Friday, February 25, 2011

Food Trailer For Sale Ontario

Blue Velvet: Welcome, or not-to Lumberton

In the complicated relocation of this blog, after the vicissitudes suffered, trying to get back to normal again widening the spectrum of topics, with the beginnings of movies.

are several organizational structures that are given to films, from the known
Principle / Knot / Outcome
to more elaborate, as
Start / Presentation / Development / Climax / Final
but in any case it is true that the beginning, the start of a story is vital to catch the viewer.
never be a safe for a good movie, even the opposite, but he certainly would help to hook up with what you are expecting.

I do a quick review of memory and startups that have impacted me most, even though many once I stop in the film "Blue Velvet (Blue Velvet) that David Lynch directed in 1986.
I think initially as disruptive as bright, immaculate and carefully measured so that it is almost impossible not to be hypnotized on their networks of tranquility and squalor.
also complies fully with what is proposed, not is another thing that predispose the viewer to what is going to see, steeped in the spirit necessary to stand up to this unhealthy and dark history framed in the idyllic setting for a town like Lumberton.

also agrees that in this case one would expect, the start of the film can be found in YouTube, so I avoid the hassle of uploading I (which by others, at least for now, no intended to do).
lasts two and a half minutes:

is not discuss here the credits start and yes, I say, ribbon, but does not confront this most exquisite typography on blue background that gives title to the work itself, to give as much care how they are all formal aspects of it.

And the blue sky, exactly, the film starts with a drop camera at the peaceful and friendly corner of a remote village in the U.S..
The first detail where we stop is a small garden of red roses ...

Delving into that line of "nothing ever happens here," here is everything under control "we see the warm slow ride a fire truck around the neighborhood, with the friendly firefighter health directly, accompanied as it could not be less than a Dalmatian.

The third plane of the film back onto the gardens, in this case yellow tulips on the typical American houses, all alike, sharing the peace and quiet.

a scene, also camera slowly, as if we catch these moments of perfection, where we see some children crossing a zebra crossing under the watchful eye and supervision of an older woman.
Nothing disturbs us.
No noise, no cars running, no children to leave the row.
Although not leave, however, be something disturbing in such harmony.

Gradually we focus, we get into the story.
see the facade of a house, just that typical American home that we have seen before at the gardens.
Somehow, without knowing it, we know that is the place where action begins.

And we get closer to the house, what happens in it, and observe a quiet man who waters his plants.

As we understand as the inside of the house, we can see that we recognize as the wife of the man who waters the garden, sitting quietly, drinking tea and watching it seems that is television.

This will be the first turning point of change to the disturbing sense.
see on television threatening a hand carrying a gun.
deserves reflection that is an artificial element / unreal-television-that give us that change of direction, where previously unseen reality "supposedly" is beautiful, but not fiction.

In any case the threat becomes real, then outside in the garden, the man (Mr. Beaumont) suffer a heart attack.
The story of the same is impeccable, as Lynch draws a parallel (not by obvious longer elegant) between the rubber / artery that becomes a knot, preventing irrigation and causing a stroke.
the sequence of shots you can see here:

This shot of the scene is also very interesting because, with ever-tightening plans, we will observe how the family dog \u200b\u200bon the victim and not so much to help themselves to playing / drinking water is freed from the rubber.

At first, in general terms, we see the figure of a young child (also a little disturbing: what does, where it goes?) that could represent the purest part of us who do not understand what happens, you can not avoid what happens, does not involve either through ignorance or bewilderment, that is just part of a pre decorated but not intervening.

contrast the attitude of the dog, a reaction that could easily qualify as more animal, and is not to aid his master, but in a game face irrational but full of meaning to the water from the rubber.
Gradually, also the planes are closing and we focus precisely on that animal reaction, it disregards the tragedy and to other elements derived from more intense, more worldly.
That game with the water, do not forget that the blood remains "also gives us the reaction of the protagonists have to face up to history.

And after what happened, we are ready to usher in all that lies below.
Behind the facade of calm and kindness, we have descended to earth, but our journey is not is going to stay there.
And Lynch makes it very clear we left the clean grass where it lies Mr Beaumont and entering it, digging the earth and penetrating as far as we are banned, what is hidden, it is never shown.
And what we see is not pretty. Earth and insects
fighting and mixed together are the perfect counterpoint to the idyllic pictures of roses and tulips.
Although every part of the same.
macro lens and overwhelming us into the background, at the base, as yet rots builds everything up.
And that is the journey of the film. This scenario
is also where the main character, Jeffrey, the son of Mr. Beaumont, find an ear that will act as a trigger for the whole story.

After introducing us to the most sordid, most overwhelming, most rotten, the last plane change is radical.
note the welcome sign to the town of Lumberton.
is because this has been a prologue.
has been a way of telling the film, predispose us to what will occur from now.
With this Welcome to Lumberton (and our spirits mixture of bewilderment and distress) the story really begins.


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