è una solitudine pesante la sua, parla con qualcuno che non c'è, riceve la visita, dopo molto tempo, di un figlio che ha bisogno in un nascondiglio per i suoi soldi (sporchi?), fa credere di essere una donna importante, viene a casa il marito, dopo anni (è un sogno?), litiga con la vicina, che la minaccia, insomma non è una bella vita.
il film, in bianco e nero, è ambientato nella periferia di Manchester, dove i btutti sporchi e cattivi abbondano.
se vuoi ridere, questo non è un film per te, ma se vuoi conoscere una grande attrice il film (un gioiellino sconosciuto ai più) ti aspetta.
buona visione - Ismaele
…La réussite de “The Whisperers” doit
beaucoup à l’incroyable prestation d’Edith Evans, impressionnante et touchante
dans le rôle de cette vieille femme qui se créé un monde rien qu’à elle pour
échapper à une dure réalité. Sa prestation lui a d’ailleurs valu un Bafta, un
golden globe, un ours d’argent à Berlin, et sa troisième nomination aux Oscars
(pour la première fois pour un rôle principal).
La banlieue de Manchester des années 60,
vérolée de terrains vagues est un cadre parfait pour ce drame. La très belle
photo de Gerry Turpin et la superbe musique de John Barry font le reste. “The
Whisperers” dégage une véritable ambiance.
…For years we have been brainwashed into expecting
"significance" and "a story" every time we go to the
movies. Only occasionally does a director reject conventional plots and
melodramatic adventures in order to give us all of the depth of common human
life. Satyajit Ray's splendid "The Big City," which closed at the Hyde Park after
only a week's run, was such a film. "The Whisperers" could have been
another.
Still, it is well worth seeing exactly as it is because of the superb
performance by Dame Edith. She is a beautiful woman and a great actress. Eric Portman plays her husband, reunited with her
after a long separation, and brings a delicate mixture of pride, anger and
diffidence to their marriage relationship.
I wish Forbes had been content simply to work out the conflicts
between those two people and the daily threats of poverty and old age. Instead,
he inserted some cops and robbers. They serve the purpose of bringing the old
lady briefly into the outside world. But at the end of the film, abandoned once
again by her husband, she is still peeking into corners and whispering,
"Are you there?" And those private fears are really what the film is
about.
… What distinguishes The
Whisperers from many archetypal cinematic representations of ageing
is the utter refusal of an emotional outlet for the character’s central
predicament and consequently, for the audience. The story features no
companionship as in Harold and Maude (Hal Ashby, 1971)
and The Sunshine Boys (Herbert Ross, 1975); no heroism such
as in Ikuru (Akira Kurosawa, 1952) or Gran
Torino (Clint Eastwood, 2008); and no discernible emotional or
physical journey such as in Wild Strawberries (Ingmar
Bergman, 1957) or The Straight Story (David Lynch, 1999).
Even in a punishingly melancholy film like Amour (Michael
Haneke, 2012) which depicts two birds in a cage growing old, while outside the
cage is a wasteland, at least the birds have each other. In The
Whisperers, when the government blackmails Mrs Ross’s husband into
moving back in with her, he accepts purely on financial grounds, using her
meagre funds to sleep with prostitutes. Their marital interaction, beyond one
or two banalities about money, is completely void. On one occasion he climbs
into bed with her, saying, icily: “are you awake?….never mind, you’ve got
nothing I want”…
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