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[DVD5-ITA ENG-sub ITA-FULL] Grindhouse - Death Proof - A Prova Di Morte (SPG - UF)
Original Title: Death Proof
Titolo italiano: A Prova Di Morte
Ratio: 2.35 : 1
Genre: thriller / action / splatter
Direction: Quentin Tarantino
Subject: Quentin Tarantino
Screenplay: Quentin Tarantino
Productor: Quentin Tarantino, Robert Rodriguez, Elizabeth Avellan, Erica Steinberg
Executive Productor: Bob Weinstein, Harvey Weinstein
House Of Production: A Band Apart, Dimension Films, Rodriguez International Pictures, Troublemaker Studios
Photography: Quentin Tarantino
Edited: Sally Menke
Special Effect: John McLeod
Music: AA. VV.
Musical Themes: The Last Race (Jack Nitzsche)
Scenography: Steve Joyner
Clothing: Nina Proctor
Make up: Greg Nicotero, Howard Berger
* Kurt Russell: Stuntman Mike
* Sydney Tamiia Poitier: "Jungle" Julia Lukai
* Vanessa Ferlito: Arlene
* Jordan Ladd: Shanna
* Rose McGowan: Pam
* Rosario Dawson: Abernathy
* Tracie Thoms: Kim
* Mary Elizabeth Winstead: Lee
* Zo? Bell: Zo?
* Eli Roth: Dov
* Quentin Tarantino: Warren il barista
* Michael Parks: ranger Earl McGraw
* James Parks: Edgar McGraw
* Marley Shelton: dottoressa Block
* Jonathan Loughran: Jasper
* Monica Staggs: Lanna Frank
* Electra Avellan: gemella
* Elise Avellan: gemella
Dimension: 4.4 GB
Languages: Italiano DD 5.1 - English DD 5.1
Extra: trailes - artistic cast - tecnique cast - credits
Per la DJ pi? richiesta di Austin, Jungle Julia (Sydney Tamiia Poitier), il crepuscolo ? il momento migliore per rilassarsi in compagnia di due delle sue migliori amiche, Shanna e Arlene (Jordan Ladd e Vanessa Ferlito). Insieme, le tre bellezze si lanciano alla conquista della notte, facendo girare la testa a tutti quelli che incontrano, passando da Guero's al Texas Chili Parlor. Ma non tutti gli sguardi che attirano sono innocenti: infatti, a seguire di soppiatto ogni loro mossa c'? anche Stuntman Mike (Kurt Russell), uno stagionato e attempato ribelle pieno di cicatrici che sorride con atteggiamento lascivo seduto al volante della sua auto. E mentre le ragazze consumano le loro birre, scorgiamo poco distante il possente e rovente bisonte della strada di Mike... (Fonte: filmup.it)
Three friends – Arlene (Vanessa Ferlito), Shanna (Jordan Ladd) and radio disc jockey "Jungle Julia" Lucai (Sydney Tamiia Poitier) – are driving down Colorado Street in Austin, Texas to celebrate Jungle Julia's birthday, unknowingly followed by a man in a souped-up 1970 Chevy Nova. While drinking at G?ero's Taco Bar, Jungle Julia reveals that she made a radio announcement earlier that morning, offering a free lap dance from Arlene in return for calling her Butterfly, buying her a drink and reciting a segment of the poem "Stopping by Woods on a Snowy Evening". As the night goes on, the girls run into Pam (Rose McGowan), a childhood adversary of Jungle Julia's, who is being studied by Stuntman Mike (Kurt Russell), a stunt double for Hollywood action films. He spends the night flirting with the women, working his way up to Arlene, who realizes that he's been following them all day but accepts his excuse because of his charm. After giving Mike the lap dance, Arlene finally leaves with Jungle Julia, Shanna, and their marijuana dealer, Lanna Frank (Monica Staggs).
