c'è un mondo dentro il film, che Wojciech Has dirige da fuoriclasse, e lo è senza dubbio.
uno di quei film difficili da raccontare, da vedere più di una volta per iniziare a capire qualcosa, ma lo sforzo sarà pienamente ricompensato.
certo che capire di sogni e psicoanalisi aiuta non poco, e comunque è una festa per gli occhi e per la mente.
da cercare, trovare e non perdere più, siamo ai piani alti del Cinema - Ismaele
QUI
il film completo con sottotitoli in spagnolo
…Un joyau
qui s’inscrit dans l’unicité. Placé sous le signe du morbide, le film de
Wojciech Has nous renvoie à notre mortalité avec une mélancolie douloureuse et
absolument bouleversante, soulignée par une musique somptueuse, malheureusement
indisponible en CD. Les affiches cinéma polonaise et française, signées par
l’un des maîtres de l’illustration polonaise, Starowieyski, donnent un bel
aperçu de ce que ce long métrage peut offrir aux spectateurs qui ne redoutent
pas l’hermétisme. Les adeptes de Béla Tarr ou d’Andrei
Tarkovski apprécieront. On retrouve chez ces trois auteurs des
réflexions métaphysiques servies par des réalisations virtuoses où les décors
et l’esthétisme participent à la même émotion intellectuelle. Si Tarkovski est
toujours à la mode et le talent de Béla Tarr enfin reconnu, il est désolant de
constater que Wojcieh Has, qui fut peu actif après La clespydre, jusqu’à sa mort à la fin des années 90, soit aussi méconnu
du public contemporain français pourtant généreux et curieux…
…In the sanitarium, Joseph finds that Dr. Gotard is
maintaining his father's life signs by slowing down time. In fact, here time
has come to a full stop and has started to travel backward. Thus, Joseph is
able to revisit his youth in a Hasidic village. Not only are his old friends
and family there, but so are the Three Wise Men with advice on buying on
credit, as well as some samba-dancing, saber-wielding Haitian soldiers from his
boyhood fantasies.
Eventually, Joseph returns through
the corridors of time to the pedestrian present and crawls into bed with his
ailing father, who complains that his son has not visited him sooner. Childhood
memories fade as Joseph tumbles back through the Slavic looking glass to take
back the responsibility of middle age.
An exploration of immortality,
memory and the functions of psychoanalysis, "The Sandglass" pours out
its grains of wisdom in a deluge of ambiguity. Not for clock-watchers or fans
of quick pace or plot.
Our protagonist is on a train to go visit his sick
father. Apart from that very little of the plot can be known for certain. Time
is treated in a wild manner, where the past is visited and jumped through with
little more than a masked scene transition. We are inside our protagonist’s
memories, as people, moments, and historical events from his life return to
entice and haunt him. The subtext points towards the Holocaust, but there seems
to be more than that going on in this often traumatic, personal, surreal
adventure. Sexualised, voluptuous females bare their flesh with abundant and
bountiful cleavage. Nature intrudes into the buildings as vines wrap around the
walls and water drips continuously in the background. The cinematography is
atmospheric with its soft, dreamlike tracking shots and layered framing. The
soundtrack beats and shrieks, adding to the disorientation and uneasiness of
the fragmented narrative. It is almost Felliniesque in the way that characters
come and go and dreams and reality mix together whimsically.
The greatest glory of The Hour-Glass Sanatorium is the set design and use of
locations. The sets are complex, beautifully constructed and endlessly
detailed. They create an expansive, distinctive world that is rich with both
the beautiful and the decrepit. Subtle use of unnatural colour lavishes each wonderful
location. Characters have self-reflexive discussions about the nature of time
and memory, and the film has a strange obsession with birds. We are asked to
ponder just what is real and what is fake, and if it really matters in the
context of past events. There are mystical, playful scenes, such as a mannequin
tea-party, although that quickly turns eerie and frightening. There is a
strange sense of humour throughout the film, even as the tone shifts more
towards horror as danger sets in around our protagonist and his paranoia grows.
Everything is highly poetic, metaphoric and decorative. It is easy to get lost
in such an imaginative, surreal, deeply textured film, with an exceptionally
powerful, visually epic ending.
da
qui
Grandissimo rispolvero, Ismaele! L'avevo visto anni fa e hai ragione, è stata una vera "festa per gli occhi". Complesso, d'altronde scoperto grazie a quelli di nocturno, nel dossier sul cinema surrealista. Da rivedere assolutamente, ma con i sub ita, rilasciati da quei benefattori di asianworld:
RispondiEliminahttp://www.asianworld.it/forum/index.php?showtopic=8995
infatti erano quelli i sottotitoli.
RispondiEliminaun grande viaggio nel tempo interiore.
c'è tanto grande cinema polacco da scoprire e riscoprire, nelle sale non arriva niente, meno male che c'è la rete