>>8233236

>Superciuk

>Ezechiele Bluff

>motto: Steal from the poor to give to the rich.

Superciuk is the alter ego of Ezekiel Bluff. In everyday life he is a penniless, irascible and addicted to alcohol. Following the explosion of a distillery, however, he purchased a fearsome superpower: an alcoholic breath with a sickening smell that allows him to knock out any opponent (Oh..gully). Taking advantage of this feature, which feeds with the constant drinking of Barbera and less noble wines, Superciuk wears a costume (consisting of a mask, cape, flask, balloon to fly and a corset that makes his otherwise small figure unrecognizable) and takes the road of crime. He regains superpowers thanks to a different ingredient, tomatoes with onion onion. Superciuk's character is an anti-hero conceived as the Robin Hood negative: he steals from the poor to give to the rich. In reality, he pursues a real ideal: in his work as a garbage collector he often encounters a miserable humanity, not very attentive to hygiene, where the rich are, in his opinion, educated and respectful of the cleaning of the streets(geee…)

>>8227791

(little time .. I have to summarize)

[♪|/|/|♪]

Mr. Wabash: remember Leslie Howard

Condor

| >CosPor

| >Gospodin

| >Rosa Kosmos Floribunda (Fury poster)

| >Floor I-Phone (Running Stairs- Steal Stars-Rubies )

| >Roscosmos

V >Costa Gravas Z (The Orgy of Power-13th man-Napoleon)

ref

(https://en.wikipedia.org/wiki/Roscosmos)

https://en.wikipedia.org/wiki/Z_(1969_film)

The first part begins by clearly identifying the "good" and the "bad", the nonviolent democrats and the prevaricating power with its supporters. The denunciation of the undemocratic drift is in fact entrusted to a film structure that meets the needs of the narrative suspense, which requires a didactic identification of the "good guys" and their opponents. This initial section is decidedly spectacular, played on tension and anguish, strengthened in what could be the second section of the first part from the arrival of Hélène, the wife of the Deputy, and the consequent emotional reaction.

The second part, which tells the survey presents a progressive increase in the spectacular tension provoked by the attempts of sidetracking; with each pressure on the investigating judge, the identification of the spectator increases. The film relies on emotion, on the right disdain, and sports a police mechanism with a pressing rhythm and very precise in the joints; urges the psychological reaction of the viewer who cannot help feeling uneasy about the reality presented to him: the ideological rightness of this reaction is therefore based on an emotional rather than rational fact.

In the epilogue Power wins, although defeated by the truth in the second part, demonstrating that it has the strength to always win against justice. It is the structure of the film, the fact that the episodes appear emblematic of every analogous situation, which gives history this character of universality. That is, this is what the viewer perceives who indulges only in the emotional aspect of the story: "it is sad that it is so, but Power always wins." But to read the film better, one realizes that the real question is "why does power always win?”