Stuntman Mike (Kurt Russell) agrees to give Pam (Rose McGowan) a ride home in his car and stays sober all night. Up to this point Stuntman Mike seems to be a normal guy, and when Pam is presented with a plexi-glass sealed passenger seat with no seatbelt, he simply explains that the camera is sometimes set up in that area and assures her that his car is "death proof". It's at this moment, Stuntman Mike looks directly into the camera, and grins from ear to ear, foreshadowing the mayhem to come. In the car, he asks for directions, and when Pam says right he sighs and says they're going left, and he wished she had said left so she wouldn't get scared right away. He reveals himself to be a sadist, and begins to ride at extreme speeds and swerve the car around, thrashing Pam around the box. She pleads with Mike to let her out of the car, but Mike ignores her and informs her that the car is only death proof for the driver "to get the benefit of it honey, you really need to be sittin' in my seat". He then slams on the brake, causing her to smash her face on the dashboard, killing her. Then it's "time to find me my other girlfriends", and he tosses his voyeur photographs of the girls out the window so the police don't find evidence of premeditation. Mike then chases after the other four girls. Finding their car on an empty road, he speeds past them and spins his car around. He proceeds to race at the girls' car head-on at full speed with his headlights off, and turns them back on at the last moment. Mike crashes into them, killing them.
At the hospital, it is revealed that Mike suffered only minor injuries. Because the girls were driving while intoxicated and Mike had not consumed any alcohol or marijuana, he is cleared of all criminal charges (Pam's death is likely attributed to the collision), angering Texas Ranger Earl McGraw (Michael Parks), who knows the stuntman is guilty, but decides not to investigate due to the lack of evidence and energy he thinks could be better spent elsewhere, such as following the Nascar circuit. He vows to bring him down next time he does it in Texas, however due to barriers in cross-state police communication, Mike is soon in Tennessee looking for victims again without fear of being caught.
Fourteen months later, Lee Montgomery (Mary Elizabeth Winstead), Abernathy Ross (Rosario Dawson), and Kim Mathis (Tracie Thoms) are traveling through Lebanon, Tennessee and stop at a convenience store where Mike has stationed himself. When Kim goes inside, Lee moves into the driver's seat and starts listening to her iPod with Abernathy still trying to sleep in the backseat. Mike then gets out of his car and begins playing with Abernathy's bare feet which are hanging out of the car window. When she wakes up, Mike pretends he bumped into her while looking for his car keys. He gets into his car and takes off. Abernathy catches one last glimpse of Mike's car speeding off, which the other two don't notice, before the three depart. The trio pick up their friend, stuntwoman Zo? Bell (playing herself), at the airport, who informs them she wants to test-drive a classic white 1970 Dodge Challenger. Later, she reveals her true motives: she wants to play a game called "Ship's Mast," in which she will hang onto the car's hood with two belts while someone else drives at high speeds. When the girls reach the barn where the Dodge is being sold, Kim reluctantly agrees to help with the stunt and Abernathy tags along, while Lee finds herself left behind to placate the car's owner, Jasper (Jonathan Loughran).
During this game, Mike arrives suddenly, and targets them with his 1969 Dodge Charger, repeatedly crashing into them, and eventually Zo? is thrown from the hood. Kim, who carries a gun for protection, shoots Mike in the left arm, causing him to flee. Zo?, due to her training and agility, is unharmed except for a "bruise on her bum." The three girls decide to take revenge against their attacker. At this point the character roles abruptly switch, as Stuntman Mike becomes hysterical. His intended victims, on the other hand, become enraged in their pursuit, jeering and laughing at their foe's efforts. Stuntman Mike's injury forces him to stop and attempt to tend to his wound. In doing so, he releases his safety harness. Kim crashes into the back of his Charger and Zo? attacks him with a pipe, but Mike flees again without refastening his harness. An extended chase scene follows; just when he thinks he has escaped, the pursuing vehicle blindsides him and he crashes to a stop, breaking his right arm. Screaming in pain, he is hauled out of the car and the three women administer a vicious beating. Stuntman Mike is knocked to the ground, and the women leap in celebration, caught in a midair freeze-frame as the film ends. After a moment of credits, the film returns to show Abernathy delivering an axe-kick to Mike, crushing his head with her boot. (source: wikipedia)
La pellicola ? graffiata, l'audio gracchia e vi sono perfino immagini in bianco e nero ed evidenti mancanze di fotogrammi.
