#slam tutto per una ragazza

[weardes]

[x]

[youssefguedira]

so. y'all might remember the post i made a while back asking y'all your favourite tog cast movies because i love arbitrary data collection. this was in the long ago era before polls were a thing, and now with experience of running one silly bracket under my belt, i have decided to do the same thing, but in tournament form this time. and we're starting with the one i feel most qualified to chime in on, but i DO plan to run the others once this is done depending on how it goes. so with all that said, allow me to introduce:

tog fandom's top luca marinelli movie bracket

because there's a really awkward number involved here, a lot of movies (with higher seeds) won't come in until next round. we will run five in total, with polls running for a week. propaganda is encouraged, you can either add on to the post, send it to me in ask form, or put it in the tags. whichever you choose. judge the movies on whatever metric you choose but try to keep it consistent.

if you HAVEN'T SEEN both or either, i'll be including summaries so you get a general idea of the movie (taken from letterboxd, or in the case of one, written by me) and can vote based on which looks most interesting. or whatever

ROUND ONE HAS CONCLUDED!!

see below for our full list of winners:

L'ULTIMO TERRESTRE / THE LAST MAN ON EARTH (2011) vs MARIA DI NAZARET / MARY OF NAZARETH (2012) - L'ULTIMO TERRESTRE WINS!

LA SOLITUDINE DEI NUMERI PRIMI / THE SOLITUDE OF PRIME NUMBERS (2010) vs NINA (2012) - NUMERI PRIMI WINS!

UNA QUESTIONE PRIVATA / RAINBOW: A PRIVATE AFFAIR (2017) vs A DANGEROUS FORTUNE (2016) - UNA QUESTIONE PRIVATA WINS!

LASCIATI ANDARE / LET YOURSELF GO (2017) vs WAVES (2012) - WAVES WINS!

IL MONDO FINO IN FONDO / UP TO THE WORLD (2014) vs THE OLD GUARD (2020) - THE OLD GUARD WINS!

DIABOLIK (2021) vs SLAM: TUTTO PER UNA RAGAZZA (2016) - DIABOLIK WINS!

polls will be posted over the course of the next couple days (possibly starting tomorrow) and links added here. go forth and enjoy

and if you're curious:

overall seeding is based on average letterboxd rating for a couple reasons! partially because it gave me a numerical ranking and also because i couldn't find my og survey post. there are places where it definitely doesnt line up with what id consider tumblr's general opinion on these so itll be interesting to see the ranking at the end of this tournament (i will make one and compare the two because i love arbitrary data collection)

that's all for now!

[hakasims]

What If I Just Ranked Every Single Luca Marinelli Character From The Least Hot To The Absolute Hottest?

Based entirely on how a character looks and literally nothing else. Let’s go.

21. Andrea (La grande bellezza)

Sorry, dude.

20. Fabrizio (Nina)

Maybe he would be higher if I could actually see him.

19. Diabolik (Diabolik)

Nice widow’s peak, asshole.

18. Saint Joseph (Maria di Nazaret)

It’s the constant dumb expression on his face for me.

17. Ettore (Lasciati andare)

He looks like shit but at least he’s got flavor.

16. Mattia Balossino (La solitudine dei numeri primi)

He’s fine, but he’s nothing special.

15. Paolo (Il padre d’Italia)

Let’s be real, he’s sweet but he’s nothing special either.

14. Valerio (Slam - Tutto per una ragazza)

I know you guys wanna bang him. I guess some people just like risking STDs for a quick disappointing fuck.

13. Roberta (L’ultimo terrestre)

The absolute queen. She would have been higher on the list with more appearances and a better wig.

12. Nicky/Nicolo di Genova (The Old Guard)

Those sideburns, man. Also when there was an actual theory going around that Nicky was made ugly on purpose for this movie, do you expect him to land in the top 10? (He’s not ugly btw I’m just quoting you guys.)

11. Loris (Il mondo fino in fondo)

He’s hot and that’s the only thing he’s got going for him.

10. Gabriele (Waves)

He’s hot like Loris but in a more refreshing way.

9. Cesare (Non essere cattivo)

He’s hella cute y’all are just haters.

8. Fabio (Lo chiamavano Jeeg Robot)

He’s very hot and he would have been in the top 5 if he washed his hair more often.

7. Guido Caselli (Tutti i santi giorni)

You don’t need me to explain why he’s so high on the list.

