{"id":17314,"date":"2003-10-24T21:02:51","date_gmt":"2003-10-24T19:02:51","guid":{"rendered":"http:\/\/www.reflections.it\/wordpress\/?p=17314"},"modified":"2025-12-29T19:02:23","modified_gmt":"2025-12-29T18:02:23","slug":"ballo-a-tre-passi","status":"publish","type":"post","link":"https:\/\/www.reflections.it\/wordpress\/ballo-a-tre-passi\/","title":{"rendered":"Ballo a tre passi"},"content":{"rendered":"\n

Metrica e linguaggio. In Ballo a tre passi<\/em> il tempo si scompone, si fa esemplare di molteplicit\u00e0 e ritorna al particolare nella singolarit\u00e0 di realt\u00e0 locali e identit\u00e0 ben definite. Quattro di queste identit\u00e0 si scoprono in un punto di passaggio, alla scoperta di una dimensione del tutto nuova, affascinante e spaventosa. Un bambino scopre la bellezza del mare, un adulto, cresciuto nel pi\u00f9 totale isolamento, scopre le gioie del sesso, una giovane suora conosce la giovialit\u00e0 di una festa di famiglia e un anziano solitario trova la gioia della condivisione solo in punto di morte. Individui accomunati da elementi quali isolamento, meraviglia e linguaggio dei sensi. E proprio il linguaggio si fa caratteristica fondamentale della pellicola di Salvatore Mereu: la parola non arriva allo spettatore, il dialetto non permette la percezione diretta, ma se a parlare sono i sensi, l’istinto, la musica e il canto, questa \u00e8 pressoch\u00e9 inutile; tutto diventa comunicazione, espressione, eccetto le convenzioni linguistiche, ridotte ai minimi termini. <\/p>\n\n\n\n

I personaggi sono svelati nella loro profonda intimit\u00e0, nel loro imbarazzo, la macchina da presa si sofferma su estenuanti primi piani e su scene di sesso accentuando le abilit\u00e0 espressive sia di Carboni che della Abecassis, i quali superano egregiamente la prova. Le citazioni da cultore neorealista culminano in un finale felliniano di grande effetto che riassume e conclude il senso dell’opera non mancando di commuovere per la delicatezza della figura descritta. Il film \u00e8 pervaso da un senso di abbandono ai venti del destino, cui nessuno si oppone, eccetto l’autista di un piccolo ‘Ape’ che con la sua musica, il “Ballo a tre passi” appunto, vince l’ineluttabilit\u00e0 della vita, cos\u00ec come le paure di un anziano in punto di morte vengono dileguate dal canto di una donna che intona Cielito lindo<\/em>. E simbolicamente la musica scaccia le nubi del destino, sussurrando fraseggi di semplicit\u00e0, di ritorno alle origini, quando le parole non erano necessarie e quando il senso della vita e della morte era nascosto nello sguardo di chi ha ancora qualcosa di cui meravigliarsi.<\/p>\n\n\n\n

di Alessio Sperati<\/p>\n","protected":false},"excerpt":{"rendered":"

Metrica e linguaggio. 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