Come il titolo suggerisce, sembra proprio di essere tornati ai tempi in cui esplose negli Stati Uniti la mania per i film grindhouse, i quali venivano proiettati uno dopo l'altro in gloriose sale cinematografiche ormai decrepite.
D'altra parte, assistere ad un lungometraggio diretto dall'enfant terrible di Hollywood Quentin Tarantino significa entrare nella stanza dei ricordi di un cinefilo doc, all'interno di cui, indistintamente, possiamo trovare sia magliette riportanti la scritta "L'ultimo buscadero", titolo italiano di "Junior Bonner" (1972) di Sam Peckinpah, che locandine di oscure produzioni messicane e spagnole del calibro di "Las tres Elenas" (1954) e "El limite del amor" (1976), senza contare la targa JJZ-109 della Mustang vista in "Bullit" (1968) con Steve McQueen.
Perch? ? proprio questa una parte dell'oggettistica che viene nostalgicamente esposta durante la vicenda di Stuntman Mike, psicopatico interpretato da un cicatrizzato Kurt Russell con tanto di basette a punta, il quale, probabilmente invidioso dell'ignoto camionista di "Duel" (1971) o del demoniaco pilota de "La macchina nera" (1977), se ne va in giro per le polverose strade del Texas in cerca di libidinose fanciulle da torturare ed uccidere tramite l'uso esclusivo del suo possente e rovente bolide, munito di cofano con sopra disegnato un teschio bianco.
Principalmente, infatti, ancor prima che i connotati di uno slasher o di un thriller d'azione, la nuova fatica del regista di "Pulp fiction" (1994), che cura anche la sgranata fotografia, sembra possedere in maniera pi? o meno latente quelli di un rape & revenge on the road, dove le tormentate protagoniste, decise ad attuare la difesa, impugnano anche un tubo di ferro-simbolo fallico, lasciando tranquillamente emergere quella certa allegoria antimaschilista che gi? fu alla base dei due splendidi "Kill Bill".
E, ovviamente, mentre Michael Parks, affiancato dal figlio James, torna per qualche minuto a vestire i panni dello sceriffo Earl McGraw di "Dal tramonto all'alba" (1996), regalando uno dei momenti pi? esilaranti della pellicola, non mancano i classici dialoghi da antologia, i quali, oltre a citare John Hughes e titoli come "Zozza Mary, pazzo Gary" (1974) e "Punto zero" (1971), finiscono per racchiudere il senso dell'opera nella sequenza in cui Mike si sente rispondere da alcune ragazze che non conoscono i vecchi serial di cui sta parlando.
Come tutta la filmografia tarantiniana, quindi, "Grindhouse-A prova di morte", commentato da una colonna sonora eccellente (si spazia da "Baby it's you" rivisitata dagli Smith a temi estratti dalle colonne sonore di "La polizia sta a guardare", "Il gatto a nove code" e "Italia a mano armata"), si presenta con l'intenzione di invitare le giovani generazioni a riscoprire un'appassionante, sporca e coinvolgente cinematografia del passato, ben lontana dal facile ricorso alla computer grafica, tramite la testimonianza di chi ne ? stato diretto spettatore.
Se l'impressione finale ? quella di aver assistito ad un violento racconto che, dopo un avvio interessante, si perde eccessivamente in chiacchiere per poi riprendersi nel corso degli inseguimenti mozzafiato che conducono verso l'epilogo, lo dobbiamo con ogni probabilit? alla discutibile politica distributiva che ha voluto separare "Death proof" da "Planet terror", segmento diretto da Robert Rodriguez, insieme al quale, in patria, costituisce il lungo film semplicemente intitolato "Grindhouse".
Una squallida operazione di mercato che ci pone allora dinanzi ad un elaborato incompleto, la cui leggera imperfezione dei ritmi narrativi lascia tranquillamente pensare alla mancanza del "secondo tempo" che poi vedremo in separata sede, magari accompagnato dai deliziosi trailer in vecchio stile realizzati da Edgar Wright, Rob Zombie e Eli Roth (che, tra l'altro, recita in questo episodio).
