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The Castle of the dragon, Mankiewicz - portrait of the aristocrat in nihilistic

There would be a study to (Which may exist already), the gaze of Mankiewicz any form of aristocracy, and what separates it from the rest of humanity. In L'Affaire Cicero, Jack James Mason tried in vain to subvert the order of the aristocratic high diplomacy (1), bumping into the window of appearances and seeing his ambitions soar as many tickets without value. In The Castle of the Dragon , his first film, the ratio is reversed in the sense that the aristocracy is a scary place of solitude, summarized by the tower in which the character of Vincent Price withdraws, and which abuts against the democratic order. Cons the people of pious families, beautiful women (Gene Tierney!) And humanistic physicians.

From this anamorphosis of patroons (landowner from father to son), Mankiewicz is a true portrait of the aristocrat in nihilistic: haughty, atheist, placid ... The castle tower stands upright on a world of appearances, rituals and transmission through blood. Addicted to drugs, but especially hooked on Nihilin (in the words of the master in the field), the aristocrat who despises all life is not given by him, all blood that was not hers. That is what sets these great empty lives Gothic, dark, upright, this is what the character of ice Gene Tierney.

Cinema par excellence, this character is sort of a vampire, the supernatural and less. Again there would be many things to say about the transfer of modern zombie vampire: the vampire - and aristocratic monster solo - against the zombie monster - Democratic and face the crowd.

NOTE:
(1) But I think, here again (after the article by Dr. Orloff and that of Joachim Lepastier in Cahiers) a bridge between the universe and the recent Mankiewicz The Social Network, Fincher: Mark Zuckerberg is working too, through his company uses to hack into Harvard's clubs to make it a universal phenomenon.

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cinephile Questionnaire 2 - Death to the movies

The first questionnaire cinephile which this blog has helped is here. This is the second launched by the eminent Ludovic de Kinematics .

1 - What is the most beautiful cinematic murder?

In recent years, murder and uncertain pointillist Memento .

2 - What's in your eyes the most morbid film maker?

François Truffaut

3 - And the film's most gruesome?

Sunset Boulevard

4 - What is the character whose death on the screen you most excited?

Christopher Walken in The Deer Hunter

5 - She who you most relief?

Christopher Walken in The Deer Hunter

6 - What is your favorite zombie?

Isabelle Huppert

7 - What was the murder weapon, keep you low?

Rope

8 - What personification of death you the most?

Kim Novak in Vertigo

9 - What sequence of burial seemed the least you agreed?

Donny's funeral in The Big Lebowski - " Goodbye Sweet Prince "

10 - What is your favorite Phantom?

The ghost of Mrs. Muir

11 - Have you ever wished the death of a character?

I wished the death of most characters Desplechin

12 - With the approach of your death if you had the time to order in your business, what movie would you be able to watch one last time?

A Fred Astaire or Lubitsch

13 - Which serial killer do you have a fascination or default of indulgence?

Norman Bates

14 - What is your vampire night?

Nosferatu

15 - What movie do you remember from all those whose title (original or translated) refers to the death?

Dead Man, Jim Jarmusch

16 - Write a few lines in the future obituary of a person in film

If you have not mourned his death, you come to Other Bosch in mind.

17 - What representation of capital punishment did you find most striking?

Not the most striking but more recently seen: Changeling , Clint Eastwood

18 - What is your favorite cemetery?

No cemetery preferred.

19 - Do you property in connection with the cinema that you could sleep in your will?

My Hitchbook?

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Arizona Dream, Emir Kusturica

Then he makes a ramp to launch its planes in the sky of odds and ends, we see Axel (Johnny Depp), the main character of Arizona Dream, plant posts using d a big wrench as a hammer. The staging of Kusturica is a bit like this: take tools and tap with, hoping they will eventually walk. It is both endearing and exasperating. Schoolboy homage to American cinema, daydreaming teenage vase, existential drama, burlesque music - not only the harmony is not sought, but Kusturica takes a perverse pleasure in using the genres bad advisedly. One has the impression of an unpleasant dream forced.

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Nothing new under the sun Woody Allen

You Will Meet a beautiful dark stranger begins and ends with a quote from Shakespeare: "The world is a story Told by an idiot, full of sound on fury, Signifying nothing and . So far nothing very original in the work of Woody Allen that is happy pessimist. The story in question, full of sound and fury, entangled paths of several characters: Sally (Naomi Watts) and her boss gallery (Antonio Banderas), her father (Anthony Hopkins), his mother (Gemma Jones) and his husband writer Roy (Josh Brolin). Behind these intrigues, which in fact mean nothing - and that is precisely not there for that - it is inconsequential as a variation on Ecclesiastes.

The rest of the article on Conversationalist .

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Mark my word, it means now every month, around 15, a table summarizing the critical views of some twenty bloggers and bloggers. The ratings form of stars contain a link to the relevant texts. The idea is the indispensable Ed, Nightswimming. To access the table, you must click the esoteric symbol below.

