Originally Posted by Mercutio:
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am citit vreo jumatate de articol.
n-am gasit nici un argument viabil (pentru mine).
autorul sustine in principiu ca Refn e un cineast mare iubitor de filme si ca asta se reflecta in filmul acesta. dupa care incepe sa faca o lista de evocari la care trimite filmul Drive.
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ok, ma bucur ca intri-n joc. Ai terminat textul?
Si eu am ceva dificultati in asimila conexiunile factute de autor pt a-si sustine afirmatia de pe frontispiciul textului:
Nicolas Winding Refn’s Drive is about the rush of movies. drept pt care vreau sa-l reiau cel putin inc-o data. Dar mai sunt si alte detalii care, de fapt, ma intereseaza chiar mai mult decat concluzia absoluta.
Originally Posted by Mercutio:
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tocmai asta e problema, cel putin pentru mine, filmul imi evoca prea multe alte filme pentru a-i mai ramane vreo farama de originalitate.
e vorba de intertextualitate (cum spunea un critic de prin anii 70). fiecare text este un intertext (in literatura, in film), e normal.
in orice film, la diferite nivele, regasim influente, citatii, forme, formule, din cultura precedenta.
e conditia oricarui film (sau text).
pentru a fi original, pentru ca opera sa nu fie o re-productie ci o productie, aceste influente trebuie sa fie bine diseminate. Godard, Tarantino si ei erau mari iubitori de filme. Au bout de soufle, Pulp Fiction sunt la randul lor pline de intertext. dar trebuie sa sapi ceva ca sa il gasesti, nu-ti sare in ochi la prima vizionare. nu e cazul cu Drive, unde la fiecare doua minute descoperi o pastisa din alt film
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Nu vreau sa discutam care-i limita dupa care incepe acel "prea multe" referinte fiindca-i "prea mult" subiectivism la mijloc. Pe mine unul nu ma deranjeaza cazul lui Drive. Filmele timpurii ale lui Michael Mann la care face trimitere in mod deosebit filmul nici macar nu le vazusem. Abia dupa Drive si prin Drive am ajuns la ele. Faza cu "la doua minute" e o exagerare obraznica, stii bine.
Iar in legatura cu faptul ca citatele abunda aici mai ceva decat la campionii abuzarii de citate este : 1) necesar, fiindca - discutand in acceptia perspectivei autorului eseului - filmul chiar despre asta este: despre natura Filmului; si 2) un argument in sprijinul originalitatii. Dar sa trecem peste astea catre prezumtiile concrete si socante ale eseului.
a)
Like in Mr. Arkadin, where the title character is first seen at a masquerade, masks are an important motif in Drive. The film is asking us, “What is the character of this character?” We see the Driver’s stunt-mask, meant to replicate a bald-headed action hero movie-star; a Jack-o-Lantern mask worn by a child, which the Driver responds to by saying, “Scary,” nodding to its classical function; the actor Ron Perlman, playing the brash Jewish pizzeria gangster Nino, is famous for his unforgettable mask-like visage; and an actor’s reputation, like that of comedian Albert Brooks, acts as its own mask, working against our own expectations, being that his character, the mob boss Bernie Rose, is the film’s key heavy, functioning as both the Driver’s antagonist and double.
Ce parere ai despre asta? Si nu numai tu, vreau sa aud cat mai multe pareri. Mie mi se pare trasa de par. Daca tot se mergea pe motivul asta nu trebuiau mulate pe el si celelate personaje centrale?
b)
Drive opens with a map that the Driver has himself penciled, indicating that this world is his own creation.
Din nou o inferenta destul de fortata zic eu.
c)
There’s a marked incoherence and dreamy uncanniness to Drive, much like I first experienced with Blue Velvet [...] Like in Lynch's 1986 film, we are dwelling in a place that is governed dually by dream-sense along with the myths implanted by our popular, and sometimes underground, culture. The result is not a parody, but a new dream and a new world where the story is tied more to emotion than to words. Towards the end, when the Driver calls the woman he loves, it's strikingly like when Jeffrey Beaumont (Kyle MacLachlan) calls Sandy (Laura Dern) in Blue Velvet. Its function feels less narrative than musical. The story transcends the plot.
?? Doar un da sau un nu. Comentariile sunt optionale.
d)
Like Pinocchio, the Driver – who seems so machine-like (indeed, he is perfectly attuned to cars, unlike the awkwardness in his interactions with other people) – wants to be a real boy, a real human being with normal relationships of love and companionship
Ok, asta e primul paragraf deocamdata. Sa-mi spui daca mai ai chef sa continuam.
