La vita é bella (Life is Beautiful)

“La vita é bella” is simply beautiful! Roberto Benigni can turn any piece of history into a masterpiece, as we see in La tigre e neve. With both films centralized around wars, Benigni takes on the role of a character that is caught in the horrors of the Holocaust in “La vita e bella,” which almost seems impossible to accomplish by knowing how well he’s known for his comedic roles in films like “Il mostro.”
The film starts off similar to other films by Benigni, with the protagonist (played by Benigni) chasing after a girl, who happens to be his wife in real life, Nicoletta Braschi. The time is set in the late 1930’s. Benigni’s character, Guido, a Jewish-Italian waiter, tries to win over the Italian schoolteacher, Dora by charming her with the phrase “Buongiorno Principessa!” every time they encounter one another. Dora is already set to marry another man, but one night they share a kiss underneath a table which seals their future together.
Guido and Dora marry and the second half of the movie begins 5 years later with Guido, Dora, and their 5 year old son, Giosué, when the war is brought into the film.
While Guido and Giosué are walking, Giosué asks his dad why stores have signs that say “No Jews or Dogs allowed.” Benigni’s comedic side comes into play when he responds to his son “Oh, that. ‘Not Allowed’ signs are the latest trend! The other day, I was in a shop with my friend the kangaroo, but their sign said, ‘No Kangaroos Allowed,’ and I said to my friend, ‘Well, what can I do? They don't allow kangaroos.’” At that point you can already see Guido protecting the innocence of little Giosué, but can tell it’s becoming difficult for Guido to keep up with this outlook knowing how close to home this war really was. The first part of the film resembles a fairy tale; shot in soft and bright colors in contrast to the second half where it’s shot in dark and gloomy colors resembling a war movie.
The war goes on without them noticing until one day German soldiers come to the door of Guido and his family and take Guido and Giosué aboard a train to a Nazi camp. When Dora returns to her empty house, she finds that Guido and Giosué have been taken to a concentration camp and demands to get on the train to the same camp.
This is where the game begins: yes, an actual game which disguises the ugliness of the Nazis. Just like before when Giosué asked about the sign, Guido turns the whole situation of the camp into a game, where all you need is 1,000 points and you will win the game and the prize is a tank, not a toy tank, but an actual army tank. Guido carefully explains the rules to Giosué while cleverly stating that he can’t cry, ask for his mother or says that he's hungry, which results in the loss of the "game", an apparently playful ploy that we know protects his son from certain death.
There are so many close calls, where you think that either Guido or Giosué come close to death but with Guido’s intelligent mind, they always escape it. At one point Giosué wants to quit the game and go home, but is fooled by Guido’s use of reverse psychology. Guido pretends like he is over the game as well and insists on packing up their belongings, which is almost nothing. He walks out the door in the pouring rain and tells Giosué to come along, but Giosué quickly changes his mind and continues the game in hopes of winning the tank.
The film continues with Benigni’s charming wit and I don’t want to spoil anything for those of you who haven’t watched La vita é bella but at the end of this story you’ll not only witness Benigni’s remarkable work but understand why, in spite of the tragedies’of the Holocaust, life is truly beautiful.
Links:
YouTube - Roberto Benigni goes wild at the Oscars®
http://www.imdb.com/title/tt0118799/

