New review: the Mother and the whore 01.08.2016



Giant in size (about three and a half hours) and taken just three decorations (cafe, apartment and hospital tape Eustache offers the viewer no exciting plot, no operator’s beauty, no musical accompaniment (except those cases, when the characters on the tape recorder) is nothing but a monologue of the main character, Alexander, his casebased with their women, speech is redundant, abundant, fancy associative.

It enveloping, subordinate, appears as the bearer of authority, in the final were rebuffed, and then to subside into impotence for good. We would like to consider this picture in two dimensions — the literal and the metaphorical that will shed light on many hidden even to themselves, its speakers mechanisms of left thinking.

Eustache creates a semantically dense verbal space, requiring the viewer to stay focused for a second, although most of the replicas of Alexander, it would seem, deprived of significance, banal, while the women speak, as a rule, essentially.

Alexander embodies the image on the screen by Jean-Pierre Leo, “Golden child” of French cinema, who created the image of Antoine Doines in the famous tetralogy Francois Truffaut, shoot for twenty years from 1959 to 1979. Doinel, as the focus brings together all the psychological traits of the generation “baby boom”, with its infantilism, a protest against the socialization, the marginal aestheticism, playful, flippant attitude towards life. At the same time Leo played in the films of Godard (“Male-female”, “Chinese”), where his character had acquired a political activist, like the heroes of the brothers Taviani, who is a prisoner of his utopian dreams.

The actor’s mask Leo over time becomes a kind of intertextual figure that occurs in different cinematic contexts, where it takes different forms depending on which part actualizarea in this context; the meaning becomes different and his speech: the character Leo from Godard tells the word the power to change the world; Doinel releases in the speech fancy the opportunity to come to terms with the realities of life; Alexander uses it as a way of habitation of peace, self-defense and self-justification.

Truffaut in his films Doinel. on (“Stolen kisses”, “Family home”, “stealing love”) creates in the context of the sexual revolution a myth about “the unbearable lightness of being” where love Affairs are short duration, shallow and harmless, the adventures of Duanes appear as the story of a generation who lived their dreams and phantasms, it has not lost its transforming the world power.

In Eustache film of this generation feeding on their phantoms, creative fruitless; wasted their strength on an embodiment of utopian dreams, it is doomed to despair and degradation. Alexander — the same Doinel, the boy with a frightened face advanced eyes in surprise (the actor’s mask, Leo mask, reminiscent of Buster Keaton — the symbol of man, terrified by the chaos of the world, the person is not able to smile; Leo is more fear and confusion at the diversity of the world).

Alexander is a rather large part of ex-combatants, embodied the ideals of 1968 in their daily lives. Revolution took place, they were left to themselves, lonely, restless, with a strong distaste for bourgeois values, institution of family, work, lost passion, turned the ideals of freedom in the unsettled way of life. Imitation of the former revolutionary, bravado freedom in everyday conversations looks vulgar and ridiculous.

It becomes the only possible reaction to the world, an expression of the creative and life insolvency. For Alexander the characteristic inverted version of the famous maxims (“talks a lot, because not doing anything”) — “does nothing, because says a lot”. It removes the necessary artistic tension — relieving on other ideas and plans in “semi” condition (unfinished, nezamylenny, unfulfilled), a person is freed from their burden, even if they were not expressed and tortured him, he would have embodied them in a creative way.

Alexander therefore is a symbol of the defeat generation ‘ 68 that he this speech, the result of creative impotence, unwillingness to develop your ideas yourself, and quickly transfer them to someone else. Rhetoric and erudition of this speech work and as a weapon of seduction of women, fully taking possession of her attention, but the reason for this effect is not cynical Conjoint and infantile insecurity, desire to be the center of attention — the fruit of loneliness and isolation from the world.

Veronica’s speech and Marie, women Alexander, weary of its verbal rides, gets stuck in their throats, growling, and finally breaks out in rebellion against his immaturity, irresponsibility, self-centeredness. This speech is thick as blood, of an existential excess, there are no accidental words, it is like vomiting, which is impossible to keep yourself. So facing pseudointellectuals infantile talk of Alexander, and his speech of women — their existential blood that erupts from the internal wounds tremors jerky: if it started to leak, it is impossible to stop.

