aunqe Tana have no idea, is largely his fault that I have drunk this movie. 2006 and would not best thing I could think at that time to read and translate shojo manga in droves, when I came across one of the masterpieces of our time: Paradise Kiss of Ai Yazawa [2000-2004]. I will not dwell much on the things I like about the manga, maybe mention something idiotic like that all retruPunX Arashi Nagase and Yukari's personality. The edition I read had only been scanned: The translation was from an editorial in Argentina, IVREA. The editor had decided to to review the influences of Yazawa, when I bumped into a movie qe me seemed to have seen before: Velvet Goldmine, a sort of biopic of Bowie and Iggy Pop The editor cites "strong impression on Ai Yazawa [sic], who scored Jouji severely character, as Brian Slade. " Once the law student told me that mine somehow reminded him Jouji so I decided to learn a little more about the subject.
At that time, Haynes was concentrated in one of those movies that take ten years to conceive, seven years in filming, and all the future to be considered perfect. I kept in a development of this sickly. Starts after sales failure Velvet Goldmine, Todd depressive episodes. The standard in this life, marked by goals that always end up giving a backlash in the face, hurting. Long Velvet would he considered his masterpiece, one for which would be remembered, the error of Todd is simple, seen in perspective: Plan your masterpiece is the worst thing you can do, is something that we know when we will a masterpiece, just do the best you can, what is likely to have the pleasure of calling our children. The case of Björk with It's, oh, so quiet is exemplary.
energy after the film is Dylan himself, or rather, the idea that it is Todd. "I found Dylan's rejection of being labeled as one being in one voice as the key to his freedom. And somehow escaped this process Dylan to stay frozen to be a person." The idea is not new, much less revolutionary, so many little girls and little girls, looking for originality, have cried many times "I'm single, I am so many people at once, from very young I had the feeling of being one and several while, but, realistically, one can not swallow the idea that Renato at 6:15 Renato is different from the 6:16, as mentioned Zampanò, no matter what angle you see it, the meat is unable to show that originality and inherent multi-faceted capacity. You just can not. On the other hand, the standard biopic Haynes does not convince. "A biopic is always weaving these very familiar with these moments that we do not know. Ray Charles on piano, Ray Charles at home. Life is more than that." If you can add to their claim, consider the life of Fray Jose Mojica, an actor and a priest. Édith Piaf, in a car accident and then the loneliness of old age. Indeed, life is more than that. Haynes continues: "Dylan created a new identity every step of the way to create a new identity." It was time for Todd, I'm Not There had been conceived.
"If there was a film in which the amplitude and the flow of a creative life could be experienced, a film that could be opened, contrary to consolidate what we know to enter the theater, I could never be in the master narrative arc. The structure of such a film would have to be fragmented, with numerous openings and a multitude of voices, with their main strategy being the refraction, not condensation. Imagine a film splintered in seven different faces, old, young, women, children, each one designed as a space of one lifetime. "
creative spark Haynes This is ambitious. We may go back to Kurosawa's Rashomon, although perhaps in a purely descriptive level. While Akira gets four views of a single event, Todd raises the number of events in a particular view for each. Perhaps Identity, by James Mangole, but the comparison is more subtle than it might seem at first sight.
Much has been said of Cate Blanchett's performance in this film. Despite how much I admire Blanchett, the Dylan that interested me most was that of Heath Ledger: A Dylan made, drunk with fame, drunk with happiness. Gainsbourg is perfect in the role of outsider, outsider to whom you approach, intruder who approaches you, you presents intruder or something that happiness is happiness if it seems likely, the intruder finally get separated, because such is the logical consequence of relationships like this, relationships in general. Ledger may well be taken as the worst Dylan: misogynist, womanizer, drunk, liar, self-absorbed. I do not believe in redemption, at least not as the one shown in the film, amicable divorce, separation well understood, children in joint custody. Falls Ledger, Ledger is done, Ledger is cruel, suffer for their stupidity Ledger, Ledger finally finds the quiet peace of knowing that a complete success on the one hand, a total failure on the other. Ledger has a certain air of Lorraine.
Near the end, when Richard Gere [the autumn Dylan] is stating "if you say you see yourself, not listen to them", he meets Marcus Carl Franklin [the First Dylan]. In this brief encounter, a sort of wink to the audience, I see the connection to Identity.
I also see an argument, which can be regarded as total influence of the film. Haynes shows seven faces of Dylan, seven different times, crossing at the time, more not in space, except for a brief moment in the final scenes, and only two characters. I propose, knowing that we all woke up to someone and go to sleep still another, the surreal meeting of five people, with different faces, but they are all the same, the one subject. Have meetings with each other, romance stories, stupid stories, movie outings, midnight trips down the avenue Army, who fight and form lasting friendships, which is drunk in the Plaza de Armas, in a nightclub in Dolores, leaving travel to other cities, fleeing [but do not know this, and is more literal than metaphorical] themselves.
Biyuinfo!
- It is curious splitting, changing a succession in time, by the superposition of five in space. Maybe that was my purpose, to write some stories. Perhaps not only that.
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