Manuale d'Amore

Giovanni Veronesi’s 2005 Manuale d’Amore is a collection of separate but interconnected love stories played by an impressive list of famous Italian actors and actresses. The first story is called “l’innamoramento” (falling in love), followed by “la crisi” (the crisis), then “il tradimento” (the betrayal), and finally “l’abbandono” (the abandonment).
“L’innamoramento”, the first and perhaps most entertaining of the four stories, is about Tommaso (Silvio Muccino), a 20 something year old on a mission to court Giulia (Jasmine Trinca) an interpreter by profession. In every story an animal (a dog in almost every case) somehow plays a role in the lives of these couples. Tommaso sees Giulia for the first time after a black cat passes in front of him. After a short altercation, the animal once again brings them together as Tomasso attempts to reconcile with Giulia for his rude behavior from the day before. Tommaso’s friend Dante (Francesco Mandelli) offers the most laughs with his clever comments and cunning performance. On Christmas, after Giulia has given a new puppy to Tommaso, he proposes to her. The happiest of the couples, Giulia and Tommaso end up on their honeymoon which is where the story of Marco (Sergio Rubini) and Barbara (Margherita Buy) begins.
In “la crisi”, as their story is titled, Marco and Barbara find their marriage in a slump. Marco, the husband who has “cambiato” (changed) no longer appeals to his wife Barbara and vice versa. She finds it harder to tolerate his constant absence and insensitive ways. After their interesting evenings with a couple who has just had a baby, they realize that they are at two different points in life. The animal, a dog in this case, once again plays as a symbol of control: that is, he who gets the dog alongside him wins. After a night of rebellion, Barbara finds herself in a park with Marco trying to sort out their differences but their relationship seems to be collapsing. As they are speaking Ornella (Luciana Littizzetto), a municipal police officer, is having Marco’s car towed which is where the next story of “il tradimento” begins.
Ornella and her husband Gabriele (Dino Abbrescia) seem to have a normal marriage. With her audacious humor Ornella kindly reminds the audience about the statistics of the men and women who cheat on their partner. Their young son Andrea takes part in a class play and during the play Ornella sees Gabriele kissing the teacher. Repulsed and hurt Ornella, now bitter and spiteful towards all men, abuses her power as municipal officer to get back at the teacher and also men in general. After a one night stand with the upstairs neighbor, Ornella finds herself at the front door of her husband’s apartment. Although she doesn’t knock, the dog senses her presence and begins to bark which brings about their reconcilement. Goffredo (Carlo Verdone), already having had an altercation with Ornella, brings the film to the final story of “l’abbandono”.
After nine years of marriage Goffredo finds himself abbandonato by his wife Margherita who gave him no motive as to why she left. Desperately wanting his wife back (and also his life back) he takes desperate measures. He goes to a bookstore where he buys the abandonment part of an audio book collection he sees in the window, Manuale d’Amore, to help him overcome his obstacles. After a hilarious attempt to mix business with pleasure Goffredo still finds himself alone. He goes to see his mother in law and is welcomed by none other than his dog. After their conversation Goffredo takes his first real steps to moving on without Margherita. He meets Livia (Anita Caprioli) on the beach and little does he know that she is the voice behind his audiobook. After explaining his story the romance between them seems to bud and that is where the story ends but then again begins.
All the stories fit in nicely together and complete the circle. A true fact of life; falling in love is the soundest and happiest part of a relationship but as the film explains, things don’t stay the same for long. A box office hit, Veronesi’s Manuale d’Amore keeps the audience laughing, but what does it teach? Perhaps it’s best if we ask the dogs!

“IMDb – The Internet Movie Database.” Manuale d’amore. 2005. IMDb. 01 April 2008. <http://www.imdb.com/title/tt0417944/>

Links:
http://www.manualedamore.it/
http://it.youtube.com/watch?v=n2NFXy-Niyk

Il Postino

“When you explain poetry, it becomes banal. Better than any explanation is the experience of
feelings that poetry can reveal to a nature open enough to understand it.” It’s a story about metaphors and a beautiful story it is.The story has a lot of unforgettable dialogue, including quote such as the previous one. It’s when the poet explains to his postman what poetry is. The late Massimo Troisi plays Mario Ruoppolo, a shy and goofy postman who delivers mail to the new talk of the town, none other than the famous Chilean poet Pablo Neruda, played by Philippe Noriet. Neruda has been exiled from his beloved country and finds himself alone with his wife in a beautiful town on the Italian coast. He makes headlines because his poetry has captured the hearts of many women. Mario’s position as postman is only temporary as he has been hired only to deliver mail to Neruda while he stays in town. The awkward behavior the first few times Mario sees Neruda serve as some of the film’s funnier scenes. As the days pass, Mario and Neruda begin to establish a friendship. Neruda explains to Mario what le metafore, metaphors, are and the ways poetry works. Inspired, Mario attempts to create his own metaphors.
The big inspiration however, comes from Beatrice. In this movie, Beatrice is even more beautiful than Dante Alighieri leads us to imagine. Beatrice Russo, played by Maria Grazia Cucinotta, is a waitress at her family’s bar. Mario claims that he has fallen in love with her after they exchange a few words. He immediately seeks the help of Neruda to win the heart of Beatrice. Neruda tries to help him by going to the bar with him. Slowly but surely Beatrice is captured by Mario’s effort to win her over. He invents laughable yet sweet metaphors for her, such as, “Your smile spreads like a butterfly”, and you can rest assured that it sounds much more seductive when said in Italian. Beatrice and Mario get married and Mario chooses Neruda to be his best man at the wedding. To Mario’s surprise Neruda makes an announcement at the wedding reception that he and his wife can move back to Chile. Before Neruda’s departure he tells Mario that he is leaving some things here and he will send news later as to where Mario should send them.
As time passes Mario doesn’t hear from Neruda but continues to read about him in newspapers; the former postman becomes very discouraged when he reads an article that he should’ve been mentioned in. As the movie nears to an end Beatrice becomes pregnant and Mario writes a poem that he will read in front of a large crowd. A tragic ending renders the movie unforgettable. Massimo Troisi died after the filming of this movie, which is why it was dedicated to him. It’s truly a heart warming story about life, love, and one of the most beautiful tools in life, metaphors. Our own lives become a sort of poem. They start brilliantly, slowly moving along with highs and lows, and then they end, sometimes sweetly, and sometimes tragically.

