" Ah, verda'? planteaba una extraña combinación entre la militancia política y la contracultural. Jugaba con el ataque a los símbolos del orden nacional y estatal (la bomba en el Monumento a la Revolución y en el PRI, los judiciales persecutores), la crítica a la sociedad de consumo representada por la huida de la pareja de jóvenes entre los espectaculares, la liberación sexual (la combi zarandeada porque dentro hacen el amor, o la urgente calentura de los monjes una vez que han probado el LSD y cruzado las puertas de la percepción), y la representación de la fantasía jipiteca de que el mundo sería más alivianado si todos probaran las drogas duras" (Vázquez Mantecón, 2012).
" Ah, verda' [Ah, right?] was a strange combination between political and countercultural militancy. It played with the attack to symbols of state and national order (a bomb in the Monument to the Revolution and in PRI offices [Revolutionary Institutional Party], the chasing police men), a critique to a consumer society represented by a young couple running away in between billboards, the sexual liberation (a truck shaken because someone is making love inside, the sex desire of monks once they have tried LSD and crossed the gates of perception), and the representation of the mexican hippies' fantasy in which the world would be cooler if everyone tried hard drugs" (Vázquez Mantecón, 2012).
"A Hitchcock type film, the star's fear all being caused by an appointment with the dentist, but under the gas he dreams of meeting an attractive girl. But he wakes up just as it gets interesting." PSA Journal, Nov. 1956, 45.
"In As Ye Sow, Walter Bergmann has made a record of a Victory garden around the plot of the conscientious worker as contrasted to the indolent one. Mr. Shirker in his wishful thinking, through a dream sequence, takes the local prize for vegetables before the digging even begins. As the season progresses, Mr. Worker grows a fine garden, while his opponent achieves a harvest of weeds in spite of his bribes to helpers to produce his garden for him while he goes fishing. The players are well chosen and directed, and there is an amusing and well acted climax in which Mr. Shirker gets his inevitable just deserts." Movie Makers, Dec. 1944, 495.
"Dramatic short of a frumpy woman's dream of the alternate course her life might take were she a beauty." oldfilm.org
"A successful man living in a great metropolis is increasing awareness of the unjust social reality that lives in the absurdity. This immerses him in a uneasiness that sinks into alcoholism and depression. In his wandering through the streets viewer gets to be the unfortunate suicide of another victim of the meaninglessness of life, which will produce a series of dreamlike hallucinations bordering on the madness. In a stroke of consciousness of his misfortune, he does run aimlessly without course. Devastated, to the dawn, with the light of the dawn he sees to be reborn the hope personified in an innocent girl who stretches the hand donating bread" Internet Archive.
"Mother is tired and catnaps while junior is at play. Soon junior takes his teddy bear and goes exploring the park, highway, and railroad. There are automobiles and trains to spark anxious moments. When Mother awakens, the young man has returned from his venture. A dream, perhaps" PSA Journal, Nov. 1960, 41.
"Two small boys are camping out (in their backyard) and are about to bed down for the night. Father tells them a couple of stories of prospecting and bad men and battles of swords and guns. The boys dream of re-enactment of the stories with surprising realism. The children are asleep and Father has another story to tell" PSA Journal, Nov. 1959, 48.
"a sogg. breve" short fiction
"Parabola, e La città sogna, regia di Guido Pallaro. Questi due film di Guido Pallaro hanno sopratutto un pregio: la buona volontà che dimostra l'autore, giovanissimo, di raggiungere qualche risultato adoperando tutti i mezzi possibili; passato questo periodo di esuberanza non esente da ingenuità stilistiche ed anche da arditezze ingiustificate, Pallaro potrà fornire opere di maggior impegno e più solida struttura. Nella Citta sogna che comprende i sogni di diversi individui il sogno del bambino ha qualche passaggio notevole, e in Parabola si avverte la ricerca di raggiungere nuovi motivi anche se i risultati non appaiono sempre realizzati con equilibrio."
"Parabola, and The City Dreams (La città sogna), directed by Guido Pallaro. These two films of Guido Pallaro have above all one merit: the good will that demonstrates their author, who is very young, to reach here some results using all possible means; having passed this period of exuberance not exempt from stylistic ingenuousness and also from unjustified daring, Pallaro has the capacity to provide works of greater commitment and more solid structure. In The City Dreams, which includes the dreams of various individuals, the dream of the child has some notable passages, and in Parabola one senses the search for new motifs even if the results do not always appear to be realized with balance." — Il Ventuno 26 (Review of the G.U.F. of Venice) March 1935
A film about a mother who thinks her family has won a competition in their local newspaper. When a series of unfortunate events happen after, the mother is relieved to find out she was only dreaming.
"La cinta hacía un recuento de imágenes oníricas, en los que una mujer (Paloma Woolrich) sale de su casa para recorrer diversos espacios que en realidad parecen determinados por su imaginación: desciende los escalones de una calle en una zona peatonal, se muestra aprisionada por una roca gigantesca, aparece catatónica en una azotea con un bebé de plástico, lucha con un hombre contrahecho, apalea a un hombre amarrado, duerme con su pareja y su bebé de plástico en un cementerio, aparece desgreñada en una construcción en ruinas en medio del campo, donde es burdamente pintada por otra mujer" (Vázquez Mantecón, 2012)
"The film made a recount of dreamlike images, in which a woman (Paloma Woolrich, goes out of her house to go through several spaces that actually seem determined by her imagination: she goes down the steps of a street in a pedestrian area, then she is imprisoned by a gigantic rock, she appears catatonic on a roof top with a plastic baby, she struggles with a crooked man, she beats a tied man, she sleeps with her couple and her plastic baby in a graveyard, she appears disheveled in a construction site in ruins in the middle of the country where she is roughly painted by another woman" (Vázquez Mantecón, 2012).
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