Poetiche della solitudine: da “Le Samouraï” a “Ghost Dog”
“Le Samouraï” (1967) by Jean-Pierre Melville has inspired a string of imitators and filmmakers, who were so fascinated by his style that they wanted to pay homage to him. In the Far East, John Woo, one of the most representative exponents of Hong Kong cinema, directed “The Killer” (1989), a sort of...
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| Formato: | article |
| Lenguaje: | EN ES FR IT |
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Prof. Rinaldo Rinaldi
2021
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| Acceso en línea: | https://doaj.org/article/2eb3bbe4642c43e1a1f4ede962a6f091 |
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| Sumario: | “Le Samouraï” (1967) by Jean-Pierre Melville has inspired a string of imitators and filmmakers, who were so fascinated by his style that they wanted to pay homage to him. In the Far East, John Woo, one of the most representative exponents of Hong Kong cinema, directed “The Killer” (1989), a sort of fake remake that however marks a trivialization of Melville’s poetics; while the American director Jim Jarmusch, with “Ghost Dog - The Way of the Samurai” (1999), reinvented with originality the motifs of solitude and obedience to the code of honor that formed the deep core of the French film.
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