Gomorra 2008 LiMiTED DVDSCR XViD-HLS

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Gomorra.2008.LiMiTED.DVDSCR.XViD-HLS

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General Information

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Type.................: Movie

Platform.............: xvid

More Info............: http://www.scotsman.com/movies/Film-review-Gomorra.4557885.jp
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Compression Format...: RAR







Video Format.........: AVI

Video Bitrate........: 1206

Resolution...........: 640 x 272

FPS..................: 25.00

Source...............: DVD 16x9

Original Format......: PAL

Genre................: Crime

IMDb Rating..........: 7.7/10

Movie Information....: http://www.imdb.com/title/tt0929425/
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Post Information

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Posted by............: OdubruS (www.bitsoup.org)



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Release Notes

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Director: Matteo Garrone

Running time: 137 minutes



****

MORE than anything else, Gomorra has time or at least terrific topicality on its

side, so that its depiction of a mafia-plagued city feels like a wider comment

on a moribund state. Italy's political figures have a decadent murkiness that

makes the Borgias look like the Waltons; its national airline, Alitalia, has

been haemorrhaging 500,000 a day; and Naples is a city choked both by toxic

waste and crime that has become woven into its social fabric.



Gomorra is Italian for Gomorrah, the Biblical sister of Sodom but, of course,

the title is a play on the name of the Naples crime syndicate, the Camorra.

Inspired by a best-selling journalistic expos by Robert Saviano, who now

requires police protection following death threats, this engrossing film shapes

a social essay out of five stories which co-exist, rather than connect, and

illustrate the Camorra's grip on Naples. In this city, the local Mafia control

the building industry, arms and drug trafficking, designer fashion and even the

handling of poisonous waste.



The result is a v rit scrapbook that is a dejected indictment of a society

where an inclination to violence is what the powerless have in common with the

empowered, and the violence is all the more disturbing for being so matter of

fact. A band of bragging Mafiosi enjoy a spa night gossiping in their tanning

rooms and manicure seats until a short, sharp burst of slaughter. Two

thick-witted teenagers, who decide to challenge the local don by stealing from

his weapons cache, have a target practice session on a local beach and are

gleeful when their new flame-thrower decimates a nearby boat. A young university

graduate is taught the ropes of illegally dumping corporate toxic waste from

northern Europe around Naples by a mobster businessman. A kid who delivers

groceries around a broken-down housing project and a weary bagman who drops off

money are both drawn into the widening gang war.



Gomorra moves where even cops fear to tread, embracing the misery and violence

with a matter of factness at once riveting and disconcerting. Its gun deaths are

abrupt and unceremonious: after a summer watching people die hyperbolic movie

deaths, it's chilling to see men killed in so blunt a manner by a generation of

unimpressive, petty but relentless men. Yet although this crime story eschews

romanticism in favour of a disenchanted, suffocating approach, there's a

cinematic skill to Gomorra. Shot in secrecy with a largely non-professional cast

in poor neighbourhoods including the Camorra bastion of Scampia, the images are

grim and grimy, in stark contrast to the stucco sun-drenched imagery of other

Italian films. The Chinese live in a building which has vital exterior walls

missing, embryonic hitmen pick their way through a cowshed ankle deep in ordure,

the street faces used by director Matteo Garrone make Joe Pesci and Danny Aiello

look like supermodels.



Gamorra is a long, slow pulse on a snarled mess of poverty, criminality,

corruption, indifference and human venality. Even the film's soundtrack adds to

the overall neo-realistic feel, whether it's a teenager dancing awkwardly to a

cheesy Neapolitan pop tune or a peaceful scene where workers pack up vials of

cocaine interrupted only by the buzz of the blenders and the rustle of the

baggies. At one point the film slows things right down to the sound of one man's

laboured breathing. He's inside a protective toxic waste suit and, rather than

coming across as a manipulative film school trick, it's a potent moment that

only enhances the sense of a film that is invigoratingly bleak.



The film's multiple end points are one minor problem with the separateness of

the narrative threads. At times the storyline is also chaotic and confusing but

that seems appropriate as a symptom of a country's peculiar societal illness.

Almost cosmically, everything is out of whack and absolutely nobody seems to

have any control.