The same thing happens with movies as Bismarck does with laws and sausages: the more I know how they were made, the less I like them. Therefore, the metacine, the cinema explaining itself, is not my favorite genre. This does not save me from the contradiction of having enjoyed many films characterized by that inbred origin.

In recent years, for example, and around the eagerness to revisit the McCarthyism, good movies came to us, some humorous, some dramatic, which in addition brought the nostalgia of a Hollywood aware of the decay of everything for what it supposed, and not only for the neon, a different meaning of the "bright city on the hill".

Clooney in Good evening and good luck ; the Coen brothers with Ave César ; the biography of Dalton Trumbo , embodied by Bryan Cranston , that extended the atonement of a guilt complex of the studies that repressed the great screenwriter and consented to the imprisonment of The Hollywood 10 , among which was Ring Lardner Jr. , who wrote to that respect a clean book of resentment: He would hate me every morning .

About Hollywood, the only books I like best are those by Budd Schulberg . The same is true of the screenwriter's memories literally raised in the studios of that extraordinary novel, The Disenchanted , which tells the very sad last years of Scott Fitzgerald , when he had no choice but to tie himself to the assembly line of screenwriters in which the studios enjoyed keeping captive, salaried, great writers of the time - including Jardiel Poncela a decade earlier! Something that Hemingway always resisted, but not Chandler or Faulkner , whose short portrait, typing on a terrace surrounded by palm trees and light, completely alienates us from the rusty sabers of his literary ecosystem.

The Tarantino movie that is on everyone's lips is, in part, metacine. And it is absolutely fun, even in details such as the use of radio in driving scenes, which the users of the Play will remind the GTA. Or in the gifts that Tarantino is made with the fetish of the feet and with the incorporation of Pacino and other friends in roles designed only to join the party. It does not refer to McCarthyism, but to European branches such as Cinecittà or Almería del Spaghetti, sentimental education already influenced by the series and, above all, the agony of the floral utopia of the 60s. For which the argument Metacinematography is mixed with the Manson family of the Spahn Ranch in the imminence of the crime of Cielo Drive, which ended the hippie innocence and the joy of a Hollywood that until then was an orgiastic and narcotic version of the Neverland .

The 1960s were still missing the coup de grace, which was the disastrous Altamont festival (December 69), an attempt to revitalize the great Woodstock concerts of the Summer of Love , which resulted, between invasions of the stage, with the murder of Meredith Hunter at the hands of the Angels of Hell , while Mick Jagger , dressed as a medieval jester, sang sympathy for the devil .

Tarantino has a thorough knowledge of the crime of Cielo Drive and demonstrates it in the subtle way he diverted things that happened to his own fiction. For example, the hitchhiker's story that takes Brad Pitt to the Spahn ranch is inspired by how he connected with the Dennis Wilson family , the battery of the Beach Boys, a devotee of Manson and his sex slaves for a while. I do not continue comparing the real plots and those of Tarantino because I fear to commit spoiler , a very bad crime in the cultureta lies.

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