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Life in Shadows: cinema and passion

Film is a passion. Uploaded

myth too many times, and praised to excess by those who love Him.

I have cared to call this blog " Film is my passion, for that consistency with the other blog I have, but precisely this myth and passion were what I decided to choose the name-that brief encounter - he now has.

Film is a passion. And as good

passion, understood only by those who share it.

In this case, is an advantage, that many of us are crazy to be drawn into the mystery of a dark room, that we are fascinated with the false light of the fourth wall, we have lived too, although it was a lie-in a cinema and we have not cast it to the core.

But I say that we are not alone.

And a good example, a good story to begin once the videos from this blog and to say goodbye until after Easter, is the story of "Life in Shadows ," the story of Lorenzo Llobet Gracia .

"Life in Shadow", filmed in 1949, never failed to be released commercially, for various problems of censorship and production, and its director, Llobet Gracia, was unable to retake any other tape, so it is rightly considered one of the bloody English film directors.

The copy is retained in the restoration of a negative found decades later, allowing subsequent Release and finally find your unique place in the world: a screening room.

The film is superb.

Pure love of cinema. Film within a film.

Starring Fernando Fernan Gomez , has a peculiar life cycle mode of Carlos, a cameraman who was born early this century in a shack where he is raising awareness of the cinema (the cinema was born, he was born) and how this fact, the passion for telling stories with a camera-mark the rest of his life.

today I wanted to bring the beginning of the film, the first seven minutes clearly outlining the love of cinema that so many have.

is a delight for the senses.

Sound is not the best but is enjoyed without a second thought.

I leave you with it:

Indeed, the only thing you feel when you see these minutes, is keen to continue the story. To see that Carlos evolve as a child going to see movies of adventures, the more love Carlos cinema and affected by life ...

Anyway I do like to dwell on small details (this home is full of potential analysis) that arise at the beginning of the narrative.

first thing that strikes me is the game Fact / Fiction established from the second one.

first thing we see is the representation (parents of Charles) upside down, giving us a double and maybe triple reading: On the one hand underlines the fact that we are seeing a picture (this is how it is collected the image in a dark room), on the other side tells us it's a lie what you're seeing (not real life, is sieved through a machine) but also indicates that the film consists of photographs, and that the all-film background, life, reality, photography, fiction, lie, are mixed in the same thing.

I do not want to say anything, but not until the end of the movie when the plane copper-then yes, its true meaning.

To affect this that story, then see the photographer (the cause of the device) and the couple, this time because his back.

Another important moment is when a house earn zoetrope. That

us perfectly situated in a historical context determined: the birth of cinema.

Equally curious how the picture was the first to show up (remember that was the birth of photography essential springboard for the film could be developed) and then appeared the same.

The climax of the opening sequence takes place within the so called "the French barracks, where in principle show a fairly accurate way what should be the projections then with the crowded environment, the smoke, the expectation, the owner of the cabin discussing what is ...

Finally birth to three times that we have the pleasure of attending:

see how viewers attend the birth of cinema (the first projections), we see on the screen is projected to birth (the magician takes a newborn out of the hat) and see how the mother of Carlos, in a naive and endearing it to her baby at the same time.