Summing up the evolution of the image of a young rebel in a politically engaged cinema 1960-1970’s, go back again to the actor’s mask, Jean-Pierre Leo, not coincidentally, Truffaut believed his father and Godard — uncle. Leo embodied the two dimensions of the identity of the representative of a generation of “baby boomers” who built the barricades in 1968: frivolity, irresponsibility in relation to their own lives and at the same time concern over the fate of the rest of the world, the desire to change it.

Godard saw in the image Duanes unprecedented potential of freedom, making masks Leo sample of politically active intellectual seeking, plums, politics and poetry together aesthetically to transform reality. Godard created a romanticized ideal of the rebel, theoretically savvy, knowledgeable and ready to act. Godard portrayed reasoning, actions, behavior of the characters, Leo is so attractive for young people that have formed in the leftist student’s mind the image of a rebel, covered with a romantic aura, creating a ideal.

The whole intertextual loop, following that actor’s mask, Eustache puts in his movie, linking all faces in the reign of Alexander who lives a life Duanes on the principles of “free love,” carelessly and lightly; his erudition and intellectualism — a consequence of his political activity in the 1960s It was on the barricades he learned to speak, like all his generation, thanks to 1968, his speech intertextually rich, filled with allusions and poetic overtones.

Now, in the post-revolutionary era, this speech is idle, does not entail consequences in public life. Eustache makes every effort to deromanticizing to deconstruct the image that the efforts of Godard and Truffaut was embodied in the actor’s mask Leo and as such has established itself in the public consciousness.

After the collapse in 1968 and the emergence of sustainable attitudes of apathy and hopelessness, to former political activists faced a dilemma — either the refusal of unrealized ideals and subsequent social integration, or implementation in the private life through nomadism, polygamy and the existence on the edges of social structures.

Before us the ruins of the image: the fact that in the 1960s symbolized the ideological euphoria and heady vitality, in the 1970s, has destroyed itself from within, revealing its deep inconsistency, loss of contact with reality in fruitless project-mongering. The ideology of the “new left” with its political adventurism, almost pie-osleplennost own dreams, took control of the course of world history only for a brief moment, when those “who are of unknown gigantic wings to go interfere on the ground” I believe I can fly.

Giant in size (about three and a half hours) and taken just three decorations (cafe, apartment and hospital tape Eustache offers the viewer no exciting plot, no operator’s beauty, no musical accompaniment (except those cases, when the characters on the tape recorder) is nothing but a monologue of the main character, Alexander, his casebased with their women, speech is redundant, abundant, fancy associative.

It enveloping, subordinate, appears as the bearer of authority, in the final were rebuffed, and then to subside into impotence for good. We would like to consider this picture in two dimensions – the literal and the metaphorical that will shed light on many hidden even to themselves, its speakers mechanisms of left thinking.

Eustache creates a semantically dense verbal space, requiring the viewer to stay focused for a second, although most of the replicas of Alexander, it would seem, deprived of significance, banal, while the women speak, as a rule, essentially.

Alexander embodies the image on the screen by Jean-Pierre Leo, “Golden child” of French cinema, who created the image of Antoine Doines in the famous tetralogy Francois Truffaut, shoot for twenty years from 1959 to 1979. Doinel, as the focus brings together all the psychological traits of the generation “baby boom”, with its infantilism, a protest against the socialization, the marginal aestheticism, playful, flippant attitude towards life. At the same time Leo played in the films of Godard (“Male-female”, “Chinese”), where his character had acquired a political activist, like the heroes of the brothers Taviani, who is a prisoner of his utopian dreams.

The actor’s mask Leo over time becomes a kind of intertextual figure that occurs in different cinematic contexts, where it takes different forms depending on which part actualizarea in this context; the meaning becomes different and his speech: the character Leo from Godard tells the word the power to change the world; Doinel releases in the speech fancy the opportunity to come to terms with the realities of life; Alexander uses it as a way of habitation of peace, self-defense and self-justification.

Truffaut in his films Doinel. on (“Stolen kisses”, “Family home”, “stealing love”) creates in the context of the sexual revolution a myth about “the unbearable lightness of being” where love Affairs are short duration, shallow and harmless, the adventures of Duanes appear as the story of a generation who lived their dreams and phantasms, it has not lost its transforming the world power.

