Monday, May 9, 2011

Picutres Of Strep Thorat

Carlos, dir. Olivier Assayas (2010)

Realized for Canal + "Carlos" Olivier Assayasa in complete over a five-hour version falls somewhere between a television miniseries and movie cinema. He is considered the first, but in its design looks more like a feature film. As such, it may at least in France, was released (previously screened at the Cannes Film Festival, according to some French critics - wrongly outside the main competition.) Looking at this angle is a video Assayasa may still relatively fresh, but an interesting example of a "new quality" , which appears in the cinema, among others due to the changes taking place in the latest television. In the increasingly important way of competing on movies, finding their advantage primarily in the ability to create longer narratives - enabling a more comprehensive, total approach to the subject.

Conceived initially as a film focusing on a single event in the life of the famous terrorist Iljicha Ramirez Sanchez, "Carlos" in the hands of Assayasa grown into a period of history, eventually covering more than twenty years (from 1973 to 1994) . History executed simultaneously with the panache and discipline; impressive factual meticulousness with which the whole gives the impression of the places almost paradocumentary reconstruction (which inform the original subtitles movie is based on historical research and journalism, however, supplemented with elements of fiction.) "Carlos," bringing to mind a few others in recent years, high-profile films with similar problems ("Munich," Steven Spielberg's "The Baader-Meinhof," Uli Edel) are distinguished for their background primarily a wider perspective: a holistic approach to the subject, which in no small measure Here's biography is due to the title character, whose international activities were wrong with terrorism antysyjonistycznym Palestinian as well as with the anti-imperialist, rozpowszechniajÄ…cym in Western Europe in the 70's and 80's. By showing both

decade include from the leftist terrorist-related activity following the revolutionary faction (from the German group after the Revolutionary Marxist-Leninist Japanese Red Army ...) Assayas presents characters as representative of the representatives of the generation shaped by the revolutionary slogans and ideas of the 60s (although because of the way of resistance, representative in the discussion the way). I try to be objective as possible in this portrait. Portraits more varied types appearing in the film as sometimes indulges in sarcasm (as if the Japanese revolutionary shoots portrait of French President Georges Pompidou, not realizing that the Pompidou died a few months before), but ultimately neither put forward a critical edge (about that was easy), nor idealizes. Rather seeks to possibly the most faithful devotional mood and climate of the time; making the viewer to believe that they believe. In this case, is in his film, this special kind of distance that makes the impression does not apply, if the director was telling that story in advance, all the while mindful of its completion, but if it remains somewhere nearby, thus allowing for a fairer show of attitudes relevant to a particular historical moment. When the future, the outcome and consequences of action are not known (the defeat of the revolution is not a foregone conclusion) and the background for the "struggle" heroes - as believers in the truth preached by them, as well as in their idealism - is primarily unknown, and historical and political volatility.

The moment the film begins, it begins the most important period of 24-year-old Carlos (excellent Edgar Ramirez). Constantly accepting attitude fighter, soldier of the revolution willingly abusing militaristic rhetoric in the style: weapon is an extension of my hand (what it says in the course of rapprochement with his mistress, during which garnet acts as an erotic fetish) is a charismatic, intelligent, and, it seems really strongly believe in the revolutionary slogans, which seeks implementation. On the other hand, the more personal - the first time making an impression over time is emphasized marginal harder and harder - Carlos from the beginning has the vanity, manifested both in his terrorist activities (the killing of his superior, Assayas suggests unequivocally that this is not only due to "necessity" and the alleged treason, but the desire to take his place) as well as In the normal narcissism, the carefully cultivated macho attitude attractive and consistent drive for media fame

final end terrorist activity was linked to Carlos the end of the Cold War, but the revolution ends here before. Perhaps the greatest measure of Olivier's directorial talent Assayasa is the way depicted in his film is the passage of time, and subordinate to him to change: that the historical and political prostration, and this unit. Temporary skipping, blank space, inevitable in a film whose action affects more than twenty years, does not make the impression here, though in this respect played a decisive role. The change comes smoothly, without sudden breaks, a bit like in the ordinary, everyday experience - not really know when, but right before our eyes. Constantly dynamic political balance of power slowly but consistently co-creates a new era - with others already in spirit. The new approach contrasts are reflected in those earlier. Carlos-revolutionary "who knows when" transformed into a cynical mercenary who at the service of the communist regimes shall be further paid work, while retaining the ability to continue the same rhetoric about the fight against imperialism, and Carlos-narcissistic macho in one scene, a prostitute because it strikes he did not like that after the oral sex she spits his semen into the sink.

These two agendas - their thinking about the world and my thinking about myself - sometimes with There are close to each other more and expose each other. When giving an interview hero admits that only what is certain is that it will ever be killed, is the finding that, although legitimate in the mouth of the terrorist pursued by successive interviews countries also raises some willingness to enroll in the likeness of revolutionary myth even the one that immortalized Che Guevara (hero of which, moreover, the stylises). In the history of Iljicha Ramirez Sanchez, but there is no room for a similar "glory" in a slow, consistent and relentless historical order ends not only a revolution, but also a revolutionary.


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