We have to show violence

[Тютчев]

"We have to show violence"

Died Arthur Penn
  
The newspaper Kommersant »№ 182 (4482) on 01.10.2010
 
 Obituary

In the night on Thursday at his home in Manhattan, noting his 88 th birthday, died of heart failure legendary Arthur Penn, who changed his movies and American movies and American consciousness, and the very American story.

"They're young ... they're in love ... and they kill people": the advertising slogan "Bonnie and Clyde" (Bonnie and Clyde, 1967) sounded like a barricade motto, anthem anarchic freedom, he has hit America in the stomach. Let the heroes of Faye Dunaway and Warren Beatty had nothing to do with hillbillies Bonnie Parker and Clyde Barrow, blunt and brutal raiders 1930. Penn is not to reconstruct the history - he created a new - hot date for the era of Vietnam and hippies - icon: young outsiders guerrillas avengers that "to no one apologizes for the fact that killing".

Criticism shocked that funny at first adventures of robbers under the foolish strumming banjos crowned unprecedented massacre: four days filming Penn minute dance scene, the heroes of agony under a rain of bullets. Penn insisted that: "We have to show violence. We have to show what happens to a man when he get the bullet." "America - a country where people realize their views through violence - we have no tradition of belief, idealism and legality".

"Bonnie and Clyde" was played for the U.S. the same role as the "400 blows" (1959) for France: born on its own "new wave". Penn was, incidentally, in love with the film François Truffaut: he had learned in a small Antoine Doinel himself the son of a Jewish watchmaker in Philadelphia and nurses razvedsheysya with her husband, when Arthur was three years old. Except that, unlike Truffaut, Penn was not sinefilom. In the five years since he startled horror movie, the next time he went to the movies only after fourteen years. Went - and I saw "Citizen Kane" (1941) Orson Welles, the film that defined his way to the cinema, which began during the war years on the stage army of amateur theater.

Premiere of "Bonnie and Clyde" in August 1967 is the day when collapsed backward Hollywood: now filmmakers behind Penn got the right to control over his film "and from" on the author, the final assembly - the so-called final cut. Penn himself had long been fighting for this right. Alien assembly disfigured and his debut "Arms for left-handers" (The Left Handed Gun, 1958), where Penn has introduced the gunman Billy the Kid as a troubled boy-rebel and avenger, and the tragedy of lynching "race" (The Chase, 1966).

Funny, but Penn did not want to shoot "Bonnie and Clyde": his producer Duke Beattie, whom Penn has already filmed a Kafkaesque existential noir "The first Mickey" (Mickey One, 1965) about the showman pursued by the Mafia for some unnamed transgression. Penn himself seemed that the writers go too far with shocking moments. Even funnier that the youngest of Hollywood film shot for 44-year-old man, who had to war, to become one of the pioneers of the American telecine, fail, and then - to become famous on Broadway. Youth breathed and "Alice's Restaurant" (Alice `s Restaurant, 1969), hipsterskaya comedy with a famous singer Arlo Guthrie. And in "Little Big Man" (Little Big Man, 1970) Penn radically than anyone audited U.S. history, retold from the screen 121-year old hero Dustin Hoffman, a white Indian, the last witness to unspeakable atrocities and ignominious death of Gen. Custer, the national hero of America.

The relics of his films end of 1960 Penn reached only in a "four friends" (Four Friends, 1981), although among his later works is, say, a great social western "The Missouri Breaks" (The Missouri Breaks, 1976). He himself felt that the movie is not glued, for long left it to return to the beloved Broadway. He returned to the theater in the years 1976-1985, returned to him and in his later years, in 2002 - for the sake of setting performance based on by Ivan Turgenev.


Michael Trofimenkov

http://www.kommersant.ru/doc.aspx?Do...3000&NodesID=6

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WE ARE - The Anglo-Saxons

I do not know, for worse or for good, but we continue to teach Europe. We've been doing this for over a hundred and twenty-five years. No one invited us to mentors, we have imposed themselves. After all, we - the Anglo-Saxons. Last winter, at a banquet at the club, which is called "the far end of the Earth", the presiding officer, retired military officer in high rank, proclaimed with a loud voice and with great enthusiasm: "We - the Anglo-Saxons and Anglo-Saxons when something ought, he goes and takes."

