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The Lacemaker (Claude Goretta, 1977)
Beautiful film (adapted, of course, the only "hit" literary Pascal Lainé, I have not read) but an abstraction a bit steep.
The problem with this film is precisely that by holding his dramatic, it seems to leave no chance to his characters: they seem at the outset of the axioms figured to perform the idea or demonstrate their social stereotyping (that was already noticeable in the first film Goretta "
the invitation," which is a set of systematic killing and, with hindsight, quite upsetting, and it will worsen until the "provincial", completely missed in my opinion, career Goretta then turned to the TV adaptations mid-fig and grape Maigret - with Bruno Cremer).
The set is oddly both just completely and totally false: a certain approach to social alienation and class struggle, consisting to apply and turned against itself
as ideological, a schematically some Marxist discourse of the time. But too mechanical dialecticité a poor, more about rhetoric.
The "leftists" that are presented in this story are caricatures unattractive and unsympathetic, to say, young bourgeois unreal by the "opium of the intellectuals," Aron as saying that appear in their mouth the concepts of "alienation", "class struggle", "solidarity with the proletariat," etc.. There is a watermark, this feature of the meeting between the whole "Apple" and all "Abraham", the trial disenchanted underlying the "May 68", a bitter irony about the project deliverer and emancipation which it was intended wearer;
from there to argue that it places the film in a horizon of perception reactionary (to Jean Dutour "school of Loony"), or anarcho-rightist, to " 68 "(style: on May 68" student "was not responsible, in actuality, a lie, a carnival transgression allowing son of the bourgeois class to prepare to exercise their powers to future employers - and that said, the trade union front worker himself has never fully divested of suspicion that he felt "somewhere" dispossessed the real reason for his struggle), the question can of course be asked, as we suspect that the answer will be subject to controversy and will include green its share of trials varied. Anyway: there is "the" May 68, made of different layers and layers, that of Deleuze was not necessarily that of students from the Sorbonne, etc. ...
The "the nerd-leftism" of students is somehow shown here as an exercise to the work of a crash of the class dominated by what Bourdieu call the fraction dominated the ruling class: the one that has the "symbolic capital" of knowledge, culture, "words to say" what amounts to a "political consciousness". The demonstration seems nevertheless padlocked, locked in a sad way for worse (or effectiveness of the drama), by fixing the maximum two terms in the equation of an impossibility "quasi-ontological" to break away from their hyper determination by the social-critical consciousness, reflexive or pre-reflexive about their situation.
To some degree, these characters' bourgeois novel "could be felt in terms Sartre, like species (shots), charged the self-determinations Socio-objective against them as a "virtual nature", and thus separated from any possibility of analytical or critical outburst, condemned to their determination and not condemned to freedom (which is engendered in the social alienation, a struggle and not in a solipsistic ego already established: the idea that moving towards precisely the "second" Sartre, when he tries to go beyond its primary conception of liberty hinged on the model of Cartesian ego-consciousness, towards the historicity of a collective "dialectical reason").
(Referring to Sartre, suddenly comes back into memory Goretta that it has achieved this astounding-TV movie biopic in 2 parts: "Sartre and the time of the passions," with Bruno Podalydès "imitating" Sartre as Patrick Sébastien imitate Bourvil - and for understanding the thought of Sartre, the bio engineering held by BHL shattering.)
So on one side, Apple, locked immediately, essentialized in the double imaging of the woman agreed and passive soft, tender flesh, pure presence offered and loving (who likes nothing "request"), which, if it is on the side of silence is not the side of "logos" as had said self-evident, and the social milieu in which she lives, that of "little people" also presented him as a space of silence and passivity, deleting and discretion.
the other hand, Francis, a literature student at the Sorbonne, beautiful soul and / or unhappy consciousness whose understanding of the mechanisms of alienation is not only completely abstract, not reflexively assumed, but worse, far from open any form of "political consciousness" is the instrument cleaves, more or less conscious (and rather more than less), a class hatred applied to the object, not a disinterested love, but a perverse educational program: it gives him a hand "words emancipatory" he withdraws from the other by a control language designed to actually keep it at bay, on the ropes.
From there, the drama is sewn in advance. A real Swiss watch.
It could however also try to see the film as a transposition offset "Bartleby" (that wonderful story by Herman Melville which absolutely must extend and enrich the reading by the no less admirable analysis Gilles Deleuze devoted to him: " Bartleby or formula", in Critical and Clinical, Paris, Minuit, coll. "Paradox", 1993, pp. 89-115
), reading not necessarily inconsistent or heterogeneous with the one I suggested here, but richer and contradicting on one point: Apple is more, by its strange passivity, a division of panic making speech Francis inept and hollow, acting on him like a revelation of its own abstraction and his own alienation.
In the dramatic progression is quite disturbing: a mystery man - who waits somehow something without him, without saying which says that demand without asking, causing the attraction-repulsion of the student in the role of the lawyer and throwing him into a hate-irrational panic: the fleeing and pushing up the order to a mere ghost contemplating a "non-landscape" (in the case of the Apple display for a distant and exotic) behind a window blind. And that he makes one last visit to his hospital room in the same manner as the lawyer went to see Bartleby in prison, in a mixture of guilt and compassion powerless.
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