“IMDb – The Internet Movie Database.” Postino, Il. 1995. IMDb. 14 July 2008. <http://www.imdb.com/title/tt0110877/>

Links:
http://www.lone-star.net/literature/postino/index.html
http://www.rottentomatoes.com/m/il_postino/

Malena

Giuseppe Tornatore is the master of his art, and I’m not just talking about film. He’s more than a filmmaker; the man is a surgeon. He is capable of slicing apart every last shred of delicate cardiac tissue before carefully stitching it back together, only he does so leaving enough space for one to fill it back up with more love than it was capable of holding before. This is Tornatore and this is Malèna.
When one watches Malèna unfold for the first time, it looks deceivingly like any other coming-of-age tale about a pre-pubescent boy and the exploration of his own body. In my first viewing of the film, it brought to mind the likes of Summer of ’42 or Y tu Mamá También. I anticipated the forbidden love scene, followed by the gracious, tearful farewell—the kind of struggle usually shown in these kinds of films as necessary to becoming a man. But it never happens.
The year is 1941 and in the town of Castelcuto, the people are at the mercy of Il Duce’s dictatorship. At the center of the story is Renato Amoroso (Giuseppe Sulfaro) a 12 ½ year old with a heavy heart and an active imagination. He knows nothing of what it means to care for a thirty-something woman, though this is precisely his intention when he first sets eyes on Malèna, the demure army wife. Like most voyeuristic endeavors, the viewer becomes caught up in watching Malèna in the unique way in which Renato watches her: as both a sexual being and a compassionate woman. We are privy to the boy’s plentitude of dreams about what he would do if he could be near Malèna; oddly enough almost none of them actually include doing the deed. He wants to kiss her and save her from the pervy men-about-town in the style of his favorite film heroes, a dimension of his character that helps to remind us of his age throughout the film.
In one of the opening scenes we see Renato, the owner of a brand-new, multinational-built bicycle, trying to fit in with the neighborhood gang. It is here that he catches his first glimpse of Malèna (Monica Bellucci) as she strides down the street with such precision and tact. The other boys yell out indecencies—“what a wonderful ass!”—but Renato innocently wonders aloud, “what is her name?”
The mysterious beauty is not only the leading cover story for the teenage boys in this Sicilian village, but also for the babushka-wearing housewives who think that Malèna is nothing more than a conniving hussy out to get their men. As if there is an appealing selection at hand. Malèna’s husband has gone off to war and the only man left in her life is her aging father. As many war movies unfortunately go, word of her husband’s death reaches Malèna and before the reality of her widowhood even sets in, her father is killed in a bombing of the village. Having no where else to turn to, as the women of Castelcuto have made it painfully clear that they will not be aiding her, Malèna acts pragmatically, using her own body as a commodity for survival. Belligerently displeased with the monster that they themselves have created, the townswomen go ballistic and serve Malèna with a public beating in the middle of the piazza. This is classic Tornatore—things have to hit rock bottom before they can get any better. Malèna has turned into the worst version of herself and Renato is witness to it all. He has peered at her through the cracks of her house and followed her up the stairs to her father’s apartment. What he sees is no longer the beautiful butterfly that he had wished to admire and protect, but a broken woman, neglected by the very people that should have been helping her in this trying time.
In a cinematic turn of events, Malèna leaves town right before her amputated husband walks back into the village looking for his wife, finding only gypsies in his home and shock in the faces of all who cross his path. Renato, appearing more mature now than any adult we have seen thus far, writes Nino Scordia (Gaetano Aronica) about where he can find his wife and about how she was the boy’s one true love, although he confesses that it is lucky for both of them that he never had her romantically.
Renato only sees Malèna once more a couple years later at the town’s market in a meeting that has all the feel of a “the one that got away” reunion. He gives her his blessing, “Buona fortuna, Signora Malèna,” and with that she is gone.
Ennio Morricone provides the compelling soundtrack that any fan of Tornatore’s repertoire would be well familiarized with. The high-pitched violins play as if the orchestra is bowing our very own heart strings. The tone is so deep and melancholic at times, and fits superbly with the burning desires of each character—for Malèna it is survival and for Renato it is Malèna. The story of Malèna is one of passion and sensitivity. Renato, like Toto of Cinema Paradiso and Nineteen-Hundred of The Legend of 1900, feels the whole world through his eyes, right down to his heart. He is captivated by the moving pictures and the timeless woman before him. Tornatore recognizes this sensationalism that the art of film offers to the viewer, and he plays on it in the most upfront kind of way, using the cinema itself as the narrative catalyst (as he does in most of his films). He sees that people want to experience something when they watch a movie and that they want to feel this romance in everyday life. In the bonus features of the DVD, one of the actors remarks that Tornatore writes about the desires of people and that his characters “are forced to imagine what isn’t possible in real life…big passion is impossible to express.” Well it may be impossible, but Malèna is evidence that the biggest passion comes in the smallest packages: it is often the innocence of a child that reminds us to never stop dreaming of what could be.

