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Introduction
‘The labyrinth of the faun’ (2006) took shape in the imagination of Guillermo del Toro already in 1993, when he began drawing ideas and images in the notebooks he always carries. The Mexican director responded strongly to the horror that stalked under the surface of the classic fairy tales and had no interest in making a movie for children, but a film that seemed horror in the eye. He also rejected all the troyed ideas for the creatures of the film fantasy and created (with its photography director, art director and makeup artists of the Oscar) a faun, a frog and a horrible pale man whose skin hangs in folds of his bad body.
Time is 1944 in Spain. Bands of anti -Franco combatants hide in the forest, encouraged by the news of the Normandy landing and other setbacks for Franco’s friends, Hitler and Mussolini. A troop of Franco’s soldiers is sent to the remote district to hunt the rebels, and is directed by Captain Vidal (Sergi López), an undercover sadistic as a rigid military. When commanding an old and gloomy mill as his headquarters, he moves with his new wife, Carmen (Ariadna Gil), who is very pregnant, and his daughter of his first marriage, Ofelia (Ivana Baquero). The girl hates her stepfather, who in fact values Carmen only for reproduction purposes.
Developing
Shortly after arriving, Vidal kills two farmers whose rifles, they say, are only to hunt rabbits. After they die, Vidal finds rabbits in their bags. ‘Next time, look for these fools before wasting time with them,’ he tells a subordinate. Orders Mercedes (Maribel Veru), his main servant, who cooks the rabbits for dinner: ‘Maybe a stew’. What a vile man. Ofelia meets a strange insect that looks like a religious mantis. He shudders inside and outside the frame, and reminds us of Del Toro for the small and strange creatures (as in ‘Cronos’, with his penetrating error of immortality).
The insect, friendly and insistent, seems like a fairy, and when he says, the insect becomes a vibrant little man that takes her to a maze and, therefore, to his first fearsome encounter with the faun (Doug Jones, which, whichspecializes in acting within strange costumes). Some spectators have confused the faun with bread, but there is no bread in the image and the international title translates as ‘faun labyrinth’. Rome Open City: Rossellini emerged from the ashes of World War II to become the first post -war masterpiece in Europe, and in doing so he once again demonstrated an increasingly accepted axiom of cinema.
Cinema is perhaps the only of the main art forms in which shortage and deprivation are periodically bind with genius to produce technical innovations that drastically influence the course of art form so that generations continue. For example, the experiments without a film (caused by the shortage of film material) of the Kuleshow workshop of the Soviet Union, between 1922 and 1924, produced the concept of assembly and led to the great works of Vsevolod Pudovkin and Sergei Eisenstein. A little earlier, in Germany, director Robert Wiene used painted funds and dark lighting induced by an energy failure to create The Cabinet of Dr. Caligari.
And popularize the movie style known as Expressionism. Similarly, Rossellini, trying to produce a film in 1945 with fragments of an industry decimated by the war, was a pioneer in a style that was known as Neorealism, whose influence can still be seen in movies as diverse as the tree of the closersof Ermanno Olmi wood (1978) and the Puerta del Cielo de Michael Cimino (1980). Rome, Città Aperta, who began two months after the allied liberation of Rome, was conceived and planned several months before when Rossellini and some colleagues dodged the Nazi patrols to avoid being recruited for the military service on the side of the fascists.
In a purely professional sense, the attempt to make the film itself should have been convicted: Rossellini could obtain a permit from allied administrators to make a documentary film only, and the prohibitive cost of the sound film in the black market practically imposed theUse of cheaper material normally reserved for mute films. In addition, all the interpreters, with the exception of Anna Magnani, once interpreter of Music Hall, were not professionals. The resulting film, unlike everything produced earlier, made these apparent inconveniences in the beginning of a new important expression mode.
Neorealism, which took the Italian film industry from its depression and returned it to the avant -garde of film innovation. But, Rome, the use of Città Opeta in this mode of representation was not the final product of the application of the conscious artistic principle in the way of the least influential Ossessione (1943), which many consider the true precursor of Neorealism. Rossellini’s version of the form put great emphasis on the recreation of incidents in, whenever possible, the exact places in which such events took place and, consequently, highlighted the daily events of Italian life.
It also had real people in the roles of the actors who served to convey a sensation of immediacy of the postwar italian experience. However, several characteristics of Rome, Città Aperta make it difficult to classify its director as simple or purely neo -realist, particularly given the way in which the form was subsequently defined by filmmakers such as Luchino Visconti, Vittorio de Sica and others who took until thestyle at the end of the 1940s. His plot is highly melodramatic in the worst sense of the word. The characters are clearly defined as good or bad according to the strength of their commitment to a better tomorrow for Italy.
