Showing posts with label Sadness. Show all posts
Showing posts with label Sadness. Show all posts

Tuesday, August 6, 2024

Les quatre cents coups (The 400 Blows)

An unhinged imagination mendaciously prone feverishly flows with mischievous delinquency, in a time less alternatively accommodating when harsh punishments still prevailed.

He can't fluently comprehend discipline as its laid out by his parents and teachers, and begins skipping school after a headstrong dispute with his weary fed-up severe enseigneur.

His step-father habitually complains as his treasured belongings keep disappearing, the boy not comprehensively considering his disastrous petty malcontent abbreviations.

Unfortunately, his independent mother even admits his routine irritates her, and like little Claudius he proceeds unloved although he acts out much more rebelliously.

This lack of love the absent bond awkwardly infuriates further as he misses school, and notices her spending time with someone else, someone clearly not his step-father.

His thefts become more daring and he even enlists the aid of a lonesome friend, before the law is swiftly called in and a new trajectory meticulously hewn.

They didn't have to be quite so draconian if they had only accepted sole responsibility.

And made a serious effort to turn things around.

They're occupationally challenged however (they're more focused on their careers).

They don't really care, it's a bitter denunciation of self-centred parents who don't nurture their children, and the horrid situations which potentially arise if the young one reacts with aggrieved insurrection.

It may have had an impact on social reform within France after it was released, nevertheless, the French actually listening to what their artists have to say, since the poor child's utter abandonment and isolation in the film's final moments evocatively promotes the need for systemic change. 🎻

It's a powerful scene which correspondingly brings to mind A Portrait of the Artist as a Young Man, or any artist in his or her childhood when they let their genius run chaotically amok. 

It's clear little M. Doinel needs compassion not the fastidious lockdown permeating bootcamp, but that's what things were like in the cold-hearted old world which blind foolish unsympathetic jerks look to with manufactured nostalgia.

Many blossoming artists remain ill-accustomed to ubiquitous rules.

Especially when they're young children. 

A bit more progressive in this day and age.

Friday, March 19, 2021

Ansiktet (The Magician)

A different time, a feudal age, wherein which independent theatre was severely scrutinized, authoritative sadists ridiculing mystery applying cold-hearted principles to magical daring, inspired performance requiring sanction to entertain through fascination, the hard work sarcastically ignored the illusions castigated.

A tortured artist once proud of his talents travels from town to town, awaiting dismissive observations and outright refusals from obtuse officials. 

Happiness has been transformed into resigned melancholia, for even though he possesses great talent he's governed by austerity. 

Audiences wish to be amused by his tricks as he conjures and casts and calibrates, the integrity of seamless illusion widely sought after from age to age.

Star Trek may have never prospered.

There's no telling what would have become of vampires and werewolves.

The horrors of absolute control.

Far too concerned with practical reason.

It's not that practical reason is in itself a bad thing in fact it's obviously essential to daily life, the smooth flowing of robust commerce dependent upon its logical reckoning.

Practical film and reasonable books also generate compelling ideas, which fruitfully encourage thought and invention leading to progress and even more comfort.

But there's only so much rationality a person can take after working all week and taking care of a family, and if everything has a utilitarian purpose it may seem like work never ends.

Efficacious totalitarianism has no doubt spoiled many a relaxing weekend.

Comedy and the genres presenting absurd breaks.

Which congenially deconstruct obsession. 

Best if they don't get the upper hand either of course, surrealism best reserved for relaxed play, after work when there's nothing left to do but chill out sit back and dream.

Albert Emanuel Vogler cheats his haughty oppressors through an exceptional act of improvised dissimulation, their resultant angst increased ten-fold by the sudden news that they've been outdriven.

And a brilliant smile adorns Vogler's face as he prepares to perform once again.

The melancholia temporarily subsiding. 

As the middle-class emerges.