ada the leading man is my tpye

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Myron Clemons A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Hattie I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

gradyharp BAARIA is another masterwork form the consummate film artist Giuseppe Tornatore. Tornatore is so highly regarded in Italy and Sicily that famous actors fight for the opportunity to work in one of his luminous films, agreeing to take minute walk on roles just to be near the director: Monica Belluci, Ángela Molina, Beppe Fiorello, Raoul Bova etc. This film deserves close attention form the viewer - and in some ways it may be better to view the DVD's Interview with Giuseppe Tornatore BEFORE watching this film so that the writer/director's concept and technique is understood before the story unfolds.Baarìa is Sicilian slang for Bagheria where Tornatore was born and this is an autobiographic epic of three generations in the Sicilian village where he was born. It begins in the 1920's where Giuseppe "Peppino" Torrenuova lives with his brother Nino and his parents in a hovel. They are so poor that Peppino's father advises him to become a shepherd in order to help support the family. Peppino progresses to taking a cow around the town to fill the milk buckets of the townspeople, struggles through school, progresses to young adulthood when he falls in love with Mannina and going against Mannina's family's dream of having their daughter marry money, the two elope - in the home of Mannina! - and it is here that the characters become the adults who carry the film. Of note, Tornatore elected to cast the main characters with little known Sicilian actors: Peppino is Francesco Scianna and Mannina is Margareth Madè - both brilliant in their roles. From this point the time passes through historical references to Il Duce, the mafia, WW II and the coming of the Americans, but more important is Peppino's idealistic concept that his future lies in politics. He becomes a Communist, rises in the ranks, eventually even visiting Moscow to meet with Stalin, and returns to Baaria to help the people struggle for land reform and socialism, all the while he continues to have children with Mannina and follow his dreams of being a successful politician, a dream that is as fragile as it is unattainable.The film flashes back and forth in time and has no linear story line: Tornatore is more interested in taking snippets of his memories of his past life growing up in Baaria than he is in keeping the audience clear about the characters who flash in and out of the story. His use of children is magical - they seem more wise in their innocence that the adults. But take the movie for what it is - a mélange of remembered moments in the writer/director's life - and witness some of the most beautiful moments ever created for the screen, such as the eventual death of Peppino's father who passes his wisdom to his son, and Peppino's advice to this oldest son as the son takes the train to Rome: the son asks 'Why do people call us hotheaded?' to which Peppino answers 'Because we think we can embrace the Universe, but our arms are too short.' Peppino's wisdom he passes to his son is to follow his heart at all costs and there will he find satisfaction. This film is overflowing in such moments and watching it is like opening a treasure trunk full of dazzlingly memories. The musical score by the evergreen Ennio Morricone is absolutely one of his finest - a score the composer created in conjunction with Tornatore.There is a problem with the DVD that hopefully someone will solve: the English subtitles (the film is in Italian and Sicilian) are very difficult to read - so bleached out are they over backgrounds of bright Sicilian light. It is a post-production flaw that needs to be corrected for non Italian speaking audiences, but even with that minor problem, this is one of the most touching and tender and emotionally satisfying films this viewer has ever seen. 10 stars! Grady Harp

Angelo Vassallo It was really a pleasure to watch this movie since trough the history of the main character is telling about the history of Sicily, where I am coming from. I have to say that the movie is a masterpiece of the neo-realism, since the aspects shown are really matching with the reality. The movie confirm the extraordinary capacities of Tornatore (I love his "Cinema Paradiso"). Differently from our movies, the characters shown are not important people but normal people fighting every day their small/big challenges in order to run a normal life and to try to realize their dreams or maybe only to continue to dream. Interesting as well, as a lot of important actors (like Monica Bellucci, Raul Bova, etc) decided to play a humble role of appearance. It was particularly funny personally for me, to watch the movie in original language and subtitles in German for my girlfriend. The Sicilian language is so unique that some terms is almost impossible to translate.

Claudio Carvalho In the 20's, in the backward Sicialian town of Bagheria (a.k.a. Baaria), the boy Giuseppe "Peppino" Torrenuova (Francesco Scianna) works as a shepherd to financially help his poor family. Along the years, he grows up and joins the Communist Party. He marries the local Mannina (Margareth Madè); they have children; and he follows a political career. ... "Baaria" is as boring film where the writer and director Giuseppe Tornatore unsuccessfully uses the same formula of his masterpiece "Nuovo Cinema Paradiso" but that never works. The screenplay excessively uses ellipsis making difficult to follow secondary characters. The story is very uninteresting and too personal and does not have emotion. My vote is five.Title (Brazil): "Baaria – A Porta do Vento" ("Baaria – The Door of the Wind")

Eternality Giuseppe Tornatore, the director of Cinema Paradiso (1989), one of the greatest films ever made, has made Baaria, a 150-minute long drama that spans more than six decades in the life of the film's lead character, Peppino Torrenuova. Based on memories of the Sicilian village the Italian director was born into, Baaria is an autobiography of sorts that documents the lives of people who have been affected by social and political revolutions of the last century, and as seen through the eyes of the Torrenuova family.Shot in Italy and Tunisia in which a full set of a Sicilian village was built from scratch, Baaria is visually captivating. Tornatore creates a feeling of "vibrant nostalgia" by having most of the scenes drenched in bright yellow as if memories of the past have been lighted up by a powerful flashlight. The film may be attractive to look at, but the lack of emotional power undermines the filmmaker's attempt to recreate Cinema Paradiso all over again.The most glaring flaw of Baaria that limits its emotional power is the uninspired editing rendered. It is ironic that even with such a long running time, the film has inadequate character development. The editing is such that the film is broken up into about twenty sequences of similar length and is merged together through the fade out-fade in technique. Thus, it is like watching a slideshow of beautiful images.The film is coherent enough for the average viewer to comprehend, but the narrative that drives the core of the film remains inhibited, as if it is involuntarily hiding behind the image. And when the narrative seems to pick up steam in some parts, and things get quite interesting, Tornatore breaks it all apart again. And again. It is quite frustrating on the viewer to say the least.Ennio Morricone once again creates a beautiful score that is slow and mournful. It is, however, let down by the film's lack of interest in connecting with the viewer. Interestingly, Baaria is a film in which the sum is more than the parts that add up to it. The last fifteen minutes finally reveals the scope of Tornatore's vision for Baaria, which until then seems like an enlarged postcard with stunning images, but without the words that would reveal the sender's emotions.While he seeks to look back into the past, he also wishes to equate a lifetime of memories to a split-second afterthought, highlighting the fact that time passes too quickly for us to appreciate each moment on its own, of which the medium of cinema can only suggest but not replicate. Through some heavy symbolism and instances of magical realism, Tornatore makes us aware of the medium at work.Baaria, for all of its editing shortcomings, appears to transcend them by the time the end credits roll. Unfortunately, the parts that make up the film still linger unsatisfactorily in the mind. Baaria is Tornatore's love letter to his hometown. It is done with lots of love, but sadly, it just doesn't come out as such on the big screen.SCORE: 6.5/10 (www.filmnomenon.blogspot.com) All rights reserved!