Word: masini
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Salamone 7-13 4-5 18, Neal 3-9 2-28, O'Connor 1-4 2-24, Destito 0-0 0-00, McGowan 6-11 3-4 16 Rivers 1-12 0-02. Boucher 2-3 0-04. Walsh 0-2 2-22, Masini 2-2 1-65, Boren 3-5 3-39. Totals...
...village's collective lust, from a young boy sodomizing a mule to the rusty sex rites of an aged couple; or the scenes showing how far the "spare the rod" philosophy of rearing is literally taken by the father of the future writer Gavio Ledda (Saverio Marconi). Mario Masini's cinematography especially shines in filming the lush greens and radiant ambers of a sunlit Sardinian landscape. But most importantly, few movies have ever probed the bitter relationship of an intractable patriarch and his eldest son more sensitively and his unflinchingly than the quasi-literary "Padre, Padrone...
...village's collective lust, from a young boy sodomizing a mule to the rusty sex rites of an aged couple; or the scenes showing how far the "spare the rod" philosophy of rearing is literally taken by the father of the future writer Gavio Ledda (Saverio Marconi). Mario Masini's cinematography especially shines in filming the lush greens and radiant ambers of a sunlit Sardinian landscape. But most importantly, few movies have ever probed the bitter relationship of an intractable patriarch and his eldest son more sensitively and unflinchingly than the quasi-literary "Padre, Padrone...
...deals with the child Gavino's harsh lessons in shepherding and the consequent stunting of his mental and spiritual growth. Minor instances of mischief and sloth are met with the most brutal punishments (one of which renders the young Gavino unconscious). Only the color-rich landscapes captured by Mario Masini's cinematography provide relief from the seemingly ceaseless beatings...
Unlike many of his colleagues working for more flamboyant directors in the Italian film industry, cinematographer Masini avoids using flashy camera angles and other distracting legerdemain with the lens. Masini instead unobtrusively records the countryside, focusing on the lush greenery of a Sardinian forest or the evanescent ambers of a pasture at dawn. And at several points in the film, Masini is content to allow events to speak for themselves, permitting the actors to move in and out of the picture while the camera remains fixed in one place. In this way the cinematographer quietly succeeds in imbuing the visual...