🔴 Watch Fantastic Elio Germano In Volevo Nascondermi (2020) Full Movie
Date: 2020-03-22 03:22:56
Viewed: 154 times - 2 day, 6 hour, 44 minute, 29 second ago
Antonio is the son of emigrants. After the death of his mother, he is entrusted to a Swiss-German couple but his psychophysical problems will lead him to expulsion. He is sent to Gualtieri in Emilia, the place where the man who is officially his father originated. Here he lived for years in extreme poverty on the banks of the Po until the sculptor Renato Marino Mazzacurati directed him to the development of his natural qualities as a painter.
It is undoubtedly effective to witness a few days after the death of Flavio Bucci in a film that focuses on the painful life of Antonio Ligabue.
In 1977 it was Bucci, in what at the time was still called a television script, in three episodes directed by Salvatore Nocita, to shake up the way of telling biographies on TV by interpreting Ligabue himself. In a shortened film version, he had won the Grand Prix of the Americas and the Best Male Performance at the Montreal Film Festival.
It is not difficult to think that Elio Germano had the awareness of having to face an actor's test that had marked the imagination of a generation. The comparisons are always complex to face but in this case it can be safely said that Germano has nothing to envy to his predecessor. He has been able to make 'his' Ligabue by offering him that deep inner suffering that he often knows how to confer on the characters that are offered to him on the big screen.
To help him in this case is also the equally profound knowledge of the Emilian rural world that Giorgio Rights owns and that he knows how to instil in his works when necessary. Because, starting from that body that hides under a garment / armor from which a look emerges in which fear and curiosity for what surrounds it, Rights, thanks to Germano's performance, tells us about a painful life that gives rise to an art in which chromatic liveliness is engaging.
Anyone who has visited an exhibition dedicated to the great painter knows (and Rights reminds us on the closing credits) of how the explosion of shapes and colors constituted its pole of attraction. Almost as if they became an indispensable tool for him to escape the suffering of an existence marked by mental disorders and derision.
Why Rights does not draw a hagiographic portrait of the rural world. He does not judge, but neither does he absolve the many who, out of ignorance or insensitivity, put the madman to the sedan and despised his work. Just as he knows how to frame with tenderness those few, men and women, who knew how to bend over him and understand his torment but also his greatness.
On his grave we read: "The regret of his spirit, which he was able to create through loneliness and pain, remained in those who understood how until the last day of his life he desired only freedom and love". Loneliness, pain, freedom and love. They are the four 'signs' that animate a film that perhaps only two sensitivities like those of Rights and Germano could know how to merge with participation and rigor.
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