Solo allora decideremo se l'otto abbondante attribuibile a "Grindhouse-A prova di morte", grazie anche alla buona prova del cast costituito da Rosario Dawson, Tracie Thoms, Mary Elizabeth Winstead e Zo? Bell, potr? elevarsi a nove o, addirittura, dieci. (Fonte: filmup.it)
Of all the guilty pleasures at Cannes this year -- and there were guilty pleasures at Cannes this year, for all of the art and drama -- surely the most tempting had to be the extended cut of Quentin Tarantino's Death Proof. Originally part of the vast and sprawling Grindhouse experiment, now QT's car-crashin', smack-talkin' carnival of mayhem was going to show on its own. Which, to be honest, it always kinda did; Robert Rodriguez's Planet Terror, for all it's sins, nonetheless felt like a '70s trash-gasm; Death Proof, with all the yakkety-yak and funny bits, felt too modern. If I were smarter, I'd say something like I wanted to see Death Proof liberated from the cage of the Grindhouse conceit; really, though, I just wanted a nice snack of all-American cheese in-between the thoughtful, contemplative dramas; a little re-tox, if you will.
And Death Proof does have all the nutrition of a narcotic compound -- and making it bigger didn't mean making it any classier. Death Proof is a misshapen hybrid of early DePalma and '70s car-counterculture epics as a woman-watching killer who executes with his sweet-ass ride plays cat-and-mouse at full throttle. One set of sexy, leggy mice gets killed in what may be the best-shot high-speed car-wreck mass-murder sequence of all time -- a singular, if grisly honor. The next time our high-octane homicide artist goes after a car full of girls, though, the new set of mice are a bit better prepared ...
Death Proof is, at heart, a movie about sexy ladies and the scar-marked aging ex-stuntman who wants them all dead. If there's any genius in it, it comes in two things. First is the casting of Kurt Russell as Stuntman Mike. Stuntman Mike gives rambling, self-deprecating soliloquies about the work he used to do " ... doubling Bob Urich on Gavilan ..." -- he's been around Hollywood for years, and so, too has Russell -- and, like his character, he's had his share of action. Russell plays with his b-movie icon status here, and whether he's doing a John Wayne imitation -- seemingly unaware that the young kids he's mocking and threatening have no clue who John Wayne is -- or looking dead in the camera inviting us to get in his death car with him and go to work, he's riveting and ripe.
The other is the car chases and car wrecks. Tarantino shot Death Proof himself, and with Sally Menke editing, the auto action is vulgar and visceral. The crash that breaks the film in two is cut perfectly, while still serving as the ultimate Driver's Ed cautionary tale. Later, when Stuntman Mike is chasing the movie-making friends Abernathy (Rosario Dawson), Kim (Tracie Thomas) and Zoe (Zoe Bell) -- he's happened on the girls running a simple-yet-dangerous stunt they call "Ship's Mast" in a car isn't theirs -- his pursuit goes differently, thanks to Kim's background as a stunt driver and Zoe's work as a stunt-woman. That sequence of stunts and action isn't Raiders-level (which is, to me, still the best action-pursuit sequence in film), but it's close -- a low-tech, fast-paced stunt sequence that stays low to the ground and growls when Tarantno puts the pedal down.
But those sequences were in Grindhouse -- what's new in Death Proof? Well, a lot of jibber-jabber. It's Tarantino jibber-jabber -- quick and juicy and deadpan and blunt and baroque -- but it's jibber-jabber nonetheless, minor time-filler between a few moments of twisted-metal glory or twisted-humor bleakness that make you sit up in your seat. Watching Death Proof is a bit like watching a stadium-filling rockstar play the Guitar Hero videogame -- they're probably doing it well, and there's probably a few challenges in it, and they're really enjoying themselves -- you just wish you could be watching them actually play guitar. If Eli Roth -- director of Cabin Fever -- made Death Proof, I'd be impressed; since Quentin Tarantino -- director of Jackie Brown and Pulp Fiction -- made it, I'm kind of non-plussed. I had fun watching Tarantino have fun with Death Proof -- sexy girls! Rock and roll! Blood and gore! -- but now I really, really want to see him get to back to work. (source: cinematical.com)