6. Martin Eden (Martin Eden)

If you’re curious why this one is so high on the list, ask literally every movie critic who was waxing poetic about his beauty.

5. Mickey Miranda (Die Pfeiler der Macht)

He’s hot and slutty and he looks like no Luca has ever looked. Saint Joseph wishes he had those curls.

4. Milton (Una questione privata)

He’s like Martin Eden but softer, younger and with kinder eyes.

3. Fabrizio de André (Fabrizio de André - Principe libero)

He’s so soft and beautiful and his hair is so silky.

2. Lui (Ricordi?)

There’s just something about him that is so arrrggghhh that I just couldn’t put him lower.

1. Primo Nizzuto (Trust)

Like there could ever be anyone else at number 1. Puh-lease.

[fantanimeblog]

Slam dunk

Slam dunk

Oggi tuffo nel passato Slam dunk un anime che parla di basket con protagonista hanamichi sakuragi

Un attaccabrighe di prima classe

Che si ritroverà ha giocare a basket per conquistare una ragazza di nome haruko.

Incapace di imparare le regole del basket takemichi diventa un peso per la squadra ma dopo una serie di partite incomincia ha piacergli il basket e li cambia tutto… più ho meno tutto

Ps (vi consiglio anche di leggere il manga )

Buona visione/lettura!!

Qui sotto ci sono I link per vedere l’anime e il manga

Trama

Hanamichi Sakuragi è una matricola del liceo Shohoku ed è sostanzialmente un attaccabrighe che non passa certo inosservato con i suoi capelli rossi fuori dal comune e con la sua altezza. Entrerà nel mondo del basket dopo essersi innamorato di una ragazza che si chiama Haruko, alla quale questo sport piace molto... quindi per conquistarla decide di entrare nella squadra di basket della sua scuola... anche se è totalmente a digiuno di questo sport, di cui non conosce nemmeno le regole! Gli inizi non saranno quindi certo dei più semplici, ma sotto sotto si potrà pian piano scoprire in lui un talento innato per questo sport!

[jackswolfe]

Luca Marinelli in Slam: Tutto Per Una Ragazza (2017)

[wernerherzogs]

[kill-your-authors]

Ok so people seemed to like my first Luca Marinelli character alignment chart so I’m gonna make another even if it’s been a while since that other post and this time the alignments are distinguished/functional/disaster by husband-shaped/man slut/DILF respectively so here we go:

Distinguished Husband-Shaped:

Guido - Tutti I Santi Giorni

Functional Husband-Shaped:

Nicky - The Old Guard 

Disaster Husband-Shaped:

Martin - Martin Eden

Distinguished Man Slut:

Mickey Miranda - A Dangerous Fortune

Functional Man Slut:

Fabrizio - Principe Libero

Disaster Man Slut

Lui - Ricordi?

Distinguished DILF:

Loris - Il Mondo Fino in Fondo

Functional DILF:

Paolo - Il Padre D’Italia 

Disaster DILF:

Valerio - Slam 

and that’s that!

[sigurism]

Luca Marinelli | Dietro le quinte di SLAM - TUTTO PER UNA RAGAZZA

[andtheywerecocaptains]

"Watching Luca Marinelli act puts us at peace with the universe 💜" - @netflixit on Instagram

[nicolos]

valerio being loud as fuck 2/?

[briannabakerarchive]

LUCA MARINELLI as Valerio in 'SLAM! Tutto per una ragazza'.

[weardes]

[divineandmajesticinone]

Luca Marinelli in Slam: Tutto per una ragazza (2016) 👀👀👀

[hakasims]

The Ultimate And Entirely Correct Ranking Of Every Single Luca Marinelli Character

What? Another one of those? How many rankings can this bitch produce? A lot, trust me. This one is less shallow than the previous one which was about appearances, but unlike all my older posts where I tried to do something analytical, this list doesn’t even pretend to be intellectual or based on anything other than my own personal feelings about the characters Luca has played.

21. Fabrizio (Nina)

When we’re judging characters based on their own merit rather than any other factors, I think the exam rules apply: If you don’t show up, you get a zero. Fabrizio didn’t show up. He’s a nothing character and there’s nothing to say about him.

20. Andrea (La grande bellezza)

With a whole minute of total screen time, Andrea gets a zero, too. He’s not dead last only because I can actually describe him using adjectives.

19. Diabolik (Diabolik)

Congrats to this charisma-free robot on once again being shittier than Saint Joseph.

