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the murdered poet, Guillaume Apollinaire



As precursors, as Remy minded Gourmont (after hitting recent near-parallel readings, cases of "relatively bleak. Historias magic" Remy and that titles this post), Apollinaire's prose contains a short truly impressive array of records, full of surprises every time you end a story and goes to see where will the next, even though either of them is part of a conceptual whole internal logic. Is the case with "The Poet Assassinated", adventures and misadventures of a young Don Juan (a kind of reflection of the own Apollinaire), the result of an accidental strain, came into the world in the middle of a conversation and suffering from a bad ubiquitous and endemic: Poetry, which will operate as a weapon in a confrontation between art and science, difficult to reconcile. Exchanged in existence painful heartbreak that never missed the burlesque show and black humor.



More highlights and appearing after the main story: "The farewell of a shadow caster palmistry or through the extension that follows us throughout life. If we lose we are predestined. Do not forget to be vigilant and take it around, then. "The bride posthumous" , which anticipates the later law in France in which marriage is allowed between living and dead. Another thing is that this was the intention of the protagonist, parents really surprised by some capricious in its intention of self delusion. "blue eye" or the disquieting presence of an organ solo that appears in the hallways, living or dead, stalking or indifferent, everything is to create an ambiguous picture in order to increase the number of interpretations. And love 'fou' of "Santa adorata" , martyr by accident and converted into an object of veneration, revealing the credibility of the experts in religious relics.
There is, as already announced at the beginning, many more dimensions, but represented here seem the most successful and accurate, within a play especially entertaining and revealing (with juicy prologue that goes into a biography no less significant), although this edition, which includes the poems "Spirits" - the rough appearance .

Why Have Metal Around Base Of Trees

La casa del angel (Leopoldo Torre Nilsson, 1957) Louis Philippe



"I speak to him, has already left the table, my eyes get to the knot of his tie and stop, never have gone there. That silence, not thank the cup of coffee is between us, the only wedding. Mean absolute possession of me. "

is not only influenced by the first Bergman ("Prison"), for "Wuthering Heights" or restlessness Lorca, but Torre Nilsson in turn serves as a reference, among others, for Buñuel that only a few years later become the iconic Angel of Death in impasse in their films. And is that who else would dare to deny the inspiration that was the Aragonese in choral episode in the brothel, killing everything in a fire which, in this case, their specific characters make it out.



Apart from details to the gallery, something irrelevant but descriptive enough, " Leopoldo Torre-ubiquitous author without apparent effort he combined genres as diverse as comedy, melodrama or patriotic eulogy endowed "La casa del angel" in a sordid line marking, showering of characters dressed in a double (or triple) moral , flooded by a fatal destiny, impenetrable. They mix it curious ideological arguments of the pre-Peronist ( "I always read his speeches are very cute!, But say things that do not understand about the poor" ) with an iron and atosigante religious scruples, which will cover with black over the life of her stormy character, a young man trained in the most extreme conventionalism in the spiritual climax brutal, where death and its shadow are handled with ease and eagerness sports from minute one. The sword of sin is suspended at any time on its head. Also the bad conscience over the minds of those around her, unable, like her, to skip the psychological barrier to a real adventure, whether sentimental or political life in any case. Attractive travellings

the first sequence and the always incisive run from the camera at the middle to get a sense of unreality near the phantasmagoria in this cruel and uncompromising film, full of cynical and disenchanted, wildflower and unredeemed in of the thick forest that is the Argentine cinema of the forties and fifties.