venerdì 24 agosto 2012

Maratonci trce pocasni krug (The Marathon Family) - Slobodan Sijan

divertente, del genere bare e funerali, ma non solo.
alcune scene sono esilaranti, non tutto, meno male, se no di rischia di morire dalle risate.
c'è anche il passaggio dal cinema muto a quello sonoro, l'ambientazione è in quegli anni.
merita - Ismaele

Cosa ti ha colpito?
- Mah, tutto! Il maiale nel pozzo!
- serbstick immorale fumettistico, non male.
- cinico, grottesco, ironico e autoironico nei confronti della sua cultura (balcanica)
- la demenzialità balcanica
- la vena ironica e folle che comanda l’intera trama
- storia originalissima, la rivincita finale di Mirko, un film costruito su pochissimi personaggi, quasi una piece teatrale
- sembra un Kusturica (ha 10 anni di meno ndW) senza la genialità dinamica, cartoonesca, parodistica, poetica del gran serbo. Teatro parrocchiale della violenza, non sempre le pellicole perdute della storia del cinema valgono la “pena” del recupero…
- ho perso il collegamento tra commedia assurda e condanna della guerra… (infatti non c’era - ndW)
- beo beo!
- vicino alle situazioni di “Gatto nero, gatto bianco”
- bello, molto divertente
- nel film c’erano molti spunti non sviluppati, non portati a termine, comunque molto divertente

When the country’s leader is assassinated in the opening footage, his death mirrors that of Pantelija Topalovic in that it leaves his citizenry – his “children” – without an identified heir to the throne. Much of the story after that is focused on the Topalovic men struggling for control over the family business—even though, ironically, they’ve doomed themselves to some financial despair with the installation of a poorly functioning crematorium, which erases the need for coffins altogether. It is Mirko, after Pantelija’s will has been read – the old matriarch, in a fit of rare wisdom, bestows everything on himself – who takes control over his disorganized clan in the film’s final few scenes and leads them off to face Python and his gang.
Similarly, the scene immediately following the opening assassination footage is of Mirko scouting out the apartment of a dying man from the street. Dressed as a priest, he is waiting for this man to expire so he can swoop in, at his family’s insistence, and take his measurements – a crafty and opportunistic way of securing new business – making the first images we see after Alexander’s bloody body framed by the circular lens of a telescope, recalling the irises and masks of silent film. When Mirko weasels his way into the apartment, he discovers a man whose size is unprecedented: his legs jut out between the bars of the bed’s footboard, and Mirko must draw reference marks on his knees when his measuring thread runs out. Laki doesn’t trust the figures his son brings back, attacking him with a plank of wood and denouncing him as an idiot. And it’s only those final few moments, when Mirko escorts his family into the future – defeating the embodiment of silent film in an Arthur Penn-style flood of violence and driving off into the unseen sunset – that they are brought together as one and disappear into the future.

The story about a family of undertakers is full of anarchic dark humor, on the verge of Monty Pythons and South Park, like when the great-great-great grandfather Pantelija dies and leaves all his inheritance to himself, or fried meat from crematorium that gets eaten by the family or when Laki was driving a car and unknowingly, accidentally hit a man, then stopping and wondering "what's he doing on the ground". "The Marathon Family" is in some circles considered "one of the best Serbian films of all times", but that's rather exaggerated for only a good film filled with sometimes banal humor and thin characters that inevitably crosses into misogyny, with a bizarrely pretentious end. "The Marathon Family" has a lot of genius scenes, but it's simply too morbid for some tastes.

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