{"id":23322,"date":"2005-05-20T15:07:00","date_gmt":"2005-05-20T13:07:00","guid":{"rendered":"http:\/\/www.reflections.it\/wordpress\/?p=23322"},"modified":"2025-12-23T08:58:57","modified_gmt":"2025-12-23T07:58:57","slug":"sin-city","status":"publish","type":"post","link":"https:\/\/www.reflections.it\/wordpress\/sin-city\/","title":{"rendered":"Sin City"},"content":{"rendered":"\n

Passato di recente in concorso a Cannes (quale sospirata audacia!), l’ultima fatica di quel geniaccio ribelle che risponde al nome di Robert Rodriguez ha portato uno scompiglio cos\u00ec glamour che anche i non-fan si sono messi in fila nella Costa Azzurra per assistere a cotanta parata di star per un solo film. Tratto da un fumetto cult di Frank Miller, nume ispiratore che co-firma la regia (ma a noi piace credere che abbia solo supervisionato alle riprese),\u00a0Sin City\u00a0<\/em>\u00e8 l’apoteosi della violenza ultra-gore a mero fine di spettacolo, niente di pi\u00f9. Ma non \u00e8 poco, in questo periodo in cui le major (c’\u00e8 dietro la Miramax) paiono produrre sotto vuoto spinto. Rodriguez, infatti, riesce sovente a trasformare la pellicola in pagine di fumetto, e non viceversa, il che aiuta a comprendere meglio la fulgida idea sottesa a tutto il film, ovvero cercare di far capire al pubblico quanto ipocrita e mendace possa essere rappresentare “per davvero” l’inflazionata poetica violenta dei fumetti al cinema, se al timone non c’\u00e8 un tipo cazzuto che conosca il genere e lo ami. Solo Sam Raimi, col suo\u00a0Spider-Man<\/em>, c’era finora riuscito. Cos\u00ec Rodriguez, firmando un impecabile pout-pourri a incrocio di micro-storie di straordinaria follia urbana in un fiammeggiante bianco e nero (in cui, per\u00f2, si stagliano qua e l\u00e0 figure o oggetti dai contorni colorati accesi, come se cercassero di invadere lo schermo di speranza), assolda un team di attori da fare invidia al numero pi\u00f9 prestigioso di “Vanity Fair” (ne esce bene anche l’odiosetta Brittany Murphy), rispolvera un Bruce Willis vendicatore dal cuore d’oro e un Mickey Rourke dal volto sfigurato (scelta stracult!, dato che nella realt\u00e0 l’ex fascinoso seduttore di\u00a09 settimane e \u00bd<\/em>\u00a0\u00e8 una maschera di chirurgia estetica bisturata male), nonch\u00e9 un Benicio Del Toro dal naso aquilino che “perde” letteralmente la testa per la sua donna nell’episodio forse pi\u00f9 dissacrante e pulp.<\/p>\n\n\n\n

E poi, ancora, tra i tanti pi\u00f9 o meno emergenti, Rosario Dawson nei panni fetish di una prostituta capo-branco all’arma bianca, Clive Owen che in ogni scena sembra dire “Chiamatemi Bond!”, Jessica Alba cos\u00ec sexy da rimanere impressa anche solo per i dieci minuti in cui appare muoversi fluida, il solito, gigantesco Michael Madsen, e Josh Hartnett latin-lover in cerca di sangue che apre e chiude questa fe(a)stosa spirale di vendette e omicidi nella sporca Citt\u00e0 del Peccato (anzi, dei Peccatori), come a voler dire che anche dall’amore che pu\u00f2 nascerci vicino ne pu\u00f2 derivare la nostra fine, e che, in fondo, non c’\u00e8 redenzione per nessuno. Eccola, la morale, allora c’\u00e8\u2026 La capiamo, forse, solo alla fine, dopo divertenti e logorroiche orge di sangue e rabbia, in cui frecce trapassano cervelli ancora parlanti, genitali esplodono, arti saltano e zampillano, lungo 120 minuti a tratti cos\u00ec insistiti da tirare il gioco (e non lo scherzo) un po’ per le lunghe. Ma l’estetica iperrealista, sudata e visionaria di Rodriguez, a tratti carnale, primordiale, quasi erotica (non a caso, forse, nei titoli di coda viene ringraziato Hugo Pratt), pur pagando pi\u00f9 di un debito a suo “fratello” Tarantino, che si dice si sia divertito a girare una sequenza al soldo di 1 solo euro, da sola vale la visione di questo film. Da cui, volenti o nolenti, si esce un po’ storditi, o, a seconda, dannatamente intrattenuti. Sarebbe bello se, sulla Croisette, qualcuno si ricordasse di assegnargli un premio\u2026<\/p>\n\n\n\n

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

Passato di recente in concorso a Cannes (quale sospirata audacia!), l’ultima fatica di quel geniaccio ribelle che risponde<\/p>\n","protected":false},"author":1,"featured_media":23321,"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-23322","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinema-recensioni-novita-approfondimenti"],"yoast_head":"\nSin City - Reflections<\/title>\n<meta name=\"description\" content=\"Un misterioso uomo d'affari narra una storia tragica basata sul tema della dipendenza mentre un vigilante si fa strada\" \/>\n<meta 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