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FROGS RAIN FROM THE SKY - THE CINEMA OF PAUL THOMAS ANDERSON

Author : Diego Mondella Publisher: Edizioni Il Foglio, Piombino, 2008 Collection: Cinema Pages: 228 Format : 15x21 Price: € 15 Language: Italian

Index: Preface by Antonio Monda Introduction The Maverick: unpredictable as life Hard Eight In the beginning was the Father ... Boogie Nights Sex, drugs and videotape ... Magnolia The eternal return ... Punch-Drunk Love Love Stone ... There Will Be Blood In the Name of God money Filmography Bibliography Acknowledgements The author

Five films are sufficient to provide viewers and a critical insight into the vision of a cinema any director? The answer is yes, only if the director is not an issue in any but Paul Thomas Anderson, as defined in no uncertain terms by the author of the book the film-maker of the most talented contemporary American cinema. From this concept, Fabio Zanello, director of the series of films de The Literary Gazette, do not miss the opportunity to converge the first word on an author who still has a lot to say, and "write" the young and able Diego Mondella to pack a book on the director of Will Be Blood and Magnolia . The author's choice is immediately radical, especially when seen in conjunction with the short filmography Anderson: to prefer a chronological dissertation, analyzing the career film after film, with a cross-sectional study on the issues and urgencies of the director requires a capacity for analysis out of the ordinary film. Why do a thorough job with so little material available (again, only five films), is to see, review, review, cut and fold the individual works of Anderson from all points of view, with the risk of becoming overly stringent and long-winded . And maybe the mistake of Mondella Diego, the only likely, it is this choice a priori. Since its author has, however, the ability to sink your hands in the five hundred years of American history, finding parallels that exceed the boundaries of cinema and neighbors come to literature, television, art and popular culture tout court. On the one hand there is so little attachment to the 'too difficult for some diegetic holds the other, the need to anchor their theories in a solid foundation and irrefutable. With these pro and those against the book becomes an excellent guide for anyone wishing to deepen themes and language of Paul Thomas Anderson at the end of each vision, but perhaps a cumbersome job if considered in its entirety. But who said that the monographs are meant to be read all in one go, from cover to cover? Perhaps it is better to keep them in the library and (re) all'abbisogna them out. Michelangelo Pasini