Cinema / FIVE IS THE PERFECT NUMBER of Igort. - ciaovivalaculture

Cinema / FIVE IS THE PERFECT NUMBER of Igort. - ciaovivalaculture

Mafia hitman & nbsp; retired, Peppino Lo Cicero following the assassination of his son promised to his succession, will resume service to avenge him, triggering & nbsp; settling of accounts & nbsp; mercilessly in the Neapolitan city. & nbsp; A beautiful & nbsp; homage to popular Sicilian culture and multiple cinematographic references. & nbsp; & Nbsp; & nbsp; Jubilant…

The author’s graphic novel published in Italy in 2002 has become a cult work of worldwide success. Attracting the attention of producers of the Seventh Art and filmmakers & nbsp; & Nbsp; & Nbsp; & Nbsp; & Nbsp; & Nbsp; & Nbsp; (Neapolitans, Europeans, Americans and Asians…) including the one with the prolific Chinese filmmaker from Hong Kong Johnnie To, & nbsp; almost took shape ... then ended up having an abortion, the latter then committing to his Vengeance with Johnny Halliday. Others will follow, mentioning proposals including Igort (real name Igor Tuveri) believing that they distort his vision (Anglo-American actors, and Londoners) of the characters, and that essential to the “Neapolitan” anchoring of his story. Recovering his rights, and with the support of the actor Toni Servillo (Prodigious, in vengeful Peppino) the project will take shape ... with Igort behind the camera: "Someone had always thought I was the right person, it's Toni Servillo. He wanted to play Peppino. For him, who is Neapolitan, I had clear ideas: the desire for a metaphysical Naples, very different from the clichés surrounding the city. A deserted Naples, nocturnal, under a torrential rain (…) so I went back to the adaptation: revenge is an extremely classic fabric, but what counts is not the packaging, it's the cake that you put inside. For me, it's a question of look ... ", he explains. The tenacity after fifteen years of trouble ended up prevailing, offering us at the same time as the "& nbsp; winks "to films on the subject (Scorsese, Coppola, De Plama, Tarantino… or Jean-Pierre Melville, as well as the influence of Italian filmmakers of the great period of the 1970s) and the look he wanted to highlight its heroes, out of step with the look usually offered by American cinema. It is beyond the multiple finds and other references whose staging offers us beautiful packaging, the strong point of it is to build on this "anchor" Sicilian ", to extend, throughout, the variations coated in delicious replicas where derision and black humor crackle, like the shots of large calibers held, arms stretched out crosswise, in each hand, making & nbsp; & nbsp; spur the blood of the enemy !. With his “Bogart” raincoat, his Borsalino… and his prominent nose, Peppino accompanied by Toto and secondary characters participating in the bloodbath of the rival band, are given as “& nbsp; old knights ", formerly serving Camorra ...

The tone is therefore set from the outset with a look that offers us heroes "second knife", and not prominent. "& Nbsp; employees", formerly linked to a Mafia hierarchy which used it, for its base tasks: & nbsp; "enforce the code of honor & nbsp;", this "& nbsp; code & nbsp;" & nbsp; a

cultural tradition ended up anchoring in people's minds, and to which, & nbsp; they joined. Except that the & nbsp; & Nbsp; & Nbsp; "Cataclysm & nbsp;" of the murder of his son, will open Peppino's eyes to a reality that is changing in the heart of a context of the 1970s in which & nbsp; the story is situated. Anyone who sees the establishment of a modern "Mafia" whose scale of trafficking (drugs, financial ...) "& nbsp; in white-collar workers ”, is becoming global, of which Peppino will no longer recognize the & nbsp; "Values" & nbsp; of yesteryear. The end of an era which "marginalizes" him even more and whose murder of his son will doubly symbolize the pain by the "& nbsp; shock "caused him to become aware of the" & nbsp; deception "in which they allowed themselves to be trapped by the double grip of a hierarchical power and the spiral of violence in which it locked it. & nbsp; The inexorable outcome in personal drama which overwhelms him. Is Le Sursaut possible? . The anger, the rejection of values, the use of friendship, and the strength of the love of Rita (Valéria Golino) superb and moving anti-heroin, will become for him remedies and help, offering him the possibility of 'a renaissance whose film title will serve as a trigger. We let you discover the why ... at the same time as the many adventures that will arise from this burst of honor and life, including the inner monologue chanted in Neapolitan by Toni Servillo offering us his a-partes on the & nbsp; the meaning of life ; we (you) will bewitch until the magnificent final sequence. While the choreography of the images, and that of a symbolic representation that completes the choice of a stylized aesthetic, bring the beautiful visual touch to the story, where, realism and imagination collide with happiness and inventiveness….

It is in these choices that the film offers both its originality at the same time as its emotional and dramatic impact, to the humanity of its characters who are there & nbsp; deploys & nbsp; at the heart of the outdoor and indoor scenic spaces in which the filmmaker's inventiveness and imagination envelop them with his colorful pastels and light. The pictorial narrative references (& nbsp; the filmmaker evokes Chirico and the Dutch masters), and those of the forms of the staging and its light (superb work by the director of photography: Nicolaj Brüel) and his plans, where the depth of field and close-ups, echo the drama of the solitude of the characters, in the heart of the spaces. Like the magnificent opening scene and its streets of Naples in a downpour of rain, which are complemented by those of the city’s cloaked areas, with magnificent night light. The work on the details and the sets was one of the essential elements in the filmmaker's approach for this transposition of his graphic novel into a cinema film, implying different cutting and writing choices. As he points out: & nbsp; "& Nbsp; the page offers & nbsp; & nbsp; a global composition, the cinema does not allow the simultaneity of the images - apart from these little winks in split-screen that I sometimes allow myself. You can stop reading a book & nbsp; ; impossible in the cinema. With each tool, new possibilities. To work on the adaptation, it was to reinvent the narration ", And it does it with skill, mixing wonderfully, the opportunity of the differences and / or rapprochements allowing it. Chiselling its dialogues while taking care that they are in osmosis with the characters and the desired authentic incarnation of "& nbsp; speak »Neapolitan and his literary roots accompanied by his gestures, essential elements of the story. Complemented by certain rituals, such as these deliberate references echoing a popular dimension echoed by ceremonials of food, coffee and the car & nbsp; (here, the famous Bianchina of the 1960s), which are extended by the notations on the relationship to religion and those of the "challenges" where paradoxes (violence / religion) are emerging, blurring the trail. While the close-ups on the faces of the characters, or on the objects (shoes, bottom of the pants…) refer, them, to the narration of the comic book opening to a reading and frozen perception of stops on images and their stylizations, that others with the surprising narrative continuity that comes to add to it, happily complete the work that the graphic designer-filmmaker deploys here, with the virtuosity of his talent. To savor…

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