Links

http://www.tiscali.co.uk/entertainment/film/reviews/malena.html
http://en.wikipedia.org/wiki/Mal%C3%A8na
http://www.imdb.com/title/tt0213847/

http://www.popmatters.com/film/reviews/m/malena.shtml

Respiro

Film: Respiro
Registra: Emanuele Crialese
Recensione: Mike Peraino

Ognuno di noi ha un’immagine o una figura nella mente di quello che sarebbe il nostro paradiso; per alcuni sono le montagne, per altri, un lago. Per me, il paradiso è un’isola soleggiata in mezzo al mare cristallino. Fortunatamente ho avuto l’opportunità di vedere questo splendore naturale nell’isola di Lampedusa; è qui dove si svolge il film Respiro. Con questo film possiamo immergerci nell’ambiente della macchia Mediterranea, ed è qui dov’è possibile fare uno sguardo alla vita dell’isola.

Il film comincia con una vista panoramica dell’isola e con una visione delle piccole cose che creano la cultura e lo stile di vita. Ci sono il porto e le barche, le strade strette e fitte di vespe, il sole, il mare di colore blu e le rocce. E’ veramente un bel paese e sembra un paradiso, però, come sempre niente può essere perfetto e come l’isola è solitaria, così anche Grazia (la protagonista) è isolata dagli altri. Lei è tanto bella ed unica quanto l’isola.

Grazia vive con i suoi tre figli e suo marito in una piccola casa a Lampedusa. Lei ha un carattere molto appassionato e non vuole fare come gli altri e si ribella contro il modello di condotto della società. Le sa che in questa vita c’è più di quello che sembra e lei vuole vivere al massimo. Allo stesso tempo i cittadini vogliono che lei smetta di causare problemi.

Mentre il tempo passa vediamo che è difficile anche per un italiano da Roma (il poliziotto) ad abituarsi al dolce stil novo della vita a Lampedusa. Però scopriamo che lui non è l’unico ad avere problemi. Grazia ha dei problemi suoi. Quando lei diventa agitata o perde controllo delle sue emozioni lei ha attacchi di panico e i cittadini vogliano che lei vada a vedere uno specialista a Milano, però l’idea non va per lei e lei salta fuori con un’idea di evitare loro. In ogni modo il film termina con «un miracolo» e perché l’ambiente è così bello, un miracolo non è tanto incredibile.

Allora, basta con il sommario, se tu volessi sapere il resto, dovresti guardare il film.

Dopo aver visto questo film si può capire la diversità della cultura italiana da un paese ad un altro.


