Here's a new review of our Luca Cremonesi, happy reading!
picks up where I had stopped a few months ago, and that is the definition of Hugo Pratt: "The comic literature imaging . Similarly, as already written elsewhere, it is interesting to consider the thought of Igort " The comic is a language which, to date, has spoken to 5% of its potential . True. These two statements, one of the most important when it comes to graphic novels, but also the "simple" and common comics, and are crucial today in Italy, a country that finally comes out of torpor editorial (only one, of course ...) and publishers churn out titles on the titles of shows, make sense and meaning. A good example is the work of the statement, hot off the press editor for the average Roman Knight Bus (really a great catalog of fiction), "Tamara Drewe , English illustrator Posy Simmonds, born in 1945, already the author of" Gemma Bovery "and currently working with strips for a series Guardian and Sun . The work was published in Italy, in early January to coincide with the theatrical release of the homonymous film. Let's face it now: the paper book is, in fact, a very detailed script (for the type of story telling and cutting art) and the film, therefore, gains because those who see it after reading the book can be found, who does the same thing for the reverse process (a few to tell the truth ....).
This is a comedy "English" on the model of "Four Weddings and a Funeral," to quote the most famous and trade in recent years, but in any case, a comedy in perfect English style with everything that makes the distinctive feature: comic characters and distinctive, vintage fashion, campaign suspended in an eternal present that could be valid from the '60s to today, a story of love and betrayal that is characterized by 'ambiguity and paradox situations. The only sign of innovation, as well as the commentators have found (an excellent review of Curzio Maltese on Republic), Tamara is the female character, the protagonist. In fact, if we take the 5% mentioned by Igort and we note that we value the woman in the comic, has been used and explored to 2% of the total figure mentioned by Igort ... and I am optimistic. If we exclude the role of supporting actors, the super heroine with the female form, but with character and masculine attributes (let's hope that Marvel, the new woman who will take the place of The Torch in The Fantastic 4, make this qualitative leap necessary what is essential now ...), or at least the role a temptress, a femme fatale, porn heroin more or less emancipated the woman has never been given its own space, even in the comic world, where it is well known, all found a role: the dwarfs the dancers, from dogs to cats from ghosts to vampires, and so on ... Tamara, however, is a female character in the round: the protagonist without being a leader, but even co-star of the boys that animate his life. Indeed. In fact, these (and they are many) are diversions that are an important - different every time - the choice of waiting for Tamara to find its direction. I racked my brains are boys, moved, as often happens, his new face (from small Tamara had a huge nose, a real "Beak", but now the plastic has made it much better ...), from within him round, and firm, and her perfect ass in short, of course, the three required for excellence in every good man worthy of respect, although English writer, a resident of a slow and lonely campaign. The story, in fact, is set in a farmhouse (let it be said to understand Italian) owned by a famous English writer who looks like, apparently, Ken Follett, but who writes books to Sveva Casati. He and his wife - often horned, but ready to forgive him each time, for the love and interest - are the owners of this establishment can stay where writers and scholars to complete their work. Peace and serenity are guaranteed. The house next door, long abandoned, which is that of Tamara, an orphan, decides to return suddenly ... The rest I leave it open because it is really a good story that deserves to be read and followed (with rum and a good record of piano in the background ... light, but bright).
The film's director, Stephen Frears, writes: "The world Posy is a patchwork of fields, fences and cows, and complexity of wit, humor and tragedy, of characters who are both ridiculous and adorable. His jokes are great, the way that draws is essential, accurate and stimulating, his intelligence is formidable. What else is there in life? . Well, not cheap, it's true. The problem is that these words fit like a glove for this. The line recalls the French BD, on all Jacques Tardi, but also the essence of Schultz (but also a little our Staino). The school's band (formed in which appeared originally part of the work) is evident and helps to give that modern fiction is that the structural character Tamara: a contemporary woman who finds herself in the country, but that does not want to become " to "campaign, but to remain what it is though in places different. That's the style of Simmonds Tamara is not at odds ever since city woman, even if it dips into the campaign (nice choice of monochrome in some passages, which leads to the mono setting those of a modern city in days of rain) and it coexists without becoming part of it. Are in fact "his" men chasing her and trying to adapt to something that escapes them, not only concubine nor refined companion: it is eros without sex, but also without being held unbridled desire.
The other peculiarity of this work, which makes me hang on the side of Hugo Pratt and his definition, that is, in fact, this is a work of hybrids. There is a lot of design, clean and simple, but there's a lot of text. But the result is not a graphic novel (because it is written, but not enough to be pre-dominant) or a cartoon version of a book. It is, without doubt, a one, if we apply the definition proposed by Wu Ming in his "New Italian Epic ", a work that is not identifiable and danger in dates, but something new that needs to be lived and accepted for what it is (part of the 95% that remains to be explored ...). Perhaps if you really want to find a category, you can talk cinematographic works on paper, but for which, in my opinion, the celluloid version is natural implants, not because it says something more or I complete what is lacking, but because the two products work, autonomously, while forming a diptych difficult divisible, but consists of independent elements of fact. The fidelity of one another, in fact, is the obvious symptom of our position. It is no coincidence, then, that the Cannes Film Festival (which is anything but sensitive to British films, but ...) has awarded the flattering comments, as they did work hard to Internatioanl Festival de la BD 2009.
"Tamara Drewe" is located in a pleasant way to climb the classic experiment, another hybrid, no doubt. On the one hand is something new, at least for the market Italiot (certainly not for the European), but also a direction that the graphic novel has taken a long time (I think at the same Gipi Igort, to mention just two names but the catalog Coconino, like Nuages, are full of works of this kind). The novelty is in the role of women and, if I do emerge from the classical style used and sought after because necessary to bring forth this change (which is not new but ...) of the female figure. In short, the new spoken of is not really such, but still registered in the woman, but never revealed why, it is clear, you have not wanted to date ... What better way, then, if not a classical narrative, but modern style and a clean, simple, almost dated, to tell this modernity that is so, then, only for some eyes and some minds? In my opinion, in conclusion, the experiment is successful, and very well. Good reading.
Strup