18. Saint Joseph (Maria di Nazaret)

He is shitty and useless but at least he’s sorta kind? Can’t even say this much about Diabolik.

17. Guido Caselli (Tutti i santi giorni)

Here’s my hottest take: Guido is creepy, pathetic, blindly dedicated to his shitty girlfriend because he likes her lyrics (literally, there’s no other reason) and he’s a doormat and a half. I know you all love him and please don’t stop on my account but you should probably know this movie is bad and its main characters are also bad.

16. Valerio (Slam - Tutto per una ragazza)

He’s a shitty human being and he’s completely useless and worthless. He annoys me less that Guido because he’s fun to watch.

15. Loris (Il mondo fino in fondo)

A homophobic dumb bitch who believes his god-given duty is to wipe his shitty little bro’s ass. Also he’s bland and his attempts at asserting his toxic masculinity are pathetic.

14. Lui (Ricordi?)

We get it, his dad was bad and his childhood was super fucking hard. He’s still whiny and depressing as hell, not to mention he’s a college professor who fucks his students.

13. Martin Eden (Martin Eden)

God, what a pompous ass with his shitty libertarian politics and the air of self-importance thicker than the drug-fueled haze in which he spends the last 15 minutes of that movie.

12. Mattia Balossino (La solitudine dei numeri primi)

He didn’t deserve the shit that befell him, and he basically did nothing wrong (he was a little kid seeking validation, ok?) but he’s also not as interesting as the rest of the guys.

11. Milton (Una questione privata)

My dumb bisexual son, feeling helpless at the cruelty and meaninglessness of war. I can’t help but love him, but I mostly sigh and feel sorry for him.

10. Ettore (Lasciati andare)

Yes, he’s a petty criminal, but he’s clearly a victim of an abusive parent and a flawed education system. If he had been given a chance, he’d have grown up into a good member of society, but even as he is, he’s sweet and harmless and way less homophobic than the supposedly educated Loris. Ettore deserved better.

9. Roberta (L’ultimo terrestre)

Speaking of the one who deserved better, I can’t even think about that movie and its treatment of this kind and sweet soul. Fuck literally everyone who isn’t her.

8. Gabriele (Waves)

The purest, sweetest boy. He deserves his little boat and a hot boat daddy.

7. Mickey Miranda (Die Pfeiler der Macht)

Skanky bitch who lives for drama. If this list was based on the morals and deeds of the characters, Mickey would definitely crack the bottom 3. However, I appreciate an entertaining son of a bitch who is solely responsible for bringing life to an otherwise dull, soul-sucking movie.

6. Nicky/Nicolo di Genova (The Old Guard)

Yep, not even in top 5. Still, I’m not saying he isn’t good or anything. It’s just that most of his character’s goodness is implied rather than explored on screen, and there are five boys who got more than that.

5. Paolo (Il padre d’Italia)

Here we have a soft, vulnerable boy who deserves happiness. Placing Paolo was a little difficult because even though he’s not a very challenging character, he makes up for his straightforward goodness with quite interesting, very internalized flaws while avoiding being a clichéd self-hating gay. Also he’s just a good sweet boy whomst I love. Is that a crime?

4. Fabrizio de André (Fabrizio de André - Principe libero)

He edges out Paolo because he’s a little more complicated and does more stuff in his much longer movie. He is talented, rebellious, vulnerable and flawed, and I just think he’s neat.

3. Fabio Cannizzaro (Lo chiamavano Jeeg Robot)

Is he as complex or complicated as some of the guys he edged out? No, not at all. But is he endlessly entertaining and literally the best part of this terrible, terrible movie? Absolutely. Also, can I just say, king of style? Excellent mix of menace and patheticness. I love him and so do you.

2. Cesare (Non essere cattivo)

He manages to combine immense, almost paradoxical likeabilty with fun as well as sadness. It is wild to me that he and Vittorio are both equal protagonists (with Vittorio even taking up more space) when Cesare is so much more developed, with rich inner life and very real and human flaws. Cesare is infinitely watchable and manages to thread the needle of being tragic but not pitiful.

1. Primo Nizzuto (Trust)

Who is suprised? Literally nobody didn’t see this coming. Primo is the best: the most complex, the most interesting, the best-written, the best-dressed, the hottest, the smartest, the most cunning and ruthless. He is literally the superlative character. The day he doesn’t top a list of best characters is the day I’ve been kidnapped and replaced by an impostor.