Interpreti e Personaggi
Valeria Golino = Grazia
Vincenzo Amato = Pietro
Francesco Casisa = Pasquale
Veronica D'Agostino = Marinella
Filippo Pucillo = Filippo
Muzzi Loffredo = Nonna
Elio Germano = Pier Luigi


Info sul Regista
http://www.imdb.com/name/nm0187740/
http://it.wikipedia.org/wiki/Emanuele_Crialese

Info sul Film
http://en.wikipedia.org/wiki/Respiro
http://www.washdiplomat.com/03-07/bC_03_07.html

Video
http://www.imdb.com/title/tt0286516/trailers-screenplay

La Tigre e La Neve

La Tigre e La Neve
Roberto Benigni

Recensione
Mike Peraino

La Tigre e La Neve. Con questa frase si possono fantasticare immagini molto poetiche. Certo ci sono la tigre e la neve, ma c’è qualcosa di più, un tipo di fluidità dove le parole scorrono come l’acqua. Le due parole sono messe in giustapposizione come l’amore e la guerra in questo film. Il metodo di giustapposizione è usato spesso di Benigni. Lui mette due idee opposte faccia a faccia per dare un senso di contraddizione e realismo, perché nella vita le cose non vanno sempre come vogliamo. Nei suoi film Benigni usa spesso la commedia contro la tragedia ed i risultati sono belli. Con solo un lato di questo metodo, il film non avrebbe la capacità di catturare l’attenzione dell’audience. Come molti altri dei suoi film lui ha usato il tema dell’amore, un amore forte che non morirà mai.

La Tigre e La Neve è uscito nel 2005 e ha luogo a Roma ed in Iraq. Il regista, e il personaggio principale è Roberto Benigni. Gli altri attori sono (la sua moglie) Nicoletta Braschi, e Jean Rino. Il film parla di un grande amore che non ha fine, neanche nell’ambito di una guerra terribile. Attilio (Roberto Benigni) deve mettersi in pericolo per salvare il suo amore Vittoria che non vuole avere niente a che fare con lui. Il film non parla solo d’amore ma tratta anche delle cose politiche, tutto in un modo comico.

Il film comincia con una scena surreale di un matrimonio dove Attilio (Benigni) arriva confuso e vestito in pigiama. A questo matrimonio lui sposa il grande amore della sua vita, ma non senza affrontare alcuni problemi, finalmente scopriamo che è un sogno e che lui sogna la stessa cosa notte dopo notte. Lui si sveglia e deve portare le sue figlie a scuola e arriva con 30 minuti di ritardo, ma dice “ah si ma sono 30 minuti precisi”. Qua capiamo un po’ la sua personalità. Lui è eccentrico e creativo e questi sono buoni aggettivi per il poeta ed il professore di poesia che lui rappresenta nel film.

Durante il film Attilio vorrebbe vincere il cuore di Vittoria, ma i suoi tentativi falliscono. Quando un compito porta Vittoria a Baghdad lei è stata ferita e messa dentro un ospedale improvvisato. Il momento in cui Attilio scopre questo lui prova a trovare un metodo per andare a Baghdad. La maggior parte del resto del film è dedicata allo sforzo di Attilio a salvare Vittoria. Ci sono molte cose buone che succedono a lui e ci sono molte cose brutte che succedono a lui ma l’amore e il suo motore.

Secondo me ogni parte di questo film ha un po’ di poesia e la ragione è che il linguaggio e la sceneggiatura sono scritti in maniera lirica. La mia scena preferita, e più poetica è quando Attilio spiega il significato di poesia. (http://www.youtube.com/watch?v=FAWMwSstg3Y&feature=related) Qua abbiamo l’opportunità di vedere chi è il vero Roberto Benigni e non solo l’attore. Penso che questa scena mostri che cos’è la poesia in ogni modo. Non è solo una parola, una maniera di scrivere, o qualcosa da studiare, ma è un modo di percepire il mondo, la natura, e tutto quello che vediamo ogni giorno: è un maniera per capire. In questa scena Attilio dice che dobbiamo vedere, non guardare, ed io sono d’accordo con lui. Vedere significa che capiamo qualcosa e osserviamo o stiamo attenti. Quando guardiamo qualcosa, per esempio, la tv, non dobbiamo usare l’intelletto. Possiamo guardare senza attenzione. Mi raccomando…vedete!


