5 è il numero perfetto, il film di Igort in concroso alle Giornate degli Autori

Although the term has been cleared for some time and is used with a certain carelessness, in Italy the “pure” cinecomic, that is the cinematographic works drawn from comic stories, are a rarity. They should not be confused with cross-media operations, as in the case of I stop when I want , Ride or Monolith , nor with the films inspired by imaginary comics, as in the case of They called him Jeeg Robot .
Pure Cinecomic are The prophecy of the armadillo and The Profs or, soon, Diabolik of the Manetti Bros.

However, there is an element of further uniqueness in 5 is the perfect number , directorial debut of Igort , or that the author of the film is also the author of the graphic novel from which the film is based. Not only that: the same story is taken up over fifteen years later, which entails a rethinking of the material, a re-processing that is both technical (changes the medium) and emotional (the age and experience are different ).

It is then evident how 5 is the perfect number , first of all a privileged linguistic observatory, a study on the declinations of the noir full of cinephile ribs, ranging from choreographed shootings of Hong Kong cinema to certain virile moods of the French polar, passing through the extreme stylization of American comic book movies – and I think Dick Tracy and Sin City but also, and perhaps above all, to He was my father -, up to the Bad Boys of Micheal Bay.

It might seem like a catalog logic, if it were not for the creative mortar that holds this universe of references together and that ultimately corresponds to the “look” of those who stage (the director and the director of photography, here Nicolai Brüel ), a rare commodity in a creative industry unripe like that of our genre cinema.
What is it done then – and further – this look?
In this case it would seem the result of the contamination between the graphic style of Igort (that of the comic-art work, at the time disruptive) and the models mentioned, expressed however – and this is the gap – with the sensitivity of the Neapolitan theater, a demeanor and a talk that lives and neighborhood mythologies – the chains of anecdotes – of an irony at times dreamy and at times painful.

This naturally exists already in the book, but here it obtains a decisive depth due to the freedom and time that Igort leaves to the protagonist Toni Servillo , often stretching his scenes to contain all the necessary words, far beyond the most obvious editing. Servillo, even more than Valeria Golino and Carlo Buccirosso , is the “incarnate” of Igort's gaze , completes it by giving it a time and an inflection. He is the nature of history.

Because if the story, this story, tells of a guappo who returns to kill and becomes a maverick to avenge the death of his son, the development must be taken less seriously than the question stylistic: the narration continually escapes the claims of the synopsis and yes reform in the cuts of light, in the trick of the actors, in the dynamics of the shootings, in the evidence of costumes. The noir becomes so metaphysical and elusive, cold and declaimed, it requires a suspension of disbelief which is a gamble of the heart, easier for those who love sources of inspiration.
This should be asked of a cinecomic

The article Venice Festival 2019: 5 is the perfect number, the review of the Igort cinecomic comes from Best Movie .

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