There is a fleeting instant in the car look Kym (Anne Hathaway, really good) in the first few frames of Rachel Getting Married. It 's almost nothing, but it is always an interpellation: enough to arouse suspicion. Meanwhile, the film begins with his digital camera on the go, lopsided, wobbly-eyed and crooked, on several occasions using the zoom, and the thing almost incredible out of a movie Dogma ... And here is the second suspect.
Kym embraces her, is returning home after a long period of detoxification, en route stops at a bar and the girl at the counter asks her enthusiastic: "I'm sorry, I have not already seen in Cops?" while two marines in camouflage fatigues enter the drugstore. Here we cat breeding, I begin to think.
got home meets Kym's sister Rachel, along with dozens of other people prepare their marriage to be celebrated two days later.
anti-eve is the evening a big dinner, all these friends invited: everyone gets a turn to his speech for the occasion, under the eyes of all present and ... a couple of amateur digital cameras, that someone among those present being used to record the memories groped. I have my own enlightenment, and now I realize that it did not take that much to understand: Rachel Getting Married mimetic of an utterance has home-movies, those movies from baptism, communion, confirmation, or just marriage. In short, the camera (digital) deliberately confuses your point of view with that of digital cameras in the profilmic. Simple but ingenious. And even when the cameras are off, the camera continues to run, want to record everything, and Kym heels of the other players, stuck to their shoulders and necks, their bodies. And the photograph was giving it his all to create an impression of (fake) amateurism: imprecise movements that seem to miss the main action, those zoom almost absurd, and above all these faces in one shot: there are fields and reverse in the film, the first planes will be less of a 10% of the shots, the rest is all that abnormal crowding of faces in the same frame, which among other things makes it impossible for the viewer to "control" the scene. A real inconvenience of vision, wanted to create confusion and distress: a bit 'the same sensations he feels in Kym return home.
And then the form becomes substance in the wonderful film by Jonathan Demme. Kym feels like a trap, because everyone wants to somehow "classified", check, or label it. Put it in a closed portion of reality and unchangeable, in which Rachel can not help but feel trapped: the father who always wants to know where to find the girl At the beginning of the film tells of seeing her in a TV series, the helper who tells of having already met the guy who recognizes the beauty salon ... Similarly Kym is somehow also a prisoner of the camera, if that has the appearance of a friendly home movie camera from the bedroom, is really a pain. Here is perhaps the significance of that initial, and only, contact: Kym is conscious of himself and of his difficult situation, and look straight in the eye without fear. But that look in the car has another meaning, perhaps above all: Kym is the only one who can break the spell of fiction, a fiction and terrible hypocrite who refuses to accept reality of a terrible past and a present full of rage and resentment. They all pretend, all play a part in some way and refuse to accept the consistency of their feelings for each other: Rachel (Rosemarie DeWitt, who was also very good), his father Paul (Bill Irwin), her mother Abby (Debra Winger, it's nice to see you again ). Kym however, from that first look in the car, breaking the spell breaks the fiction. And it does so for the rest of the film with his presence, bringing to light conflicts never dormant and putting memories in the middle of the speeches ...
I can not tell well, not to detract from the film that is truly magnificent. E 'bitter work, open-ended, deliberately unresolved, could to create great distress and sadness in the viewer, as only directed the great Jonathan Demme knows how. The script, written by Jenny Lumet (daughter of Sidney), is perfect, just, the beautiful and poignant soundtrack, played and recorded at the time, like the rest of the party scenes were filmed in one weekend with people, even actors amateurs who really had met on that occasion for the first time, brilliant photography and talented actors I mentioned above. Hope to be able to pull this film somewhere, who has had a very bad distribution, because it is truly a masterpiece.
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