Informazione su Roberto Benigni http://www.geocities.com/SouthBeach/Club/4154/Benigni Questo sito è in inglese ma ci sono delle belle informazioni.
http://it.wikipedia.org/wiki/Roberto_Benigni
Cos’è info senza di wikipedia?
http://www.tuttobenigni.it http://www.youtube.com/watch?v=CO8K5TOtHEs&feature=relatedUn’intervista di Roberto Benigni Altre recensioni http://www.nonsolocinema.com/nsc_articolo.php3?id_article=1723 http://filmedvd.dvd.it/drammatico/la-tigre-e-la-neve-2

Io Non Ho Paura

Io Non Ho Paura
Mike Peraino


Io Non Ho Paura
Gabriele Salvatores

Come cominciare… Prima devo dire che è un buon film! Mi è piaciuto molto questo film… Bravo!
Prima di diventare un film nel 2003 Io Non Ho Paura era un libro scritto da Niccolò Ammaniti: lui ha scritto il libro due anni prima dell’uscita del film. Usando i colori vividi, la musica emozionale e gli attori bravi, il regista Gabriele Salvatore ha dato movimento alle parole del libro.

Gabriele Salvatore ci da un bello sguardo attraverso gli occhi di un bambino e finalmente possiamo vedere quello che è giusto e quello che è male. Tanto spesso noi adulti non vediamo la linea fra bene e male e non sappiamo separare quello che dovremo fare da quello che vogliamo fare. In questo film vediamo questo mondo cieco attraverso gli occhi di Michele, un ragazzino di dieci anni e per qualche ragione Michele può fare la cosa giusta anche quando ognuno altro è perso nei suoi peccati. Il fine non giustifica sempre i mezzi.

Il film ha luogo nell’estate del 1978. Michele abita con la sua famiglia e alcuni vicini nel dimenticato sud d’Italia. Il suo paese è messo nel mezzo di un mare di grano oro. Questo colore d’oro è il contrario dell’altro colore più presente nel film, nero. Come il regista ha detto c’è un confronto fra questi opposti durante l’intero del film. “Alto e Basso, Dentro e Fuori, Emerso e sommerso, Visibili ed Invisibili, Grandi e Piccoli.”.(iononhopaura.it) In questo film, e secondo me ci sono due mondi a confronto in ogni situazione. Fortunatamente Michele, la nostra guida, può far vedere a noi le buone cose su questa lista.

Qua nel mezzo della Sicilia dove non c’è niente da fare e non c’è niente da vedere, Michele scopre qualcosa che non avrebbe mai pensato di trovare. Dopo un giorno giocando con gli amici vicino ad una casa abbandonata Michele trova per caso un buco per terra nascosto e vede qualcuno dentro. Con paura e confusione lui corre a casa, senza dire niente a nessuno.

Giorno dopo giorno lui torna al buco e scopriamo che quello dentro è un altro ragazzino di dieci anni di Milano si chiama Filippo. Michele porta il cibo e l’acqua a lui e sebbene Michele sia preoccupato per lui non chiede aiuto da nessuno. Dopo un po’ di tempo un amico sconosciuto di suo padre arriva a casa e Michele diventa disturbato perché qualcosa non sembra giusto. Finalmente Michele scopre la ragione Filippo e nascosto nella terra e decide di fare la cosa giusta. (Se vuoi sapere tutto devi guadare il film)

Il film non idealizza i ragazzini e non dice che ogni adulto e cattivo perché i bambini possono essere cosi cattivi come gli adulti, ma in un modo diverso. Gli adulti commettono un crimine perché non sembra che ci sia un’altra via fuori della povertà ma il loro amore per i loro bambini è chiaro, e questa e la dualità che Gabriele Salvatore ha spiegato prima. Per ogni persona e per ogni evento c’è un motivo che non è sempre giusto. Qualche volta dobbiamo ascoltare i bambini perché sanno più che pensiamo, e con un po’ d’aiuto da Gabriele Salvatores ed il nostro Michele forse potremmo utilizzare il sguardo che ci hanno dato di questo mondo ed i suoi tribolazioni per scegliere la cosa giusta.

I link

Il sito ufficiale
http://www.iononhopaura.it
Qua trovi informazione sul film e gli attori; ci sono anche delle foto.

Filmup.leonardo.it
http://filmup.leonardo.it/latigreelaneve.htm
Un’altra recensione

Info su Gabriele Salvatore
http://it.wikipedia.org/wiki/Gabriele_Salvatores
http://www.mymovies.it/biografia/?r=4923