importante; un percorso interiore profondo che inevitabilmente condiziona anche l’umore della musica, spesso triste, ma a tratti anche decisa e talvolta sognante.
Anche la “verbosità eccessiva” che gli avevo addebitato in passato si è smorzata; qui musica e parole non fanno più a cazzotti e si completano in armonia.
Non c’è più tempo per entrare nei dettagli dei singoli brani, ma una menzione speciale va attribuita al meraviglioso blocco iniziale, con lo splendido “Prologo”, la coinvolgente “Differenze” e la sognante “Promesse”, quest’ultima con un finale da brividi lungo la schiena. Complessivamente il caro vecchio ed ipotetico lato A è più efficace ed ispirato del lato B.
Chissà che questo disco abbia il potere di far varcare a Nicola Randone quell’immaginaria linea di confine che separa lo status di artista di nicchia da quello di artista affermato e seguito da folle più numerose. I numeri li avrebbe …
Luca Alberici
recensione da ProgWalhalla (Erik Neutebom)
25 mag
- Here’s already the fifth album of the new Italian band Randone that is build around multi-instrumentalist Nicola Randone. Their previous effort Hybla Act 1 sounds wonderful with exciting vintage keyboards (by Nicola and legend Beppe Crovella) but a bit too fragmentic in some tracks. On this new album again Nicola and Beppe Crovella deliver a splendid vintage keyboard sound in more mellow oriented progrock: a lush symphonic rock sound with Hammond organ and a violin-Mellotron solo in the opener S.I.B. (Prologo), a pleasant blend of soft Hammond , warm Italian vocals, soaring Mellotron and finally a howling guitar solo in
Promesse, a slow rhythm with acoustic guitar runs and classical orchestrations in the titletrack, Grand piano, intense vocals and majestic choir-Mellotron eruptions in Preghiera Di Un Re and impressive violin – and choir-Mellotron waves in Ritorno. But don’t get the impression that this is music to get asleep because on the right moments Randone delivers some surprising and exciting breaks like in Speranze (catchy synthesizers and fiery guitar),
Buona Notte (cheerful climate and female vocals) and Ritorno (blistering guitar work and delicate choir-Mellotron). My highlight on this pleasant album is the final composition Epilogo: it starts mellow with acoustic rhythm guitar, fragile electric guitar and wonderful piano, then the music slowly culminates in a compelling grand finale featuring breathtaking vintage keyboards and a sensitive guitar solo with howling runs, this is Prog Heaven!
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- Dit is alweer het vijfde studio-album van de Italiaanse groep Randone die is opgebouwd rondom multi-instrumentalist Nicola Randone. Het vorige album Hybla Act 1 vond ik fraai maar soms wat te fragmentarisch. Desalniettemin is het is genieten van de schitterende ‘vintage keyboard sound’, verzorgd door Nicola en de fameuze Beppe Crovella. Die spelen ook hier weer samen op dit prachtige album dat veelal wat ingetogen en dromerig klinkt: een heerlijk vol symfonisch geluid met Hammond orgel en een viool-Mellotron solo in de opener S.I.B. (Prologo), een prettige mix van zachte Hammond klanken, warme Italiaanse zang, ijle Mellotron en tot slot een jankende gitaar solo in Promesse, een slepend ritme met akoestische gitaar loopjes en klassieke orchestraties in het titelnummer, klassieke piano, intense zang en majestueuze koor-Mellotron erupties in Preghiera Di Un Re en imposante viool – en koor-Mellotron golven in Ritorno. Toch is het bepaald geen slaapverwekkende progrock want op de juiste momenten gooit Randone er even verrassende als opwindende breaks uit zoals in Speranze (aanstekelijke synthesizers en felle gitaar), Buona Notte (vrolijk ritme met vrouwelijke zang) en Ritorno (gierende gitaar en zware koor-Mellotron). Mijn hoogtepunt op deze zeer aangename CD is de afsluiter Epilogo dat rustig begint met akoestische slag gitaar, fragiele elektrische gitaar en mooie piano en vervolgens uitmondt in een zeer meeslepende finale waarin adembenemend vintage toetsenwerk als ondersteuning van een gevoelige gitaar solo vol huilende klanken, dit is de ‘zwevende hemel’!
Erik Neuteboom
recensione da Unprogged (Bernardo Pacini)
22 mag
Nicola Randone è un’artista siciliano che si è fatto un nome sulla scena progressive rock italiana grazie al suo talento particolare: se n’è accorto anche Beppe Crovella (Arti e Mestieri), che lo ha voluto nella famiglia di Electromantik Records, la sua casa discografica.
La nuova release di Randone è passata inosservata da tutte le webzine italiane specializzate, ma noi non potevamo esimerci dal riportarvi le nostre impressioni riguardo a questa interessante opera artistica.
