Friends of Lila and Elena have almost never learned to read before passing the secretly classical "Young Women". They swallow it again and again in the corner of the street and back into the yards. A bottle that flickers from another world, and a promise – especially for the last Lilies – that you can make money from writing.
The contrast between the violent daily life of the children of Naples in a depression of the 1950s and the most idyllic depiction of America in the 19th century could not have been greater.
But she says something about the katholikon in the sense that she is a girl in a world dominated by man. The Thumbnail Book also becomes a beautiful introduction of symbols on a television series of a hundred percent loyalty with just young women, based on the boxing series that has become a pyramid sales success.
The first HBO The great initiative of the non-English language "My Brilliant Friend" (also written in Italy because the dialogue is partly written in 50-year-Dutch politics) is largely faithful, the first part of Elena Ferrantes Naples White, which starts with " Amazing Friend ".
The children who play the amateur Lilac and the most compassionate Elena are wonderful. Seriously, constant adherence.
The first four episodes, as I have seen, promise an epic nation of the time characterized by equal intimacy, friendship, betrayal and abuse.
The first two parts, when the girls are children, take place in a somewhat weird sterile world, based on the infamous slumber where the first novel begins.
DN's report from the recording of "Brilliant Friend" told manager Saverio Costanzo that they were ready
not rely on popular, terrible clichés for Naples. On the contrary, we should stress the feeling of insanity and poverty.
There are advantages and its disadvantages. The environments are initially minimalist and gray in almost Roy Anderssonian way, the clinically cleansed streets give a slightly distant, graphic sense. On the other hand, residential buildings and surrounding fields are becoming a sparse fund for the explosive violence that is constantly threatening children and adults. You get a natural sense of claustrophobic congestion.
But in the end, the girls' narrow world is expanding. The bay of Naples gleams with enthusiasm and opens the story in a pleasant way.
The story in "My Smart Friend" is not a direct neo-realism, but Costanzo still loves this tradition. Imagine the scene where Mrs. Peluso desperately asks for the police car for the far-off husband Alfredo, the grip of the murder of boss Don Achille. A nice breeze for "Rome – Open Town" (1947). Incidentally, many of the ladies in the series look like sisters with annoyed parrot Anna Mangani from, among others, Rossellini's film.
The children who play The liqueur that loves freedom and the most compassionate Elena is wonderful. Seriously, constant adherence. The fantastic transition to the third episode, where the two are suddenly young women, becomes a little overwhelming, but even the young actors feel well-chosen.
All the actors' quartet carries Ferrant's sensitive story about the loyal friendship between Lila and Elena, the one she gives and gets, and where the formation and readability becomes a battlefield that combines, destroying them. A complexity like "my brilliant girlfriend" seems to be successful in managing the image.