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.
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
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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