Dogman: a dirty and powerful movies

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Who said Italian cinema is dead?
Maybe the Italian film industry is, maybe the Italian "cinema" system is, but the talent, the talent, the talent that you can't kill with any weapon, no matter how powerful or blunt it may be.
Matteo Garrone is a manifesto of what cinematic Italy has been in the last decade and that today it can offer itself to the world allowing itself to enter with its head held high in any world festival and to have always and in any case the ambition to win and even dream of the most coveted statuette for best foreign film at the next Oscars.
Everything is born from the film about Gomorrah, passing through the wonderful Reality and sinking full hands into the Hollywood fantasy with the controversial The Tale of Tales until you get to the last effort, the Dogman who, after having well portrayed at Cannes and convinced everyone, proposes himself as a potential Outsider at the next Oscars.
An exceptional Italian film, superbly directed and acted even better with a unique auteur touch and courageous choices to bring on stage in an impeccable and original way one of the bloodiest events of recent Italian crime news.

Italian cinema at full power

A real director knows how to speak through images first of all and Garrone does this in an admirable way. Another fundamental skill is knowing how to take some material, original or not, and to do just that, trying to tell what there is to tell from a perspective that is anything but simplistic and superficial.
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Dogman is the example of what a simple news story can become in the hands of an author of absolute level.
This film could have been written and shot in a thousand different ways and yet at the end of the screening and comparing the story told with the one read on the pages of newspapers it simply seems inevitable to have written and directed it in such a refined and elegant way.
We also had the same impression about another recent Italian film success, Sulla Mia Pelle by Cremonini, which tried to bring us inside the human and judicial events of the Stefano Cucchi case.
2 virtuous examples of cinema based on real events.
Dogman starts from the events of the Canaro della Magliana, a seemingly honest and calm man who was loved by the small community of which he was part in the role of dog groomer, his true passion, his true love as well as being a devout and affectionate family man.

The villain you don't expect

A bad attendance accompanied by a low IQ has led Canaro to be the protagonist of a heinous crime that has filled the pages of the crime chronicle for months.
This was the starting material.
From here Garrone built a gomorrian film in photography and breakingbadian in development, gradually transforming an ordinary man, a small and harmless ordinary man into a ruthless murderer even if only for one night and he did so by managing to create sincere empathy with this criminal. It's not a sympathy operation, mind you, let's leave that to the channel 5 fiction. This is auteur cinema at the maximum power because from the micro it tells us the macro, that is how it is often single events, single acquaintances, single events that generate bigger events, wrong choices and moments of madness.
The canaro is explored in depth, is shown to us in his daily life, is made known to us as a good person but easy impressionability that ends up in trouble not to be bad inside but to be on the contrary a good person who can not betray anyone even when he could do it. From there an escalation of madness and perdition dictated by the fact of having lost everything he had built because of a single error of judgment.

Ode to Marcello Fonte

If Dogman is so successful, the merit, in addition to Garrone and his technical collaborators, is undoubtedly attributed to Marcello Fonte, interpreter of the Canaro della Magliana.
His slender and miniaturized physique visually gives us the perception of a man crushed by destiny, his naive and bewildered face brings us into the mind of a beautiful person too little awake, too little prepared for the uncertainties of life and the encounters that could be reserved for him. Beyond what could be the physicality and physiognomy of the actor who lends his face and body to Canaro, it is the expressive range of Fonte that leaves us ecstatic and amazed.
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We see him loving his faithful dogs, joking with them, pampering them with a mask of almost childlike, childlike happiness.
The terror on his face is tangible when he is threatened or violently beaten.
The shame for what he has done in spite of himself is tender and excruciating.
The thirst for revenge for a lost life turns him into an improvised, witty killer.
The benevolence and hope he manages to exude in tender moments with his daughter gives us back a loving and loving father.
A continuous mix of emotions and sensations that Fonte gives back with the skill of great actors. Winning the Palme d'Or at Cannes is therefore something not very surprising but deserved if we think about it.
Dogman strikes the mark by succeeding in divincolating himself from the classicism of certain biopics or adaptations of the crime chronicle and projecting Italian cinema in that all-new space that puts man at the centre of everything and the understanding of it above all else, regardless of the actions he may perform, regardless of the violence and cruelty he may perpetrate.
We are not what we do, but we do what life forces us to become.



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