On the contrary, for his lack of faith in themselves and his cynicism by adhering to an obviously corrupt ideology. Rossellini pretends little objectivity by even representing the superficial appearance of things that characterized later neo -realist works. His use of his brother Renzo’s music is emotionally manipulative in several scenes, while, in other cases, certain images represent a definitive intrusion of the director’s personal feelings. Its use of babies and children, for example, as an incarnation of Italy’s hopes for the future, not only shapes our anguish in a scene like that in which Anna Magnani is murdered.
It also reaffirms the validity of sacrifice and Italian. Cause in the final scene when children carefully juxtapose themselves with a photo of the San Pedro dome when they leave the execution of the priest Don Pietro. Although these excessively dramatic inconsistencies make it difficult to classify the Romani, Città Aberta as an example of textbook in the mode of expression that it popularized, such contradictions actually increase their powerful representation of the conflicting realities inherent to the fight against fascism. Rossellini’s changing perspectives that alternate between comedy and pathos.
When focusing on a select number of crucial episodes in the life of some real people effectively isolate a specific historical reality that exerted a profound effect on the cinephiles of the late 1940s. Although the black and white granulated images of the Romani, Città Aperta are at least one step away from reality and, instead, they fit an appropriate truth for documentary films, promulgate a very real social humanism that permeates everythingThe body of Rossellini’s work and transcends the narrow limits of specific expression modes.
The film is ultimately a hopeful vision of the future of Italy and humanity in general, and although it establishes techniques that will subsequently evolve in cinematographic codes, it reflects more the personality of its director and its belief in innate goodness than in aRigid ideology of realistic representation. Blanca Nieves and the Seven Dwarfs: Disney’s staff required more than two years and $ 1 million, under the supervision of David Hand, to complete the film. In a prologue, Disney makes a compliment to animators, designers and musical composers whose united efforts have produced a work of art.
No less than 62 personnel names appear in credit titles as responsible for several work divisions. The highest praise must go to Disney himself to compare all the various efforts in a single purpose conception that leads the mark of a creative imagination. Disney’s superlative ability, which has frequently shown in previous cartoons such as ‘three little pigs’, the turtle and the hare, ‘the country’s cousin’ and the unstoppable Mickey Mouse and Donald duck are merely indicative of the excellence of the excellence of’Show white.’The fairy tale is not a short feature film. It is a full hour and 20 minutes of lovely narration, of a new plan and pattern on the screen.
While one marvels at the ability of its producers, ‘Snow White’ does not allow mental wandering in the course of its unwinding. The opening shows the cover of the Grimm Tales Book. The pages go down in the history of the little princess who escaped from the jealousy of Queen Madrastra. From then on, with the accompaniment of lovely music and adequate sound effects, the figures drawn in history move through their adventures with a realism enhanced by visual poetry. Soon all characters assume realistic personalities. Snow White is the incarnation of the sweetness and goodness of a girl.
Exemplified in their love for birds and small forest animals that are their friends and, as later develops, their rescuers. The queen is a vampire brunette, of homicidal instincts, which is associated with the black magic and the forces of the underworld. And the seven dwarfs, Doc, Grumpy, Dopey, Sleepy, Happy, Sneezy and Bashful, are the incarnations of their name labels, a cheerful team of male fragilities. The best thing is the little fool, medium ingenious, who has never learned to speak, which is always the work of others, but whose smile when Snow White speaks a kind word is enough to soften the heart of the most bitter human.
Dopey wins the final hug of the princess when at the end of the story, the prince takes her to eternal happiness. The world is full of misfits like Dopey. Maybe Snow White will bring a happier understanding of his shy souls. Although the film is full of hilarious comedy moments, it is unique due to other equally powerful entertainment characteristics. There is, for example, the sequence in which the dwarves, when returning to their cabin after a hard work day in the diamond mines, discover that their small house is impeccably clean. Someone has interfered into his absence.
conclusion
Dopey is sent to the room at the top of the stairs to investigate. There is suspense and anticipation. When the princess wakes up and assures her strange hosts that she is a good cook and keys, she follows a cheerful dance, spontaneous and cheerful. Small white assistants, rabbits, squirrels, cervatillos and turtles, are incredible creatures. In the same way, the birds, who carry their message. Visually, the film is one of the best examples of Technicolor. It is said that Disney has perfected certain photography processes that create depth illusions in some of the scenes.
If this is achieved by the perspectives of the drawing or by the lens it is not material. Pastel tones predominate and there is an absence of bright and bright colors. Sound plays an important role in the production and synchronization of words with the moving lips of the characters is perfectly resolved. Probably the best effect on the image is the reproduction of repeated notes from the depths of the desire well. In this department, as in others, the film reflects a meticulous craft.
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