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PARANOID PARK (VAN SANT)

Internet Cheers!
No. I'm just saying that because without the Internet, I never met the famous IRL Ccil that I certainly do not go as often as I would like (due to geographical distance), but in any case, whenever we see each other at home for a good movie night, I always find great movies very original, whether Hard Candy David Slade Juno Jason Reitman (with the same fabulous Ellen Page), of Calvary Fabrice Du Weltz, or, as today's very surprising

From the famous Gus Van Sant (adapted from the novel by Blake Nelson), already a prize at Cannes for Elephant with which this film offers more than one thing in common, in its incessant exploration of this magical age - and terrible at the same time - what can represent adolescence. The age of independence, the age of discoveries, age also, occasionally, all the crap (yes, yes, yes, I have given, too, in the series, I wonder even how it is that I be alive, but good, lol!), an age that we all knew and nothing has ever prepared us (and certainly not parents, in general!), this how the mere instead of "Paranoid Park" is already, by itself, a metaphor:

A "Park" certainly a little craignos, built from scratch, more or less inhabited by a bunch of squatters, but in their way, all virtuosos, beautifully filmed by the gentleman in question

Extremely well seen also, as in Elephant , how it can be comforting and reassuring that age to feel they belong to a kind of "tribe":

Would that to escape these corridors very boring (also the same as in Elephant ), which would give you almost feel like putting a bullet through the skull, so it seems a kind of foreshadowing of the life office disaster that awaits Following 80% of people (argh!, I knew it too ... Fortunately, no more than two years, after which I got ejected in the chest beauty, I did not even my BAC for all say, mind you, lol!):

Another subtlety well surrounded by Gus Van Sant (a "kidult" without doubt, as we say now): is how one can be difficult at that age, to reconcile the attendance of girls with that of her best friends, in other words, pure friendship with the first stirrings of sex, without ever being able to achieve harmonization two (I still reassures immediately younger who read me, it is really quiet - hopefully - eventually!):

Fun as can, is not it?

In theory, I would not dare say more, failing to make a big spoiler, but since almost everything is said in the trailer we could find at the end of this article, my faith, I have not had too many scruples to mention what is the drama "founder" of this film:

I shall say no more, of course - failing to disclose everything and, hence, to ruin everything! But cons, several things really deserve to be admired on the pure level of achievement (curiously 4 / 3, then it becomes rather difficult now to buy a TV other than 16 / 9), inter alia, On the one hand, the great "love" very visible that Gus Van Sant seems to bring his actors, particularly the main one, Alex (masterful Gabriel Nevins, recruited through an Internet casting, like what it is ... well, eventually This small media!):

other hand, how very surprising that he has filmed these beautiful scenes of "pipe" (after that I realized with a single super-8 camera, but since held a skate, which explains the definition), also accompanied by a soundtrack very unexpected music from "hovering" at the Country passing (yes!) by Beethoven's Ninth, in short, absolutely not what one expects to hear in this kind of context:

Not to mention the scene that everyone finds the most "bluffing" in the film, where Jennifer (Alex's girlfriend) accuses him of no longer sleep with her, while one sees not move his lips, and that we do not hear any sound:

Certainly, certainly, certainly ... That is brilliant! But it would be even more if Gus Van Sant was the instigator of it. This is not the case (argh!, nevertheless, there are advantages to getting older, very few, perhaps, but say a little bit, at least) is that David Cronenberg was already the first to use this strange process in 1992 very little known (incorrectly) Naked Lunch , adapted from William S. Burroughs, where you could hear at one point Ian Holm rule (in original) lyrics, totally independent of the movement of his lips. And to finish with senescence, something that surely a lot of "Lunch" will unfortunately not have been captured in this scene is that in that moment where Jennifer laments the holes in memory of his friend Alex, Gus Van Sant has made a perverse pleasure to use, coincidentally, music Nino Rota's sublime film Amarcord Fellini (which in Neapolitan dialect, means exactly "I remember ")...

I remember, too, I was a teenager at least once in my life (like everyone else, except that some people have short memories, unfortunately). .. Unfortunately, it happens only once in one lifetime, and thus is precious, very precious! So if you're reading this and you have less than twenty years : have fun, enjoy, create, imagine and try anything you want to try, and also - of course - fuck like crazy, lol!

Go, finally the official trailer (which you'll see, reveals much more than I have done as what ...):

For true fans, a very good analysis of this film is also unusual to see here on the blog Shangols , great site film after all, but you will not find in my links because of "No backlinks" (and yes, on the Internet as the telephone or by mail - but if you remember, when the we still real trees felled for paper sending stuff to people! - I appreciate the very most basic politeness, regardless of the media)!

M'enfin good, in conclusion: TEEN stay, as long as possible!

Take my word (although I have not too much to complain about the course of my life until now): after IT FEARS OVER THE DEATH OF HIS RACE WHAT!

And little PS for the road: by popular demand (to be honest, it started to stuff myself myself, since it greatly parasitized reading the trailers), I finally disabled the automatic start of Podcast of the moment ... But hey. Everyone is free to choose, nothing prevents you either click on the Start button. It's optional now!

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2001 (KUBRICK)

Géantissime!

As I am currently devouring a book a bit challenging, but exciting, Stanley Kubrick on ( Fiction & Films of Stanley Kubrick , Jordi Vidal , Editions Allia ) that gave me a little princess Syrian friend of mine, this suddenly gave me a passion to review this absolute masterpiece that represents 2001 Space Odyssey , and although this is (at least) the tenth time, the emotion of the first vision is still intact, and no one spring never completely free from the haunting beauty of a film from first to last shot, which more than a film, incidentally, is actually an "experiment" of even when it is discovered for the first time a symphony Brahms or Bruckner ...

