THE FRONTIER OF DAWN Philippe Garrel
2008 Appeared in the journal Sequences
1968-2008: the graveyard of love freed
16 feature films after his debut, Philippe Garrel has acceded to the competition at Cannes last year with Frontier dawn, he, however, a regular at the Venice Film Festival since its consecration J ' hear more guitar in 1990. The eternal is the sixty-eighter still plays retro and spectral, how do otherwise if life is an old movie grichage reassuring? At
few details, Frontier dawn rises where Regular Lovers dozed. Based on the same lead actor (Louis Garrel, son of the filmmaker, whose character is called again Francis), the same black and white vintage courtesy of veteran William Lubtchansky, then the same horde of bohemian Paris of absolute love and it gives completely fitting a false result, the goal in the mirror, resurrecting the ghost of Dr. Mabuse Lang and poetry films of Jean Cocteau.
But while her lovers is scheduled to scented mothballs and tear uprisings of May 1968, his new film is set open windows and breathe recreation. The story, as old as love, precipitated a star in love with itself to kill himself when his passion for the Adonis photographer goes out of pride. The beautiful ragazzo will try to smother the memory of the deceased in the arms of a girl of illustrious family, the ghost of his freedom does not stop to consider the less death find his flame.
Inspired by the new "Spirits" of Theophile Gautier, Garrel declines again what animates all of cinema: as the only absolute moral compass, the hard-line emotions and beliefs, the fetishism of the plan The death of illusions. The characters are doomed to unhappiness, disappointment, and the idealized world they know - ageless, monochrome, consciously cheeky - Risk is sentenced to turn with them.
After us, the deluge: social progress, equipment and passion for Garrel remain fearful of utopias, and the status quo, an inevitable stalemate. Remains the refuge of the immaterial world, which wallows Carole, and his damnation any romantic, oh how much more attractive than the enslavement of old age and the duty of the species, or worse, the "bourgeois happiness," as Francis pointed to his best friend on the verge of joining his life to that of the wise Eve, the inverse reflection of Carole.
newcomer to the world of Garrel, producer Edward Weil ( Singer , two recent Olivier Assayas) did not attempt to sway the way Garrel to new horizons, even if this is more humor than usual, nearly self-derisive, which do not preclude references to Nazi camps, the "revolution without a drop of blood" and anti-Semites from splashing around film appearances as strident during uncontrollable romance nestled in the felt far and silverware. For despite him, everything that surrounds Francis, being rather soft and lazy, is political, but as Carol, he does not choose, and still less be imposed upon a budding romance or slowing. In this context, the "you still love me even if I become crazy? "The beginning is not, for once, to be taken lightly and it is a prescient call eternity of suffering and desire fusional dissolved in the daily and jealousy. Returning
thwart Garrel for the first time in thirty years - it was the generic The secret child in 1979 - Didier Lockwood's violin sounds again in The Frontier of Dawn as a counterpoint to the general atmosphere of the film, turning your ear to the brink of a tragedy that it can not actually point to leave. At atechnologique an image of the current reality, between Garrel turn a soundtrack rich in pre-digital tinkering with its ambient sounds not fitting in the field / field-cons and crackle amplified lower floors, doors, tables and other accessories antiquated .
autobiography, the film is also, as indicated by the scene of ECT suffered by Carole, a reminder of the internment of Garrel during the filming of the scar inside, or the presence of the director's son as his ghost and its double-screen. The cinema of Guy Maddin, another reincarnated spirit of another era, has inevitably in mind, with its intensive sublimation of a personal truth if it quickly takes the shape of a memory more and more away from its initial reality by wanting to purify it or relive it without ceases.
© 2009 Charles-Stéphane Roy
0 comments:
Post a Comment