mercoledì 9 agosto 2017

Il diavolo nel cervello - Sergio Sollima

peccato che Tino Buazzelli sia apparso così poco nei film italiani, qui è davvero bravo.
la sceneggiatura, oltre che di Sollima, è di Suso Cecchi D'Amico ed è davvero densa di colpi di scena, in un film che non si può rinchiudere in un genere (e meno male).
qualsiasi riassunto toglierebbe la sorpresa, guardate il film, è tempo ben speso, e poi ci risentiamo - Ismaele

QUI il film completo

Intrigante giallo psicologico che sfrutta al meglio una sceneggiatura molto ben scritta in cui i flashback non sono stati inseriti per ambizioni virtuosistiche da parte di Sollima ma sono funzionali allo sviluppo dell'intreccio giallo e la definizione del carattere dei personaggi che come ci vuole indicare la mano protesa nella locandina sono sei figure che girano intorno a degli interrogativi o per meglio dire sono loro stessi degli interrogativi…

Ottimo giallo. Ben scritta la sceneggiatura ricca di colpi di scena. Ottima la Sandrelli al tempo stesso bambina e donna sensuale (il suo nudo integrale), straordinaria la Presle suocera, monoespressione Dullea (ma ben doppiato) e "Nero Wolfe" Buazzelli insolito ma ottimo psicologo-detective; c'è pure la De Santis cameriera. La strana coppia detective piace, il finale ricco di tensione viene ben costruito a partire dalla scoperta dell'omicida. Un bel film, diverso dagli altri gialli dell'epoca.

…In this same way, Devil in the Brain deals with rationalization and denial. Sandra, in her infantilized state, denies anything is wrong, that she has any family aside from her mother, and that everything is just hunky dory. The Contessa denies that this situation is something she can’t handle. Further, she denies to herself that the killer could have been anyone other than little Ricky. She rationalizes that sending Ricky away is a great solution to this problem, as was covering up not one but two murders. Oscar (Keir Dullea) plays the old friend who returns from Venezuela to find the unrequited love of his life a devastated mess and his best friend dead. He rationalizes that developing a romantic relationship with Sandra at this moment in time is okay, because this is his big opportunity to start over with her (some would call this manipulation, but there you have it).
He also denies every explanation that his friend Dr. Emilio Buontempi (Tino Buazzelli) gives for what’s actually going on. This is despite the fact that Oscar called Emilio specifically to help him figure everything out. Oscar doesn’t actually want the truth. He wants this fantasy that he can control, even though, as he eventually finds out (and characters in situations like this always find out), the truth is something which can’t be contained. Emilio and Ricky are the only two characters in the film who are actively interested in the truth (of course, the film, as with all gialli, plays it a bit fast and loose with actual psychological theories), who don’t wear blinders like the others, although the two are also opposites in that Emilio is vocal about it and Ricky keeps it all locked up inside himself…
Sollima didn’t direct very many films. His career is split fairly evenly between theatrical and televised fare. Devil in the Brain is not what anyone would consider a technically outstanding movie, but it is solid in its craftsmanship. Where the film stands out is in its story, not its style. It’s difficult to even consider it a giallo, because it doesn’t wallow in the genre’s typical stocks in trade. There is no black-gloved killer careening through the cast of characters (in fact, there are only two murders in the film, only one of which the audience gets to see, and it isn’t gratuitously violent or stabby). There is no real sleaze to speak of. What nudity there is doesn’t feel immoderate. Instead, this is a well-written, well-thought-out story about repression and obsession and the consequences of both. It’s a film about characters and the self-destructive desires they have to cling to in order to give their lives meaning. Because without these things, ultimately, they have nothing (or, at least, they believe they have nothing).

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