«L’incompris» de Luigi Comencini (1967) 
"A machine to make you weep." Thus Comencini aptly describes his own movie, shortly after realized. "Quite rightly" does not imply that I actually shed a tear either seeing "the misunderstood", as I am particularly insensitive to excess and pathos as if many emotions that I 'I felt at the end of the film (but the conditional use is required, the lack of emotions is precisely my biggest disappointment), it is rather the irritation and impatience ... No, if the expression of Comencini is correct, it is rather by the use of the term "machine" rather paradoxical approach Artistic elsewhere, which reflects the idea of mechanical work in the film. Mechanics who can be summarized as: lack son-father, attempted seduction of the son by a gesture towards the father failed attempt (mostly because of the little brother preferred), punishment of the father and the widening gap of misunderstanding. Back to square. And so on for 1h45. But to make this invisible redundancy Comencini must always add an extra degree in emotion (pathos in reality) to finally arrive at the long end sequence, a tearful summit, which is uncomfortable for its shamelessness. "The misunderstood" appears as a melodrama in which the components of pathos and sentimentality are pushed to extremes, everything (easily I want to say) decorated with the Piano Concerto No. 23 Mozart's course ... this excludes any subtlety, any depth of feeling, all poetry, Comencini hesitating to explain again and again to comment on each of the emotions, leaving no room for interpretation even a little personal viewer supposed to activate only one brain function: that of open channels lacrimal. There remain a few comic sequences somewhat apart, designed by Comencini be breaks in the gradual ascent sentimental film, which eventually become the most interesting passages, recalling that the filmmaker excels more in the comedy and laughter in the tears. "The misunderstood" is often regarded by critics as one of the greatest films in the history of cinema on the inner world of the child. For my part, I moderate this position, and that's an understatement, as the film can not bear any comparison with "The spirit of the beehive" in Erice, some works of Bergman, or the early films of Kiarostami ... [ 1 / 4]
"A machine to make you weep." Thus Comencini aptly describes his own movie, shortly after realized. "Quite rightly" does not imply that I actually shed a tear either seeing "the misunderstood", as I am particularly insensitive to excess and pathos as if many emotions that I 'I felt at the end of the film (but the conditional use is required, the lack of emotions is precisely my biggest disappointment), it is rather the irritation and impatience ... No, if the expression of Comencini is correct, it is rather by the use of the term "machine" rather paradoxical approach Artistic elsewhere, which reflects the idea of mechanical work in the film. Mechanics who can be summarized as: lack son-father, attempted seduction of the son by a gesture towards the father failed attempt (mostly because of the little brother preferred), punishment of the father and the widening gap of misunderstanding. Back to square. And so on for 1h45. But to make this invisible redundancy Comencini must always add an extra degree in emotion (pathos in reality) to finally arrive at the long end sequence, a tearful summit, which is uncomfortable for its shamelessness. "The misunderstood" appears as a melodrama in which the components of pathos and sentimentality are pushed to extremes, everything (easily I want to say) decorated with the Piano Concerto No. 23 Mozart's course ... this excludes any subtlety, any depth of feeling, all poetry, Comencini hesitating to explain again and again to comment on each of the emotions, leaving no room for interpretation even a little personal viewer supposed to activate only one brain function: that of open channels lacrimal. There remain a few comic sequences somewhat apart, designed by Comencini be breaks in the gradual ascent sentimental film, which eventually become the most interesting passages, recalling that the filmmaker excels more in the comedy and laughter in the tears. "The misunderstood" is often regarded by critics as one of the greatest films in the history of cinema on the inner world of the child. For my part, I moderate this position, and that's an understatement, as the film can not bear any comparison with "The spirit of the beehive" in Erice, some works of Bergman, or the early films of Kiarostami ... [ 1 / 4] 
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