…Fuga
esteticamente fascinosa, interiormente cruenta; tentativo volitivo, subitaneo
eppure ignavo: i condannati a morte sono in fondo immobili, inermi di fronte al
cacciatore. Fuga meravigliosamente girata tra le foreste ceche, paludose,
insicure ma bellissime. Lungo solo 64 minuti, essenzialmente muto, Nemec compie
un'elaborazione a metà tra il surrealismo e l'oggetto filmico bressoniano.
Quando una delle due figure centrali sarà costretta a soddisfare un bisogno
alimentare, si troverà di fronte al bivio: uccidere, non uccidere. Qui sta la
geniale intuizione di Nemec: rappresentare una morte che non è mai avvenuta. Il
fuggiasco non ucciderà sul serio, nel reale, la generosa donna; la di lei morte
avverrà solo in sogno, nell'irreale. Più avanti, l'intuizione viene ampliata:
Nemec preconizza la morte dei due fuggitivi, oramai catturati nuovamente dalle
forze nemiche. In questo caso, si va oltre al concetto di morte irreale: vi si
trova quello di morte come pura percezione, espressione materica, la morte in
funzione prolettica…
…I love this movie so much because it
relates an experience of life that I may have dreamed, or an experience of life
that I didn't dream but that's how I would dream it. Two escaped inmates of a
Nazi concentration camp run from their unseen captors, in the end we see the
captors and director Jan Nemec (in a masterstroke of irony, his last name
translates to "German") is saying all manner of beautiful things,
about innocence torn asunder and about the regenerative cycle of life, about
things that will happen again as they did because that's the way of nature. I
like it so much because it suggests things about stakes and games, in this case
the hunt is the game and human life is the stake, and a game without stakes is
no game at all. If the players don't stand to lose something, the game is a
game not worth playing, and if the players didn't enter the game of their own
accord, as seems to be the case here, yet we find them on the game table does
that mean they are not there by some other accord? I adore movies that deal
with fatalism in dreamlike terms and Diamonds of the Night does that…
This is a rather unique film about
the holocaust, it rarely shows the familiar iconography (as soon as you know it
is about the holocaust you don't really need to show certain events as an
audience is already aware of the horror of the period) nor does it try and
explicitly show the wider ramifications of the holocaust beyond the two
protagonists. The film is practically wordless as we witness the two young boys
escape a train bound for a concentration camp and then their attempts at
surviving. It is a hard film to review as words can't really do justice to the
experience…
…There are few markers of the period, save for the
jackets the boys wear emblazoned with KL (for Konzentration Lager/Concentration
Camp) whilst their fellow prisoners where the more well-known striped uniforms.
The Jewish-originated forenames Lustig gave his protagonists, Manny and Danny,
are also removed, so subsequent press notes and reviews refer to them by number,
itself perhaps a nod to the experience of concentration camp life or the mere
fact the these boys and their plight stand for many for like them, lending the
film a universality, transcending the boundaries of country and religion. Němec
too subscribed to this wider theory, specifically choosing actors who were not
Jewish for the roles. The last casualty of Němec's distilling is dialogue.
Heavily present in Lustig's novel, where the boys share memories and stories
with each other along the way, Němec's boys are almost always silent. The first
line of dialogue comes thirteen minutes in, and the first conversation proper
comes a few moments later.
Given all
these alterations, you would expect that Lustig may have been displeased with
Němec's rather brutal approach to his material, but it remains the writer's
favourite adaptation of his work, and it's easy to see why. Far from being dull
and oversimplified, Diamonds is a visually and aurally dense work,
and depicts those dark Holocaust years in a manner that's uniquely subjective
and deeply personal, in a different way to documentaries and eye-witness
testimony. For all intents and purposes, we become the eye witness to the
story, learning the shape of the narrative as it goes along. Sometimes, it
feels like we are the third escapee, thanks to cinematographer Mirsolav
Ondříček's handheld camera work. At times, our closeness to them is almost
unbearable…
…Nemec creates an
incredible stripped down film that explores his characters state of mind rather
than follow a traditional storyline. There is little to no dialog at all,
relying on the characters thoughts and actions as well as the handheld camera
that intimately follows the two unnamed youths as they trek endlessly through
the woods. Quick flashbacks and other surrealistic images are often
shown, and scenes are frequently repeated with different outcomes. These
non linear sequences are used to represent their thoughts and memories,
products of both hallucinatory fantasy and an unforgiving reality. They
give a real sense of the terrifying physical and mental ordeal they face in
their struggle for life. Along with these visions, sound is also used to
heighten this harrowing mood, with exaggerated sounds of rain, footsteps,
gunshots and in one particularly disturbing sequence, the awful sound of mouths
chewing that echo like in a brutal nightmare…
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