[pochiperpe90]

Points of view – The Interview: Luca Marinelli

How do you approach your characters. 

Sometimes I also wonder how I get to the character. For “Non essere cattivo”, I had a very detailed script and a fascinating director at my disposal, so I didn't struggle to relate. It was a very brave script for the way it dealt with reality. At first my auditions went in the direction of Vittorio's character but also knowing the figure of Cesare, more than once I thought I would like to play him. I saw the auditions of others and I stopped to think how I could have done Cesare. Then at a certain point I remember that Claudio looked at Valerio and told him that it would be better to reverse the roles, to let me try Cesare, and so it went. When I read the script of “Lo chiamavano Jeeg Robot”, the first thing that struck me, besides the courageous imagination, was to understand how a film of this kind could be made. 

In the first part of your career, you brought an image of introverted and staid youth to the screen. Was this a choice. 

Absolutely not. Or rather yes, it was the choice of those who met me first. Perhaps a part of my personality has been seen that could best marry the characters in question. It happened both in “La solitudine dei numeri primi” by Saverio Costanzo and later with Virzì in "Tutti i santi giorni", then it can be said that with Casare of “Non essere cattivo” and the Zingaro of “Lo chiamavano Jeeg Robot” I was allowed to turn things around slightly, to play a character who had a disposition and behavior that was completely the opposite of what I had faced previously. 

What do you remember about your debut with Saverio Costanzo. 

He was my initiation into cinema, I came from the Academy and I had no idea what it was like to work on a set. The best memory, in addition to the experience of the film with him and Alba, is the first meeting, the first audition, where I really understood that I strongly wanted to work with him and that if this had happened I would have ended up in the hands of a great author. 

With that film you found yourself in the main competition of the Venice Film Festival. What memories do you have of that first time at the lido. 

Of a huge confusion and a big headache. We were tossed around from one interview to another and not only that, because the worst thing was always answering the same questions, and I was terribly worried not to make the situation even more boring for the machine operator, who never changed, and I don't think could take it longer to hear the same phrases over and over. Fortunately, Alba was there as well and saved me in more than one interview. The experience helped me because the following times I knew slightly more what I was going through and how to manage situations and keep stress at bay. Or maybe not yet, it's a long way. 

I noticed that when you talk about your job you do it using the verb “to play” (giocare). Is it a coincidence or the choice has a precise meaning. 

Perhaps it’s not a coincidence that in English the term recite is said precisely in this way because in my opinion to play, or the French jouez, represents the feeling of freedom and fun that is inherent in the job I do, better. As far as I'm concerned, the moment of the take is when the actor has to stop thinking, abandon worries, to be able to bring out the energy of his character. He has to play with the same seriousness and commitment with which a child does. I remember a piece of advice from Carlo Cecchi on the fact that in acting counts listening and the here and now. Being actively present to oneself and to others at that exact moment.

You have a method for achieving this condition. 

If someone asked me something about technique, I wouldn't know what to answer, apart from listening. On the set of Andrea Molaioli's film in which I am the father of the young protagonist, the actor who plays him, Ludovico, who is really good, full of talent and very smart, once asked me what was the technique to make the best of the character, and the only thing I felt able to advise him was to try to be present in that moment and then to let go, listen and not think about the rest. 

But I imagine that there are also practical aspects in the preparation that precedes the start of filming. 

As for me, I try to prepare as much as I can before arriving on set because at the start of the shoot it would be good to be ready. But not everything happens automatically, in the sense that you can’t always find the character immediately. However, I have always been lucky enough to have more or less long periods of rehearsal before starting a film. I remember this moment with Saverio and Alba, where we spent weeks among us and also with the kids who would have played us as children, to try the various scenes and to create a union and harmony between the characters. The same happened with Paolo Virzì, Thony and I, more than once we gather, facing the script, to clarify all the passages and moments of the scenes. 

And how did things go with Claudio Caligari. 

The same thing also happened with Claudio even though the illness made everything more complicated for him. He asked us to change our bodies, to participate in the auditions of the other actors. This allowed all of us, the cast, to integrate and develop a unity of purpose and a truly rare familiarity. So in front of the camera it seemed to me that the gang, to which Cesare and Vittorio belonged, was really part of my life, that it wasn’t hard to pass from Luca to Cesare, because I had found him. And always to identify with the environment of the story, I preferred a house in Ostia, and Alessandro often came to me from Rome to spend time between the two of us. Claudio, in addition to having reading meetings together, also showed us films that were a source of inspiration for him for this film, such as “Accattone” by Pier Paolo Pasolini, “Rocco e i suoi fratelli” by Luchino Visconti and “Mean Sreet” by Martin Scorsese.