Questo lungo album è però qualcosa di più che un semplice cd: l’edizione per collezionisti è composta infatti dal cd qui presentato e da un libro, scritto da Nicola Randone stesso. La musica avvolge perfettamente le tematiche libro, che, nei contenuti, si muove sulla linea di confine che corre tra il nostro mondo (e le sue delusioni) e il mondo dei sogni (e le sue illusioni).
La trama, come ogni trama, sgorga da uno struggimento dell’autore, da un evento drammatico (non tragico!) che ha sconvolto la sua vita. E Randone, in grande sincerità, nella nota che apre il libro, ci racconta che il libro parla di una storia d’amore conclusa, dello smarrimento e dal dolore che ne seguono. Ma questi sentimenti sono traslati, sfumati, forse metaforizzati: l’occasione nasce da un viaggio in Norvegia, la passione per la mitologia norrena fa il resto. La storia, così deformata, nei suoi tratti,smussata nelle sue implicazioni personali più angolose, permette all’autore di esorcizzare la sua sofferenza e, anzi, di darle un senso.
Se il libro si muove a cavallo tra mitologia e fantasia, proiettando l’opera nel contesto favolistico, la musica segue il sentiero in maniera fedele. E come, se non rievocando le belle atmosfere del progressive sinfonico italiano?
Nicola Randone compone un album che ci parla sottovoce, introspettivo, dalle tinte docili e dolci. E’ privilegiata certo la vena cantautoriale dell’artista di Ragusa, capace di alleggerire questi 80 minuti con la sua voce lineare, poetica, evidentemente influenzata dallo stile di Battiato, sia nei testi che nel timbro. Le tastiere, costantemente impegnate a seguire le semplice linee melodiche cantate da Nicola, non risultano mai invadenti né, di contro, si riducono ad essere accessori o, peggio, inutili.
La musica dei Randone è elegante come i paggetti che reggono il velo della sposa. Come non pensare alla Pfm, come non pensare agli Osanna o alla dolcezza de La Locanda delle Fate durante l’ascolto di questo bell’album?
Il tratto interessante, come detto, di quest’opera è, per concludere, l’approccio pop che caratterizza queste sedici composizioni: non ci sono anomalie pentagrammatiche, ma neanche miele o plastica confezionata. A tratti -sarò pazzo- Randone, vuoi per la sua semplicità, vuoi per il tono fiabesco e disincantato dei brani, mi è sembrato la versione progressive diTricarico. E sia, chiaro, questo per me è solo un complimento.
Bernardo Pacini
Mary and Max
20 mag
(non contiene spoiler)
Di tanto in tanto, soprattutto quando mi sento ispirato e quando ciò che vedo leggo o ascolto mi colpisce particolarmente, mi concedo delle mini recensioni senza alcuna pretesa per condividere il mio entusiasmo con il pubblico del web. Questo pomeriggio, navigando in rete, mi sono imbattuto in una pagina di IMBD (www.imbd.com) dov’era possibile visualizzare un elenco di film per genere ordinati sulla base del gradimento popolare. Tra i primi posti del genere animazione c’era proprio Mary and Max, un film australiano uscito l’anno scorso e che l’Italia ha naturalmente ignorato. Normalmente non sono un tipo da film d’autore sempre in cerca di chicche da fanatici però sono un appassionato di film in stop motion e questo sembrava meritare parecchio. Un giro sul sito http://www.maryandmax.com/, molto ben fatto e decisamente attraente, e via alla ricerca di una versione del film che fosse almeno sottotitolata in italiano.
Dopo cena ho proposto la visione del film a Veronica e… via, si comincia.
Sin dalle prime immagini questo film ti cattura immediatamente: tra il forte contrasto di un mondo a scale di grigi con qualche barlume di colore e queste caricature umane assolutamente inusuali, ci si sente trascinati in una realtà parallela; impossibile sganciarsi… una voce fuori campo racconta di due personaggi: una bambina di 8 anni ed un uomo di 44, una in Australia l’altro a New York che cominciano ad intrattenere una fitta corrispondenza alla vecchia maniera, e cioè carta e francobolli, entrando ognuno nella vita dell’altro con un’autenticità ed uno spessore umano degno dei migliori Cohen.
Sono tanti i valori in campo, l’amicizia sopra qualsiasi altro, e poi la poesia delle immagini, dolci e delicate ma anche dure e disturbanti, strappano qua e là lacrime di commozione difficili da trattenere.
Il film termina, io e Veronica ci scambiamo un’occhiata di stupore per il modo in cui un semplice cartone in stop motion, incredibilmente escluso dalle nostre sale, sia riuscito a travolgerci per la sua originalità e per la potenza di ogni messaggio.
Non aggiungo altro per non rovinarvi la sorpresa, fate solo attenzione alla lattina con la scritta “I’m Sorry” ed a tutto quello che segue e capirete che l’amicizia e la poesia a volte valgono più di 100 libri di autorevoli dottori.
Da vedere assolutamente… 10+
