Friday, March 11, 2011

Transvestis En Atlanta Ga

Micmacs: From Chaplin to Tati, a praise of comic cinema in twenty levels

realize is curious how the way of having the silent film comedian of the century, works just as well a hundred years after the implementation of those parts. True
I have to acknowledge my special admiration and closeness for that way of counting, by the use of the resources that were used then, but I think it goes beyond personal issues.
The fact is that it works.

And perhaps the simplicity of his approach that makes us reach a very direct way:
A clear plan, full of close-ups where the action is easily traceable, the utmost importance to work of the actors, who through his actions we do get the whole story (and no one knows what ends up being more polysemous, if a word or phrase) and a simplification of everything surrounding the action are the clear signs of identity.

Because the film is mostly silent comic film, and with tenderness and ingenuity hand leads to a world where anything is possible.
have been great teachers of that golden age of cinema, among them Charles Chaplin , Buster Keaton or Harold Lloyd .
In Europe, we enjoy a bit later with immeasurable genius Jacques Tati .
Works in any case no play as the human condition, and we have won no doubt part of the heart.

Maybe that's why I'm always fascinated when I come to rescue an audiovisual piece that way of counting, that freshness and that innocence, with honors, plagiarism or Homage full of humor and lack of dialogue.

Something happened to me Micmacs (2009) of Jean Pierre Jeunet , a tribute to the naive and humanist world, crazy gestures and misunderstandings, sadness and well-intentioned spirits.

SECTION: Thinking Micmacs, and that has not yet been released in Spain-sic-I feel like, rather than write a post about copyright and intellectual property laws, writing about the possibility real access we have many users to a particular audiovisual material. Maybe I will. END POINT.

Back to Micmacs
Throughout his footage provides that way of counting, dispensing the best way of dialogue, focusing on the gestures and expressions of the protagonists.
Obviously we will not lose all the visual power that made such a significant artistic direction of its director.

I analyze a small scene of twenty planes, located at the beginning of the movie, without revealing almost nothing of the plot. In any case:

Bazil has just been fired, and has no money or home. Hungry and wandering the streets of Paris to the precise moment at which this scene ...

MAP 1:
always repeat but is that always the case.
And it works.
started the action with a shot that puts us at the stage where they will develop it.
This time we will see a camera movement from top to bottom, starting with what we understand as a cathedral, to go down to the typical distribution of food among needy people by volunteers, stopping finally in the back of our protagonist, observing the scene from afar.

inevitably would have to stop all the set of meanings we can establish that movement up and down: The spiritual and earthly, the monumental and the vulgar, heaven and earth, divine and human, etc.

MAP 2: We
foreground Bazil's face.
is a way to highlight her face and gestures will be the thread that allows us to navigate in history.
In this case we see how he looks at the distribution of food with a clear expression of desire and some despair.

MAP 3:
An obvious homage to Chaplin, and reminds us not only to "The Gold Rush."
We see the protagonist's shoes, with soles peeled in his impatience hits the ground so that looks directly into a mouth that opens and closes, highlighting even further the hunger of the protagonist.

ROUTE 4, 5 and 6:
From here we will attend a whole array comedy (with some inevitable bitterness) and reverse planes between Bazil and the woman who distributed the food.
In this case we see how she realizes he is hesitant to approach (we understand shame, for shame) and greets him.

MAP 7:
to refocus attention on the expression of Bazil.
Here to reestablish a game of opposites, how well it works in these cases, where our protagonist returns the greeting, but with expression of astonishment that of complicity.

She, like most natural thing in the world, he asks you get closer, in a statement that nothing happens, you are among friends.

MAP 9: We return
Bazil's face to give back a comic turn to the issue.
With a surprised expression " Oh, you want me ...? " is at once a " No, no, you're wrong, if I did not .. ." for a moment that we, as viewers, we are puzzled.

MAP 10:
This perfectly reflects our disbelief in the face of the volunteer (the first time we actually get closer to your face), as if to say: "But no ... ? "

MAP 11:
And then on this plane we see the reason, the exhaust, which has been Bazil. Notes
between shy and stop apologizing taxis. He's not hungry, he just is waiting for a taxi!.

ROUTE 12 & 13:
Again the gesture, then the expression.
She recognizes his mistake at the same time gives apology to Bazil. His tender smile of the plane 13 says it all.
finished not quite sure if she believes it or not, but in any case we believe that if the latter, do not take into account, and is willing to follow him in his little lie.

ROUTE 14 and 15:
But it's not that simple, of course. And in these cases, when you force a lie, you usually will get caught. In terms
14 plus open, see-it was inevitable arrival of a taxi, to create more mess.
15 In terms we can see again the importance of gestures of Bazil, where we spent the knowing smile of knowing he has told a lie, the devastating moment when it seems that everything goes against you to end up with a trágame land that says it all.

MAP 16:
Delving into the humor of the case, we see the girl dismisses him, so that is forcing to continue to lie and get the taxi.

MAP 17:
This is an open floor plan, where we see the desolation of Bazil, dejected and defeated in his lie, and with an intractable dilemma: should take the taxi to avoid being caught, but can not take the taxi, in any way, because he has no money.

MAP 18:
In a complete collection of gestures that we see a Bazil looks down, shrinking, rotating, which is uncomfortable. You feel observed and is obliged to do if she were to take the taxi, even though I know it's going to be quite impossible.

MAP 19:
To emphasize even more the feeling of discomfort you feel hunted and observed to see the volunteer time that effectively keeps detail what happens to Bazil.

MAP 20:
So, as we have said, with a mixture of sadness and humor check (we, the volunteer) that Bazil has no alternative but to around the car as if to put something in the trunk, and just hide behind him.

This is a very simple mix all the elements in the film comedy.
And laughter and a certain air of sadness get in our face, invariably accompanied by gestures, silences and expressions of the protagonists of the story.

The narrative begins, the adventure begins now, and we are inevitably delivered.


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