In Eustache film of this generation feeding on their phantoms, creative fruitless; wasted their strength on an embodiment of utopian dreams, it is doomed to despair and degradation. Alexander – the same Doinel, the boy with a frightened face advanced eyes in surprise (the actor’s mask, Leo mask, reminiscent of Buster Keaton – the symbol of man, terrified by the chaos of the world, the person is not able to smile; Leo is more fear and confusion at the diversity of the world).

Alexander is a rather large part of ex-combatants, embodied the ideals of 1968 in their daily lives. Revolution took place, they were left to themselves, lonely, restless, with a strong distaste for bourgeois values, institution of family, work, lost passion, turned the ideals of freedom in the unsettled way of life. Imitation of the former revolutionary, bravado freedom in everyday conversations looks vulgar and ridiculous.

It becomes the only possible reaction to the world, an expression of the creative and life insolvency. For Alexander the characteristic inverted version of the famous maxims (“talks a lot, because not doing anything”) – “does nothing, because says a lot”. It removes the necessary artistic tension – relieving on other ideas and plans in “semi” condition (unfinished, nezamylenny, unfulfilled), a person is freed from their burden, even if they were not expressed and tortured him, he would have embodied them in a creative way.

Alexander therefore is a symbol of the defeat generation ‘ 68 that he this speech, the result of creative impotence, unwillingness to develop your ideas yourself, and quickly transfer them to someone else. Rhetoric and erudition of this speech work and as a weapon of seduction of women, fully taking possession of her attention, but the reason for this effect is not cynical Conjoint and infantile insecurity, desire to be the center of attention – the fruit of loneliness and isolation from the world.

Veronica’s speech and Marie, women Alexander, weary of its verbal rides, gets stuck in their throats, growling, and finally breaks out in rebellion against his immaturity, irresponsibility, self-centeredness. This speech is thick as blood, of an existential excess, there are no accidental words, it is like vomiting, which is impossible to keep yourself. So facing pseudointellectuals infantile talk of Alexander, and his speech of women – their existential blood that erupts from the internal wounds tremors jerky: if it started to leak, it is impossible to stop.

Summing up the evolution of the image of a young rebel in a politically engaged cinema 1960-1970’s, go back again to the actor’s mask, Jean-Pierre Leo, not coincidentally, Truffaut believed his father and Godard – uncle. Leo embodied the two dimensions of the identity of the representative of a generation of “baby boomers” who built the barricades in 1968: frivolity, irresponsibility in relation to their own lives and at the same time concern over the fate of the rest of the world, the desire to change it.

Godard saw in the image Duanes unprecedented potential of freedom, making masks Leo sample of politically active intellectual seeking, plums, politics and poetry together aesthetically to transform reality. Godard created a romanticized ideal of the rebel, theoretically savvy, knowledgeable and ready to act. Godard portrayed reasoning, actions, behavior of the characters, Leo is so attractive for young people that have formed in the leftist student’s mind the image of a rebel, covered with a romantic aura, creating a ideal.

The whole intertextual loop, following that actor’s mask, Eustache puts in his movie, linking all faces in the reign of Alexander who lives a life Duanes on the principles of “free love,” carelessly and lightly; his erudition and intellectualism – a consequence of his political activity in the 1960s It was on the barricades he learned to speak, like all his generation, thanks to 1968, his speech intertextually rich, filled with allusions and poetic overtones.

Now, in the post-revolutionary era, this speech is idle, does not entail consequences in public life. Eustache makes every effort to deromanticizing to deconstruct the image that the efforts of Godard and Truffaut was embodied in the actor’s mask Leo and as such has established itself in the public consciousness.

After the collapse in 1968 and the emergence of sustainable attitudes of apathy and hopelessness, to former political activists faced a dilemma – either the refusal of unrealized ideals and subsequent social integration, or implementation in the private life through nomadism, polygamy and the existence on the edges of social structures.

Before us the ruins of the image: the fact that in the 1960s symbolized the ideological euphoria and heady vitality, in the 1970s, has destroyed itself from within, revealing its deep inconsistency, loss of contact with reality in fruitless project-mongering. The ideology of the “new left” with its political adventurism, almost pie-osleplennost own dreams, took control of the course of world history only for a brief moment, when those “who are of unknown gigantic wings to go interfere on the ground” I believe I can fly.


New review: the Mother and the whore 01.08.2016

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