{"id":22126,"date":"2007-03-07T17:25:34","date_gmt":"2007-03-07T16:25:34","guid":{"rendered":"http:\/\/www.reflections.it\/wordpress\/?p=22126"},"modified":"2025-12-08T11:20:43","modified_gmt":"2025-12-08T10:20:43","slug":"intrigo-a-berlino","status":"publish","type":"post","link":"https:\/\/www.reflections.it\/wordpress\/intrigo-a-berlino\/","title":{"rendered":"Intrigo a Berlino (The Good German)"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Ha girato\u00a0<em>Traffic<\/em>\u00a0con una macchina a spalla e la tecnica &#8220;corri e spara&#8221;. In\u00a0<em>Oceans&#8217; Eleven<\/em>\u00a0ha coniugato il glamour delle atmosfere con la grossa produzione hollywoodiana. Poco meno di due anni fa con\u00a0<em>Bubble<\/em>\u00a0ha sperimentato una sorta di new neorealismo digitale.\u00a0<strong>Soderbergh<\/strong>\u00a0ci ha abituato da sempre ad un cinematografia a cavallo tra l&#8217;autorialit\u00e0 ed il blockbuster, la tradizione e la sperimentazione tecnica. Mai uguale a se stesso, con un gusto particolare per i limiti e le difficolt\u00e0 che non aggira ma porta fino al punto massimo, il regista di\u00a0<em>Sesso, bugie e videotape\u00a0<\/em>(1989) torna al bianco e nero dopo l&#8217;esperienza del thriller\u00a0<em>Kafka<\/em>\u00a0(1991) per dar vita ad un mistery anni &#8217;40 fin troppo sofisticato e retr\u00f2 per richiamare consensi corali. Dopo le anteprime di New York, Los Angeles e la presentazione al Festival di Berlino,\u00a0<em>Intrigo a Berlino<\/em> non sembra aver riscosso particolari successi. Dalla sua\u00a0<strong>Soderbergh<\/strong>\u00a0guarda e passa aspettando il prossimo incasso stratosferico di\u00a0<em>Oceans&#8217; Thirteen<\/em>. Eppure questa sua Germania anno 0 fatta di donne perdute e sbandate, di uomini privi di scrupoli, divisa in zone di controllo inglesi, russe ed americane potrebbe essere una vera ghiottoneria per tutti coloro che hanno subito il fascino del cinema americano old style. Si parte da\u00a0<em>Notorius<\/em>,\u00a0<em>Casablanca<\/em>\u00a0(evidente per il riferimento finale),\u00a0<em>Il terzo uomo<\/em>\u00a0per arrivare ad una storia tratta dal romanzo\u00a0<em>The Good German<\/em>\u00a0di\u00a0<strong>Joseph Kanon<\/strong>\u00a0e girata nella tradizione del noir. L&#8217;utilizzo del bianco e nero ( \u00e8 stata usata una pellicola normale da cui \u00e8 stato tolto il colore), gli obiettivi vintage ( 50mm, 40mm, 32mm, 28mm, 24mm), una colonna sonora vecchio stile e la simulazione di retroproiezioni per le riprese dei fondi hanno integrato e rafforzato la scelta di una direzione degli attori indubbiamente teatrale.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tra luci ed ombre di una citt\u00e0 distrutta, dietro il lento e misterioso risalire del fumo di una sigaretta perennemente accesa l&#8217;amico ed ex socio&nbsp;<strong>George Clooney<\/strong>&nbsp;e l&#8217;algida&nbsp;<strong>Cate Blanchett<\/strong>&nbsp;assecondano una recitazione pi\u00f9 esteriore e meno introspettiva, che pu\u00f2 lasciare obiettivamente disorientati per la difficolt\u00e0 di cucire non un ruolo ma un vero e proprio stile su degli attori inevitabilmente contemporanei. Ad una messa in scena vintage si abbina una narrazione dalla forma classica ma dai contenuti moderni. Libero dai limiti che il Codice Hayes imponeva a registi e sceneggiatori della Hollywood del 1945,&nbsp;<strong>Soderbergh<\/strong>&nbsp;affida al suo eroe assolutamente non invincibile, che ad ogni passo viene ingannato e picchiato, la forza di idee, concetti e dubbi che dovrebbero far riflettere anche sull&#8217;America di oggi. L&#8217;intreccio narrativo o la conduzione di esso potrebbe essere considerato come il problema fondamentale del film. Nel triangolo&nbsp;<strong>Clooney<\/strong>,&nbsp;<strong>Blanchett<\/strong>&nbsp;e gli intrighi di una citt\u00e0 ambigua, la vicenda assume forse un eccesso di sfumature tipiche della narrazione attuale. Nessuno ne esce completamente pulito e non si comprende mai fino in fondo la netta spartizione tra bene e male come avveniva nelle pellicole del &#8217;40. Se a questo si aggiunge una trama particolarmente contorta espressa attraverso un continuo spostamento dell&#8217;azione in avanti, modificando il punto di vista da un personaggio all&#8217;altro, si ottiene una storia mai spiegata chiaramente che esige un&#8217; attenzione troppo costante e che non convince fino in fondo, nonostante una regia ed una fotografia memorabile.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">di Tiziana Morganti<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ha girato\u00a0Traffic\u00a0con una macchina a spalla e la tecnica &#8220;corri e spara&#8221;. In\u00a0Oceans&#8217; Eleven\u00a0ha coniugato il glamour delle<\/p>\n","protected":false},"author":1,"featured_media":22125,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[12],"tags":[],"class_list":["post-22126","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinema-recensioni-novita-approfondimenti"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Intrigo a Berlino (The Good German) - Reflections<\/title>\n<meta name=\"description\" content=\"Il giornalista e capitano dell&#039;esercito 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