Instead, I wanted to ask you what happens between takes, for example when you come home after a day of work. You stay inside the character as it happens to Daniel Day Lewis, or you put it aside and think of something else like Marcello Mastroianni did. 

I try to disconnect from the set. I try. I go home and try to do something else, but the last thought before falling asleep always goes to the next day's work plan and I leave myself a few minutes for the memory and concentration useful for tomorrow and then I close my eyes.  

We asked Roberta Mattei and we ask you too. During the processing you were aware of the exceptional nature of what you were doing. 

Yes. Let me explain: I saw with my own eyes that what was happening was exceptional, a man who was dying wanted to give his latest work to the public, to his audience, to his people, to people. This has no equal for me. Don't think about yourself in such a situation but about others.

Then it was the turn of Lo chiamavano Jeeg Robot. 

I shot Jeeg Robot in March 2014, and therefore before “Non essere cattivo”. The fact that Mainetti's film is only coming out now is due to the long post-production period necessary to assemble the shot with the special effects present in the film. 

Here as well it was an interpretation and a character who completely overturns the transparent and pristine image of the first part of your career. 

To make Jeeg Robot we had to convince each other, Gabriele Mainetti and I, about my success in the character. I pushed him towards a theatricality and Gabriele towards a real madness, a pure pain. In the end, I think we have found the right amount. 

The construction of the Zingaro was already very clear in the writing and it was up to us, however, to find its true aspect. 

Guiding him is this crazy and boundless ego, and the obsession with having to leave a mark. The Zingaro's eccentricity is partly reflected in his look, halfway between a rock star and a suburban bully. For the costumes and make-up we were inspired by the great rock icons. We dared in some choices, such as the black coat with pink leopard lining that characterize the wardrobe. For the aspects related to the way of performing, his model was Anna Oxa and in particular the video of her at Sanremo, when she sings “Un’emozione da poco”. 

In part you have already answered, but I wanted to know how you choose to accept the proposals that are made to you and if you have any foreclosures towards television, or more generally towards commercial cinema. 

I choose the proposals on the basis of love at first sight that must happen with the film, with its screenplay. Then figure out who will be leading the film, meet the director. I don't have any kind of foreclosure, let's say that if I don't like something I don't do it and if I like it I do. And it doesn't matter if it's cinema or television. 

As a spectator what is the cinema you love. 

I like films that have something to say and that I also choose based on who directed and starred in it. Usually when they ask me to name some titles I have a void. Think that the same thing happened to me also during the audition to enter the experimental center, when Lina Wertmuller asked me the title of a film I had seen recently. I was struck by a cosmic void and instead of naming her an authoritative and important film I left her stunned by citing Batman, I think Nolan's first, still a good film, but I still had Wertmuller in front of me... But to go back to what you asked me, I tell you that in general I always like to watch films that come from Sundance, of which I remember, for example “Like Crazy”, which I found disarmingly beautiful, the films of P.T. Anderson, Wes Anderson, the Cohen, there are many, and among the Italians those played by Alba Rohrwacher, Valerio Mastandrea, Elio Germano, Kim Rossi Stuart and directed by Alice Rohrwacher, Costanzo, Virzì, Sorrentino, Garrone, Salvatores. Without forgetting those of the great Joaquin Phoenix. But in reality I look at everything, let's say that I try not to lose anything of these. 

Despite the certificates of esteem you have received for your performances, the impression is that of an understatement that almost seems not to be aware of what you have achieved so far as an actor. 

Whenever I see a film of mine I always think there is something I could have done better. But basically I'm happy with what I've done so far. Having said that, I think that the films alone should be enough to explain everything and that the interviews don’t add anything new to what there was to say before making them. But when I am in the dance, when I need to promote, I am committed to doing it in the best possible way. I strongly think that in life and at work it’s important to demonstrate that you know how to do and not to show at all costs that you do.

DREAMINGCINEMA

Just wanted to translate this old interview for the non-italian’s fans ^^ (sorry for my English)

[fabfrnkie]

SLAM - Tutto Per Una Ragazza (2016)