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Fuck me I'm facebook! Material

a pub at Harvard. The warm colors is neutralized by a photograph too smooth. There's a window between the young Mark Zuckerberg and his girlfriend, who is to explain that, more than a nerd , it is basically an asshole . Event presented to us as the founder of the scenario of The Social Network is less footprint on the character of interest (the psychology of small-time geek) the mixture of obsession and estrangement, emergency and immobility, of malice and sentimentality, it will spread to the rest of the film. The digs at Harvard also became a place of retreat and place of conquest.

The drama seems surprisingly absent from this film that tells the accession, however dazzling the rank of a little fellow billionaire bent over his keyboard. David Fincher and screenwriter Aaron Sorkin, do little to play emotional levers of success story. Maybe tell the story from the trial scenes - which take place long after - is a detached manner analytical and freeze the account of the creation of Facebook. And the film will only develop the original scene in the student room exactly where Mark established Facematch.com drunk, with the background music from the student party to which it is not. From the beginning, there is the starting point and ending point. From the beginning there's this over-saturated atmosphere this place and unnecessary energy. From the beginning there is the containment and ubiquity. From the start Facebook is created.

So never mind if the rest of the film does not entirely neglect that promise and put some tracks Directed launched here and there: we always excellent actor Jesse Eisenberg whose playing expresses very precisely the balance between enthusiasm and improbable impassive. We still also gentlemen Harvard which Mark is accused of stealing the idea, and are conveniently placed there, as the attractive idea to spread that Facebook is a great hacking behaviors aristocratic culture club, network, chat, cosmopolitanism and the deification of appearances.

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White, Claire Denis

A chronicle written Kinok

The comparison is preposterous, but White Material has something a Out of Africa reversed. The romantic plot gives way to the rout family, voluntarism to the tragedy, African Dream African nightmare. This is also probably the story. In a mysterious African country, Maria (Isabelle Huppert) decides against all odds to continue to manage its coffee plantation, despite the raging civil war.

Nightmare, the story of White material was something disjointed, as if to signify the state of decomposition of a continent where violence reigns, and where wars are no succession without consistency. The characters actions sometimes absurd, sometimes mysterious. The narrative thread begins in situ, seems to stop, then restarts without warning. No indication of place, a vague political context (the current government against rebels led by "The Boxer"), a vague family context as Maria Vial, manager of the Coffee Plantation Vial, Emmanuel and his son played by Duvauchel.

This lack of direction leaves us with a monstrous universe. The characters are is too transparent - greed, lust for power spread over the faces exalted - or frankly opaque - perseverance unexplained Maria, Emmanuel nihilistic getaway. What remains are people who fight, or earn money as they can.

An absurd reality, quite raw, yet leaves room for fantasy. Perhaps it is the great strength of the film: the ability to make this a fantasy general rout. The chronology of events is not clear, the narrative is hit with narcolepsy: the dream sequences apparently fit naturally into the debacle. The haunting tone of the music (?) Is not for nothing in the installation of the hallucinatory atmosphere. The war rages on in silence, bodies are numb with grief. If violence is muted is that it is a soft drug, which leads us quietly in a daze. Even the rhythm of reggae, that one sometimes hears, has the nostalgic look limp and a quiet march toward death.

In this gruesome picture, the silhouette of skeletal and disheveled Isabelle Huppert is very suitable. It is this coldness, this fundamental lack of generosity in the game of French actress, (we can not help but imagine intellectualizing his role, his character theorizing). This is great in a sense, because that's how Maria is thoroughly chilling best in this world and into the fire and blood. But still, there is even less sensitive to violence, the defeat in war, and that this character keeps her face hidden behind too blonde, too northern (the "white matter in question"?) And all sense sensation - even when she cries or when she cries.

Do not even mention Nicolas Duvauchelle and his portrayal of teen thirties. From the outset, we do not really know if it is only the credibility of the actor is missing, or if the character is too crazy to be likely. It is "like a dog," someone said. And it's true that theatrical, made his mini warlord, then ends in an orgy of drugs with her friends child soldiers. Either.

In sum we get a confusing film to a terrifying world of violence fluid and serene. But Claire Denis managed to install this universe of characters for the price, the price of the plot, at the expense of depth of field - at the cost of any decision of any attachment to the viewer.

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The Man from London, Bela Tarr

The Man from London is an adaptation of a book by Simenon. The book is very short, the film is very long. Same title and same plot though. We follow the character Maloin, a dispatcher who works at the station port. Height of his cage, he catches a flight coupled with a murder. Two shadows are struggling, fighting over briefcase, until one of two figure rushes the other in the harbor water, leaving the desired object disappear with him. After waiting a bit, we retrieve the briefcase down switcher - and he takes ill ... What is curious in this adaptation is that the book is more cinematic than the film. For what is more film noir than this intrigue? The witness at the scene of the crime, tainted by evil as anything the look, how to start more cinematic?

Read the full article on Kinok