Daisies, dissecteddmagicOctober 30 2009, 05:17:01 UTC
Ну, вообще говоря, у меня весьма широкие вкусы :)
Но не скажу, что ключевое слово в данном случае именно "красота" (если понимать её в изначальном узком смысле). Тут упор именно на "молодости и непосредственности", как я написал + определённой довольно необычной, особенно для тех места и времени (кино)эстетике. Ты статейку-то почитай, на которую я ссылку дал - она и правда оччень интересная (хотя стоило бы для начала и сам фильм целиком посмотреть ;) Не удержусь несколько ключевых абзацев привести, не обессудь (просто стараюсь "быть понятным", как говорит Гришковец) >>
...Abstract cinema was a slap in the establishment's face, and it came down hard on those who tested it. Fortunately, the filmmakers pushed back, and much like their Russian counterparts, managed to create art that not only survived censorship, but arguably thrived in its grip.
This may not sound like much when converted to text, but the rapid-fire montage editing and giddy soundtrack are the main attractions. Daisies is far more concerned with what is happening shot to shot than in going from plot point A to plot point B. Scenes pile on top of one another rather than flow together.
If the viewer can contend with its unorthodox, experimental structure, Daisies is an incredibly dense film, thematically. There are probably hundreds of different interpretations to be found within, and I could (if I weren't so lazy) spend endless paragraphs unpacking meaning from the cluttered mise-en-scène. It's a lighthearted feminist manifesto, a parable of Bohemian decadence, and a biting critique of the Communist leadership. It's even a bit of an audience rorschach test; some will immediately put it on their favorite films list and others will be left scratching their heads.
Much praise should be heaped upon the obscure actresses who carry the film along. Aside from their above discussed attractiveness, they manage to prove themselves more than adequate thespians given the roughly sketched nature of their characters (and the film itself).
No one is going to mistake it for a modern film, but it is a million times less dated than far younger films. Even the artifacts of its low budget only seem to add a gritty charm.
Но не скажу, что ключевое слово в данном случае именно "красота" (если понимать её в изначальном узком смысле). Тут упор именно на "молодости и непосредственности", как я написал + определённой довольно необычной, особенно для тех места и времени (кино)эстетике.
Ты статейку-то почитай, на которую я ссылку дал - она и правда оччень интересная (хотя стоило бы для начала и сам фильм целиком посмотреть ;) Не удержусь несколько ключевых абзацев привести, не обессудь (просто стараюсь "быть понятным", как говорит Гришковец) >>
...Abstract cinema was a slap in the establishment's face, and it came down hard on those who tested it. Fortunately, the filmmakers pushed back, and much like their Russian counterparts, managed to create art that not only survived censorship, but arguably thrived in its grip.
This may not sound like much when converted to text, but the rapid-fire montage editing and giddy soundtrack are the main attractions. Daisies is far more concerned with what is happening shot to shot than in going from plot point A to plot point B. Scenes pile on top of one another rather than flow together.
If the viewer can contend with its unorthodox, experimental structure, Daisies is an incredibly dense film, thematically. There are probably hundreds of different interpretations to be found within, and I could (if I weren't so lazy) spend endless paragraphs unpacking meaning from the cluttered mise-en-scène. It's a lighthearted feminist manifesto, a parable of Bohemian decadence, and a biting critique of the Communist leadership. It's even a bit of an audience rorschach test; some will immediately put it on their favorite films list and others will be left scratching their heads.
Much praise should be heaped upon the obscure actresses who carry the film along. Aside from their above discussed attractiveness, they manage to prove themselves more than adequate thespians given the roughly sketched nature of their characters (and the film itself).
No one is going to mistake it for a modern film, but it is a million times less dated than far younger films. Even the artifacts of its low budget only seem to add a gritty charm.
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