There is no better that the master himself, who also loved classical music than anybody: "I tried to create a kind of visual experience, which bypasses the intellect and its verbal constructions, to directly enter the subconscious with its emotional and philosophical content. I wanted the film to be an intensely subjective experience that reaches the viewer at a deep level of consciousness, just like music, "explaining" a Symphony of Beethoven , it would be emasculated by erecting an artificial barrier between conception and appreciation. You're free to speculate as you wish on the philosophical and allegorical meaning of the film, but I do not want to make a verbal road map for 2001 that every viewer will feel obligated to follow under penalty miss most!

It includes of course the master of perfectionism in every detail, which some accuse of mania or intellectualism (but as already said Schoenberg who are doing the same complaint: "I would rather call an intellectual than a fool! ). A random example, this perfect plan of the panther, that Kubrick certainly have turned countless times, until the eyes reflect the precise moment "M" sunlight on the axis the camera:

The famous monolith, which has spilled so much ink ... Is God? Or not? Or maybe a little? ( Kubrick himself has never wanted to wish interpretation very clear about this, and presumably he preferred him to leave the door open to multiple interpretations):

Anyway, this is due to the appearance of the famous monolith discovered that monkeys "technology", ie the art of using an object - not insignificant, moreover, the bone - for a purpose other than its original destination. Another example of "mania" of Kubrick : accompanying this extraordinary scene by the no less extraordinary ZARATHUSTRA of Also Sprach Richard Strauss , he managed to make the crucial moment of this "discovery" revolutionary coincides with the first modulation in F Major the theme, so to speak multiplying effect on the viewer (it will use this technique later in the final scene of BARRY LINDON , pushing it to its degree of absolute perfection):

And of course, especially across the universe there is only one step to move from Flint to the Internet, as demonstrated Kubrick the shortcut without doubt the most famous (and most awesome, it must be admitted) of the whole film history: launched into space, the bone initiating descent suddenly turns into a spaceship same apparent size on the screen:

L One of the most incredible things in this movie that still almost forty years (1968) is absolutely NOTHING has matured, whether the design of ships, travel in space and even more rare, computers (to be honest, even that of one of my favorite movies, ALIEN (1979), "Mother", is downright fun to side, with its little lights flashing in all directions). Note for the record: this computer (so dangerous he is even able to read lips!) Is named HAL , strange letters that correspond to a giant computer if they are moved up a notch in the order of the alphabet:

Even the effects Special Stage visually the most baffling film (the arrival on Jupiter) have not aged one iota, as they rely almost solely on special effects based on pools of oil, solarization, and especially an extremely clever editing and nervous ... That is genius in its purest form, there is no word to describe this magical sequence, whose impact is such that it still has eyes that flash when leaving the cinema, so that it is only five minutes of this two-hour film Twenty:

To conclude with the two most confusing scenes of the film, those discouraged from the start even the most avid viewers, scenes "beyond the universe," and therefore, according to a logic Einsteinian , obey the same laws over time. Here's why the cosmonaut is seen at the same time, adult, old man, then a fetus, the famous "astral fetus" which gave its title to an entire book devoted to this film ( Jean-Paul Dumont and Jean Monod , Christian Bourgeois editor, very difficult, because very oriented semiology as was fashionable at the time, but just as exciting as the first above-mentioned). You can even see these final scenes as a "Last Supper" itself (as suggested by the amazing site The Space Odyssey Explained ), with all the symbolism implicit in the long shots of glass breaking, while wine remains (the container - the body - disappears, while the content - the spirit - remains forever). This also ties in themes rarely addressed in film, and for good reason: the absence of temporality, and parallel universes coexisting structural analogy between the infinitely small and the infinitely large:

short, I am ER-REUX! Two and a half hours of pure happiness visual, musical and intellectual, it's not every day that it is entitled to the movies! More than two hours to extract the files, compress them to jpeg, upload to the site, write the text (you see, it's less sloppy than usual, you amaze me, there, lol !)... Briefly, a total of close to five hours in the space shuttle, a real journey without leaving home!

Kubrick also recognized that most of cinéates cared very little about the form, no attempt almost never out of the usual narrative structure. And it is true that apart Cronenberg, Lynch and Tarentino, although there are few examples of innovative attempts in this area (but it is a young art, compared to music : it is therefore perhaps just let time take its course, before actual future Beethoven, Berlioz , Liszt or Schoenberg film) ...

latest example of modernity: the film begins with three "real" minutes of black screen, accompanied only by REQUIEM of Ligeti, a phenomenon that recurs later exactly the same as 1:24 ' (pause), we imagine the "flip" in a real cinema! And the best criterion of modernity is that those six minutes are always systematically (and brutally, we must call things by their name) of the rare cut during TV broadcasts of this film, except ARTE, needless specify ... A film that is still scared nearly forty years after its release, and many Me, I say (as Schumann towards Chopin ): "Hats off, gentlemen. A genius!".

Some (good) links to learn more: three descriptions and analysis of excavated enough SF Story on DvdClassik and Objective cinema, and a fourth site quite surprising (The Space Odyssey Explained ), which we summarized in the cartoon four major parts of the film, with brief explanations that can be found harmless at first, but in fact often sound quite fair and link trails interesting, especially as regards the evolution of man, tool and technology (plus a good selection of languages to the key, including the Japanese).

If I could make you want, even if only one person to move urgently to rent or buy this absolute masterpiece ... well, here is the whole justification for the time spent on my little machine girl (think I'll have to give it a name, one of these days ...). Looool!