{"id":50510,"date":"2024-05-07T09:43:28","date_gmt":"2024-05-07T07:43:28","guid":{"rendered":"https:\/\/www.sciencefictionfestival.org\/film\/la-porta-sul-buio-testimone-oculare\/"},"modified":"2024-05-07T09:43:28","modified_gmt":"2024-05-07T07:43:28","slug":"la-porta-sul-buio-testimone-oculare","status":"publish","type":"film","link":"https:\/\/www.sciencefictionfestival.org\/en\/film\/la-porta-sul-buio-testimone-oculare\/","title":{"rendered":"La porta sul buio: testimone oculare"},"content":{"rendered":"

[vc_row full_width=”stretch_row”][vc_column][vc_row_inner][vc_column_inner width=”1\/3″][vc_column_text el_id=””]<\/p>\n

Roberto Pariante
\nItaly 1973, 53′<\/h5>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_column_text el_id=””]<\/p>\n

2003_Urania d’argento a Dario Argento<\/a><\/h5>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_separator color=”black”][vc_row_inner][vc_column_inner width=”2\/3″ css=”.vc_custom_1710231564303{padding-right: 40px !important;}”][vc_column_text el_id=””]Una donna racconta alla polizia di aver assistito ad un omicidio, ma nessuno le crede perch\u00e9 dell\u2019accaduto non \u00e8 stata rinvenuta alcuna prova. Pur essendo firmato da Roberto Pariante, l’episodio venne in realt\u00e0 girato da Argento, il cui tocco \u00e8 individuabile nella presenza di un misterioso individuo che, in guanti neri, parla al telefono con voce sibilata, nella ritmata colonna sonora che fa ampio uso di piatti e percussioni (ricordando molto lo score composto da Ennio Morricone per Quattro mosche di velluto grigio), nello stacco dal piano lungo al primissimo piano. Sono, invece, del tutto assenti humor ed ironia che contraddistinguono Il tram, venendo questi sostituiti da un clima “nero” ed asfissiante e da una costante sensazione di minaccia e di pericolo incombenti sulla protagonista (interpretata da Maril\u00f9 Tolo), percepibile fin dalle prime immagini del film. Infatti, a differenza dell’altro episodio, nel quale la tensione esplodeva tutta negli ultimi venti minuti, qui si assiste ad un graduale accumulo di dati “allarmanti” (un cadavere che sparisce, telefonate minacciose, serrature forzate, cavi telefonici tagliati) a sottolineare la dimensione claustrofobica ed angosciante in cui viene a trovarsi la protagonista (ha visto un cadavere di donna, ma nessuno le crede), sempre pi\u00f9 isolata all’interno della propria abitazione-prigione; peraltro, proprio il finale \u00e8 l’unico punto di contatto con Il tram, nel quale Giulia rimaneva prigioniera nel deposito. Un finale, tra l’altro, che presenta diverse analogie con il gi\u00e0 citato Halloween – La notte delle streghe.<\/p>\n

\n

A woman tells the police that she witnessed a murder, but no one believes her because no evidence has been found of the incident. Despite being signed by Roberto Pariante, the episode was actually filmed by Argento, whose touch is identifiable in the presence of a mysterious individual who, in black gloves, talks on the phone with a hissing voice, in the rhythmic soundtrack that makes extensive use of cymbals and percussion (very reminiscent of the score composed by Ennio Morricone for Quattro flies of gray velvet), in the detachment from the long piano to the very first floor. On the other hand, the humor and irony that distinguish Il tram are completely absent, being replaced by a “black” and suffocating climate and by a constant feeling of threat and danger looming over the protagonist (played by Maril\u00f9 Tolo), perceptible from the very first pictures of the film. In fact, unlike the other episode, in which the tension exploded throughout the last twenty minutes, here we witness a gradual accumulation of “alarming” data (a disappearing corpse, threatening phone calls, forced locks, cut telephone cables) to underline the claustrophobic and distressing dimension in which the protagonist finds herself (she has seen a woman’s corpse, but nobody believes her), increasingly isolated inside her own house-prison; moreover, the very end is the only point of contact with The tram, in which Giulia remained a prisoner in the depot. An ending, among other things, which has several similarities with the aforementioned Halloween – The night of the witches.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/3″][vc_column_text el_id=””]<\/p>\n

Sceneggiatura_Screenplay
\nDario Argento, Luigi Cozzi<\/strong>
\nFotografia_Cinematography
\nElio Polacchi<\/strong>
\nMontaggio_Editing
\nAmedeo Giomini<\/strong>
\nMusiche_Music
\nGiorgio Gaslini<\/strong>
\nInterpreti_Cast
\nMaril\u00f9 Tolo, Riccardo Salvino, Glauco Onorato<\/strong><\/h5>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_separator color=”black” border_width=”2″ css=”.vc_custom_1698237245454{margin-top: 30px !important;}”][vc_column_text el_id=””]<\/p>\n

2003 Festival Lineup<\/h3>\n

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Roberto Pariante
\nItaly 1973, 53′
\n–
\n2003 Urania d’argento<\/h5>\n

More<\/a><\/p>\n","protected":false},"author":1,"featured_media":32517,"menu_order":0,"template":"","format":"standard","meta":{"cybocfi_hide_featured_image":"","footnotes":""},"categories":[],"tags":[],"neon":[307],"class_list":{"0":"post-50510","1":"film","2":"type-film","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"neon-premio-urania-2003"},"yoast_head":"\nLa porta sul buio: testimone oculare - Trieste Science+Fiction Festival<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sciencefictionfestival.org\/film\/la-porta-sul-buio-testimone-oculare-roberto-pariante\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La porta sul buio: testimone oculare - Trieste Science+Fiction Festival\" \/>\n<meta property=\"og:description\" content=\"Roberto Pariante Italy 1973, 53' - 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