Chairman's statement provoked a storm of applause. At a banquet attended by no less than seventy-five civilians and twenty-five officers of the army and navy. It took probably about two minutes before they have exhausted their enthusiasm for this great declaration. Himself inspired prophet, izrygnuvshy her out of his liver or intestine, or esophagus - I do not know exactly where he nursed her - stood all this time, shining, shining smile of happiness, radiating bliss sometimes each of his body. (I remembered how in the old calendars depicting a man exuding from the gaping womb of signs of the Zodiac, and such a pretty, such a happy, he, apparently, quite unaware that he is cut in a dangerous way and in need of healing by the surgeon.)

If we translate this extraordinary declaration (and the feelings expressed in it) on a simple human language, it will sound like this: "We, the British and Americans - thieves, robbers and pirates, and this proud."

Of all those present the British and Americans, not one who would be enough civic courage to stand up and say that he was ashamed that he is Anglo-Saxon that he was ashamed of civilized society, since it tolerates within its ranks of Anglo-Saxons, the shame of the human race. I did not dare take on this mission. I would have lost his temper, and would have been funny in the role of a righteous man who is trying to teach these moral Nedoroslev basic decency, which they can neither understand nor digest.

It was a spectacle worthy of attention - a child a direct, sincere, selfless enthusiasm for the offensive maxims of the Prophet in an officer's uniform. Smacked of self-exposure:

I do not poured out whether there out under an unexpected blow to the case of the secret impulses of our national soul? At the meeting were presented to the most influential groups of our society, those that stand at the levers in motion our national civilization, giving it life: lawyers, bankers, traders, industrialists, journalists, politicians, army officers, naval officers. They were all here. It was the United States, convened at the banquet, and rightfully voicing on behalf of the nation's own inner code of ethics.

This admiration was not expressing accidentally broken through the senses, which, after recall with shame. None. Cost to one of the following speakers to feel the chill the audience, as he immediately cram into their banal all the same great thesis of Anglo-Saxons, and reaped a new storm of applause. Well, this is the human race. He always has in stock two moral code - the official, which he flaunts and authentic, of which he is silent.

Our motto: "The gentlemen believe ...». When I read this pious inscription on the paper dollar (valued at sixty cents), I've always fancied that she was trembling and pohnykivaet in religious ecstasy. It's our official motto. True as we see, quite different: "When the Anglo-Saxons something wanted, he goes and takes." Our official morality found expression in a touching and majestic at the same time humane and kindly motto:

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«Ex rluribus unum» 1, which as it implies that all we Americans have a big family united by fraternal love. And our true morality is expressed in another immortal saying: "Hey, you there, get on the ball!"

We borrowed our monarchical imperialism in Europe, as well as our strange concept of patriotism - if at least one sane person in general would be able to really explain what we mean by the word "patriotism." Hence, in fairness, in response to these and other instructions, we also need something to teach Europe.

Over a hundred years ago, we taught the Europeans first lessons of freedom, we have a lot of success there helped the French Revolution - in its beneficial results and have our share. Later, we taught Europe and other lessons. Without us, the Europeans never know what a newspaper reporter, and without our European countries have never tasted the sweetness would be exorbitant taxes without our European Food Trust would never mastered the art of feeding people poison their own money, without our European insurance companies never learned how to get rich so quickly at the expense of defenseless orphans and widows, and without our intervention tabloid newspapers in Europe, perhaps, would have come not soon. Tirelessly, persistently and insistently we amerikaniziruem Europe and hope to eventually bring this matter to an end.

Mark Twain, September 7, 1906

1 Of the many one (Latin).

[Тютчев]

[Posav]

Сообщение от Tiutchev; 1369831"

"They're young ... they're in love ... and they kill people": the advertising slogan "Bonnie and Clyde" (Bonnie and Clyde, 1967) sounded like a barricade motto, anthem anarchic freedom, he beat America in the stomach. Let the heroes of Faye Dunaway and Warren Beatty had nothing to do with hillbillies Bonnie Parker and Clyde Barrow, blunt and brutal raiders 1930. Penn is not to reconstruct the history - he created a new

I think so, what is evil, violence is necessary to show a conviction. Show without osuzhdneniya-turns to throw visuals philistines enjoy scenes of violence, and various blunt, moron also a guide to action. Haglilit and vyrodzhencheskoe this movie. Similarly, with the TV series "School".

[Мимопроходил]

Showing violence should be a means, a key to understanding something, and not an end in itself.
That's understand what the mountain of corpses, for example, Oliver Stone in "Platoon" and do not understand that because it is fun to watch endless meat grinder, for example, in some "cult film" Tarantino.
All IMHO.

