è un film sul pugilato, ma sopratutto sul sogno americano ("uno su mille ce la fa", cantava Gianni Morandi).
grandi interpreti, Stacy Keach e Jeff Bridges sono straordinari, come è straordinario il personaggio del pugile messicano, che ha colpito forte Roger Ebert, pugile silenzioso e vittima sacrificale, è apparso solo in questo film.
Sixto Rodriguez si chiama, quello che Roger Ebert non sapeva è che quel nome è lo stesso del protagonista di "Sugar man".
non perdetevi "Fat city", c'è il Cinema dentro - Ismaele
…In questa ballata dai toni malinconici, Huston non
risparmia niente a nessuno. “Fat City” è uno dei suoi film migliori: un
ritratto del mondo del pugilato feroce e disperato, diretto con una lucidità
impressionante, ottimamente interpretato sia da Stacy Keach (Billy Tully) che
da Jeff Bridges (Ernie Munger). Magnifica la fotografia di Conrad L. Hall, i
cui colori incorniciano impietosamente le facce dolenti dei protagonisti e gli
ambienti miseri nei quali gli stessi si muovono.
Sui titoli di testa, Kris Kristofferson canta la bellissima “Help Me Make It Through The Night”. “Fat City” è un film amarissimo.
Sui titoli di testa, Kris Kristofferson canta la bellissima “Help Me Make It Through The Night”. “Fat City” è un film amarissimo.
…The Stockton in his
film exists in an America we tend to forget about these days. It is the other
side of the image preferred by chambers of commerce. The characters live their
lives in fly-stained walk-ups with screen doors that bang in the wind. They hang
out in the kind of bar that advertises in its window the price of a shot and a
beer. They know in their bones it will take a miracle to get them out of their
lives, because they know (accurately) that they don't have what it takes. So
they dream, and bank on long shots. Even after all the hours of training and
roadwork and pep talks, the boxers in "Fat City" feel little
confidence in themselves. They substitute brag for optimism…
…The one performance
in the movie I'm sure I will never forget comes from Sixto Rodriguez, an actor
who doesn't have a single line of dialogue. He plays a Mexican fighter, who
once, briefly, had a reputation, and is brought in by bus to fight Tully. He
comes to the stadium surrounded by a vast silence and loneliness. He urinates, and
there is blood, and we know his secret. He is in such pain he can barely stand.
But he goes out and fights and loses, and gives Tully a moment of glory that
(we know) is so small as to hardly be measurable.
A few critics of
"Fat City" found it too flat, too monochromatic. But this material
won't stand jazzing up. If Huston and Gardner had forced the story into a
conventional narrative of suspense, climax and resolution, it would have seemed
obscene. There just isn't going to be any suspense, climax, or resolution in
the lives of these people: Just a few moments of second-hand hope that don't
even seem worth getting very worked up about at the time.
…En la contemplativa y muy
inspirada caligrafía de Huston, y en la temperatura templada que a las imágenes
confiere la estupenda labor del operador lumínico Conrad Hall, uno termina por
darse cuenta de que, a la postre, Fat City no se limita a la radiografía
de unos personajes y una coyuntura (la del perdedor), y quizá se está
atreviendo a ir mucho más allá, a reflejar el paso del tiempo y su peso
inescrutable. Se está refiriendo a la
condición de la existencia humana, en toda su espesura, que abraza lo trágico
tanto como lo ordinario, lo trascendente tanto como lo inane. O en cualquier
caso abraza, sobre todo, lo irremediable de su curso.
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