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🔴 Watch Increadible Marco Bellocchio In Il Traditore (2019) Free Access Full Movie Hd 1080p

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Uploaded by: hebere
Date: 2020-02-29 00:42:19
Viewed: 149 times - 45 minute 56 second ago

A surprise for many, this new film by Marco Bellocchio. Competitive film in competition and perhaps, at least for Italy, one of the moral winners of this recently concluded Cannes Film Festival. The theme, now typical for a certain Italian cinema, always basking between mafia stories and investigative films, could be rendered with a conventional cut or a dated aesthetic, instead Il traitor, starring a Pierfrancesco Favino at its maximum yield in the role of Tommaso Buscetta, it manifested itself in Cannes as a crime epic (2 and a half hours) which, due to its aesthetic taste and directorial modernity on the one hand and decadent narration of the criminal glories on the other, is located halfway between the TV series Narcos and those good guys from Scorsese. Sony has acquired the rights for the American distribution, and the Italian release has counted 543 thousand euros in proceeds only in the first three days of programming since the release of May 23, the same day of the official presentation on the Croisette. But what does the American critic, who will host him in the rooms of his own home, think of a film so bold in form and content?
The traitor. Ok for Variety, Guardian and Hollywood Reporter

The curiosity of us critics, in these cases, always remains on what perception will have the colleagues from overseas who have been chewing mafia and godparents in celluloid for decades now. Jay Weissberg, for example, writing about Variety was caught by a doubt about the duplicity of the character Buscetta: “Despite another round of carefully reconstructed judicial proceedings, his motivations remain abstruse: Buscetta did espionage to protect his family or for thirst for revenge? ”asks the critic.

"This is the ambiguity that makes him an enthralling figure, played in all his multifaceted inscrutability by Favino, who grasps his bravado and vulnerability, a particularly strong effect if examined by Franco Coppi (Alberto Storti), the lawyer of the ex-prime minister Giulio Andreotti ". The Boss of the two Worlds, as they nicknamed Buscetta, the first repentant and double-agent between legal and illegal powers, also walks in a liminal filmic space of counterpoints in music, where the soundtrack by Nicola Piovani, perhaps the most elegant element of the whole pastiche, s wedges between published and evergreen tracks aimed at crowding out. So for Variety “Bellocchio's usual superb use of music is once again a source of pleasure, as in the helicopter scene accompanied by the classic Mexican song Historia de un amor, or the invention of Va thought to counter the sentence to the Maxi Process ".

On The Hollywood Reporter we found an interesting note on the absence of certain culturemes drawn into film and fundamental elements for the genre since the Godfather's time. "Despite the lack of mafia money scenes - there is no horse head in the bed, no family shot on the steps of a church - this is one of the most revealing portraits of the Cosa Nostra in the film," writes Deborah Young, "How classic study of a sick society, takes its place alongside Buongiorno notte, the 2003 directorate on terrorism and the assassination of the Christian Democrat politician Aldo Moro ”. In fact, Bellocchio also ventures out here from certain tracks made in Italy, but goes even further, winking in his own way also to illustrious contemporary colleagues, now very much in vogue.

So The Guardian, through Peter Bradshaw's pen, focuses on the traitor's physiognomy, saying that during the first sequence of the clan party in the villa, the director “brings his camera on some fierce, almost reptilian faces, illuminated by outdoor torches - and perhaps he was influenced by the young master Paolo Sorrentino ". And the inevitable confrontation with those good guys starts overseas, capturing the gap between the intimate dimension of the character and the crime story dictated by the subject. "The Traitor is acted and directed with confidence and strength, but somehow the flash of inspiration of things like Goodfellas di Scorsese - a similar story of mafia crimes - is missing because he never relaxes in the ordinary life of gangsters. There is not enough human interest or random details that make good guys a must. But The Traitor is a great, bold and confident film. "
The traitor. Screendaily and Indie Wire didn't like it

Obviously Bellocchio's work also has its detractors, so Tim Grierson on Screendaily focused on the limits of the film. "Marco Bellocchio cannot completely overcome the two key limits of the material: the public's familiarity with the environment and the density of details within this true story. Having said that, Pierfrancesco Favino is such an impressive presence as Buscetta - imposing but also unknowable - that other concerns hardly count. " Starting from the same cultural gap highlighted by other colleagues on how much the American public can decode the complexity of the judicial affair, the critic widens his filter on the overall vision. “It is annoying that The Traitor does not necessarily offer us many news about the dangerous relationships of the mafia. The film delves into the minutiae, giving off an unmistakable air of expertise, but the script ends up being a collection of footnotes and intriguing digressions without necessarily feeling authoritative manipulation of this sprawling material. " What some people in Italy have negatively stigmatized as Sorrentinism would be called into question.

David Ehrlich's thought on IndieWire turns his criticism upside down on a clear comparison with the past of the author of Bobbio. "Alas, Bellocchio very often is not able to break that fragile surface as much as the legendary Italian auteur film - like Fists in the Pocket or Vincere - so he loses steam, propulsion, after the subject it was resolved at the end of the first act ". And then it casts a shadow, albeit shareable or not, but also interesting on the empathy between the protagonist and the audience. “Only on its margins The Traitor irresistibly explores the memory of Buscetta; when the film ends, however, the man is as foreign to us as he was at the beginning ".
The traitor, and then there is Roger Ebert

We close our American sortie with the opinion of Roger Ebert, who from his website takes stock of the understanding of the story dotted with legal quibbles, institutional intrigues and interrogations. “Anyone who lacks a detailed knowledge of Italian politics, contemporary history and the cast of mafia characters will soon be overcome by confusion despite the texts and the labels on the screen. Still, Bellocchio makes it absolutely compelling and completely driven by the character. " From this point of view, perhaps, The traitor could also be developed as a quality TV series and formatted as Narcos, we would say. Imagine 2 seasons of 8 episodes of about forty minutes each. Closed, with the same visual and dramaturgical rhythm of the film, developed in the various narrative strands even beyond Buscetta. Then on his wife, his two sons killed, Falcone, Buscetta's escort, and the bosses Contorno, Calò and Riina. But let's not prevaricate, because on this magnificent octogenarian of Bellocchio, who even if he did not win Palme d'Oro this year, he turned out to be artistically younger and more competitive director than many Italians and Americans, Ebert thus closes his review: “Nell ' breadth and depth of this milestone in Bellocchio's career, the passion of the craving for blood is shown in its absolute completeness ".


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