[Pavel]

I owed nothing to anybody.
Violence is gored.
And so from this cemetery Yeltsin filled the graves of the young, and that children and families.
It's disgusting.

[Тютчев]

Carlos Reygadas: When you get used to violence, it seems that it is not at all

In the step from the "Palme d'Or," Reygadas recognized at Cannes best director for his film "After darkness, light"

Mexican Carlos Reygadas applies to the caste of the elect, whose career flourished, and happily heard by at Cannes. After the Cannes premiere of Mary Razlogov met with the director.

In 2002, for "Japan" Reygadas was awarded a special mention of the jury Debuts "Golden Camera". The powerful "Battle in Heaven," hit the main competition in Cannes in 2005, but did not receive prizes. Flawless "Silent Light" won the Special Jury Prize in 2007.

The new picture Reygadasa caused mixed feelings even prepared for the experiments of the festival audience. Existential drama, largely follows the traditions of the South American magical realism, completely devoid of narrative spine and does not share what is happening with the heroes of yesterday and tomorrow, on memory and dreams. In one such episode, the dates and do not distinguish levels of consciousness, an animated red demon steals the night at home with a strange suitcase in the other - neschastlivets bitter, killer, with his bare hands tears off his head, though it is customary for the Mexican case. The film is a special lens blurs the edges of the frame, and inscribed in modern cinema is not used by the display format of 3x4. Strange rendering, according to Reygadasa, it is necessary to emphasize the act of vision and the presence of the camera as a mediator: the director admitted that he does not like modern windows are so perfect that they can not see glass. In an almost square frame distorted director oversees the very nature of being and involves known organic performers - babies, animals and trees. Children, by the way, his own, and dogs, and shooting took place near his country house.

Why did you choose for this story is a strange picture?

- Theme requires visual matching. My film - a man's life story, told through the prism of his current thoughts: his memories, dreams about the future of fantasy. We switch from one level to another all the time. And I wanted the film to look that way. Many people ask me why I somehow do not give the viewer understand what a particular episode - a dream, and the other - the future of the third - a reality.

You know, I did not want to resort to any conditional code. Picture of a strange, perhaps. But I have not thought about it, as the innovations in film language. I just wanted to share this vision of life. I wanted the film was the image of the devil. And my daughter was running with the animals on the meadow. I saw this scene in real life, I find it very beautiful, and I wanted to play it in the film. At one time I had in two years built a house in the village, I helped my wife. Much, through what I did was, imprinted in me, and turned into a movie in the form of individual parts or episodes. As an example, note that Mexico - the only place in the world where paluyu leaves called trash.

You live in a town or village? Great is the current difference between Mexico its inhabitants so that they become narrower and different people?

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- I constantly live in the village, but I do not think that among people such a big difference. Differences are many, but only at a certain level. Globally, we are all the same, and the differences become visible in the details, such as, perhaps, humor. In my synopsis of the film says that there are two worlds, - the fact something too mysterious. In fact, the fault is not between urban and rural, rich and poor, and between East and West. This topic is important for countries such as Mexico, which were once conquered by Western society, and this conflict has not come to an end. If we recall that my country has long been a colony, a lot falls into place. Juan, the hero of the film - Westerner and therefore considers himself superior to others.

Do you think this is what distinguishes the people of the West?

- No. Western people have very much. But I am clear that the Western man himself warehouse assumes superiority. And no one I think. Western thought has come to its highest point over two hundred years ago, before the French Revolution. And even earlier. What makes the Western world with the world? Puts it on her knees and takes his best. Destroys it, if he sees the need. I do not know whether you visited in Africa, but if we really knew what was going on, we would drown in the sea. But when the representatives of Western society does not attack the other, they kill their own. So much loneliness, sadness and fear in a country like Mexico. That is why these two ways of looking at the world - East and West - are in constant antagonism.

 After all, what you can find such a devil?

- My film is also about dreams. And often in my dreams - the fear. I wanted to show a dream that could dream of Juan and his wife, or some of the children. All I ask, what the devil, who see it, and that in his suitcase? The correct answer - did you see it. You can see an image, traditionally signifying an absolute evil. Of course, the movie is going to someone else. But in fact, only the critical viewer who watches a movie. And in the suitcase - the tools.

 But why take your head?

