Sometimes I have the impression that European cinema is a cinema that is made from the border. Since the concept of border. A film that tries to combine border with patience the different identities of what we might call the "European soul" or the "European reality", a tragedy much more consistent and notable that our nationalism to walk at home. Europe is a fragmented, frayed, confused. In the European strain of these painful fractures of the soul, the tragedy comes an invention that (like it or not) is purely European.
The other day an acquaintance was debating whether postmodernism is actually a European invention in response to ultra-American pragmatism. Apply it to film: United States creates one of the machinery of production and distribution of the planet and most implacable filled rooms throughout the world during the forties and part of the fifties. His films are basically propaganda of the "American Way of Life" and some other glorious piece (think of "The Misfits", which is the real "Brokenback mountain "in the history of cinema, not the blunder of Ang Lee). In contrast, in Europe starts a stream of" No-cinema "or" Other "Film" not only embodies the Nouvelle Vague (although Godard is undoubtedly one of its greatest exponents), but a spatial / film that covers from the far reaches of Tarkovsky or Sukorov to the dramatic near Kieslowsky or our minds Angelopoulos . The film "author" as something that can not absolutely useless. It does not make money, not ideology is to maintain a "European" to other countries (perhaps in all case that the Europeans are very tormented beings we smoke a lot and suffered bitterly in front of an unbearable reality.) European auteur cinema has responded to a subjectivism so exciting that you have configured the curious (and dubious) phenomenon that is "American independent cinema."
said, "The Suspended Step of the Stork" starts with the wisdom of creating intelligent, from the beginning, a middle border, a magical place (the border between Greece and Albania) where a step ahead of us the wrong line full head and body lead. Families scattered, confused immigrants, the poor Tabernillas where couples dance the ugly. All this is Europe tape, including political decision (an acceptable Marcello Mastroianni unable to make a glorious shade Gregory Kar).
The film seems to deny even its dreamlike nature. There is almost a dream in "The Suspended Step of the Stork." Everything looks as if it were spun from a strange documentary or a "making of" incomprehensibly long. The feeling is almost eerie spectatorial, noting those crisp sets, those gray areas where the camera glides like a murderer to seek a victim. This absolutely fabulous and personal way to plan scenes reminiscent of the spirit of the border slip on this strange village where everyone expects.
And there's more: a second or third viewing brings us closer to a very impressive figure: there is not a damn close throughout the film. In a film that exceeds two hours and which are dealt with unbearable conflicts of the characters, or a close! Angelopoulos makes the aesthetic revolution of the European revolution and build the image from afar, from outside, perhaps getting their puppet characters remind us that wander confused for a Europe brittle.
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