- It is an act of desperation: all falls apart, and the character just wants to die. In modern Mexico, often beheading people. This image, which may occur to any Mexican who goes to sleep after the evening news. Six thousand of those killed in the last six years - more than in Afghanistan. All this violent death. The members of the Mafia to kill each other. It is hard to imagine with what degree of abuse is happening.

 How important is religion and philosophy in your kinonablyudeniyah who of philosophers inspires you?

- I think that the whole philosophy of religious. Even Hegel. But I would not say that there are authors who have inspired me ... No, wait, I lie. I took a lot of Tolstoy. Those who have read "War and Peace" will note that "After darkness, light" in fact - an imitation of the novel.

 In the film you mention, and other Russian writers - Dostoevsky and Chekhov. Russian classical literature influenced you?

- Not all, not every book. More than others, "War and Peace." This is precisely the religious philosophy. Prince Prince Andrew could well suffer the same problems as Juan in my film. _ In general, literary not the best impact on the state of cinema, but with some of the arts movie comes close to you, what would you do with it compare? - And if I ask, with what would you compare the music? With the painting? With the theater? No, only with the music. Cinema - independent art. This art, which was conquered and enslaved by the theater and literature. Most of the paintings are either filmed theatrical performances, as they spoke of Robert Bresson, "a movie-theater", or, and most of all - illustrations to literature. To make matters worse. The nice thing about cinema as art - the ability to capture images and sounds in the same way that they feel our senses. Only later, in the process of reflection, we realize that all this is staged. But our eyes and ears perceive it as reality. Painting in his time, too, was "kidnapped" in literature, told Bible stories or classic myths. But it is certainly not the main thing in painting. Museum guides tell the stories depicted in the painting, and the audience hear and pass by without asking yourself why this picture turned out here, why we are looking at it? Because of the plot and only? If I write the same, too, will get a picture in a museum? Painting - a two-dimensional image, which sheds light on the truth, involves the imagination, makes the approach more closely to what we call life. And the painting, and then the movie are worth something, when reproducing life.

Does this mean that the public, habituated to the "illustrations", loses the ability to perceive the true movie?

- Yes, basically. After all, it did not happen now, so it was almost always the case. At least since the 1920s. I think most people who go to the movies, see this illustration of the literature. They believe that what they show - this is the movie. Very few people like this movie. It is a fact.

 Rejecting narrative you follow abstract art?

- No, I follow the simple cinema.

 A personal experience? You have learned something by looking at yourself through this picture?

- For me a film is not psychotherapy, so I learned a little. Although I learned something new, but not from the movie itself, but in the process of its creation. I make a film not to learn something, and to share their feelings with you. Some believe the problem if the director - meet the demands of the widest possible audience. I'm not a buffoon, not circus to entertain the audience. I am a part of yourself, and if someone like, I'm satisfied and happy. If I ask, how about you, and you'll be two o'clock to talk about their lives, trying to be honest, maybe I like what you say. Perhaps it will be interesting. But I hope that all the two hours you're not trying to entertain me, but just gave a part of yourself.

 Are there things you would not want to share with anyone?

- No, but sometimes I am reminded parents that they would think by looking at my film. My mom was at the premiere of "After the Darkness Light" and asked me to remove the next time something more happy.

 you close understanding of violence as a substance that penetrates the human existence?

- I would not say. I do not Werner Herzog, tells of a wild and dangerous nature, ready, like an animal, you eat. I was not fascinated violence, but I think it's a very significant element of our lives. And this applies not only to villages where there are animals and vandals. By the way, the violence in the village looks very organic, the peasants can be cruel to sheep and other livestock. But even here, in this festival palace, in these streets and yachts, full of violence. I was there at the party where the police came and destroyed all our food because they are probably looking for drugs. Here, everywhere violence. Once you get used to, it seems that there is no violence at all. Have you during the walk to see a hungry child who is begging for food? I am shocked when I see homeless people in Paris in the streets, where no one pays attention. I'm still not used to it. We live in a very cruel world. We have a very harsh life. But over time there is a lot of blindness and hypocrisy with respect to this apparent cruelty. I think some parts of my paintings will surely be cut in England. For example, when a character beat a puppy. British colonialism, to spit on his own or on the invasion of Iraq, but they can not see the poor dog on the screen.

 So you and show it?

- Yes. Thus, I show that sometimes people lose control of himself and committing violent acts.

http://www.odnako.org/magazine/material/show_18985/