The short movie was made specifically for a contest experimental film made in 1965. The filmmaker was attended by Juan Rulfo in the script and the poet Jaime Sabines in the narrative.
plot is actually a complex, eclectic and surreal which is a bit difficult to keep pace with time. The essence, Gamez argues, is a warning of the impending ambush of U.S. imperialism. To reflect that uses all kinds of visual metaphors and seemingly outlandish events. The film contains several plot lines, but the constant seems to be the confrontation between the customs (the typical, entrenched or conservative) and the emerging modern, imported and imposed, in the sixties.
The images that accompany the narration of Sabines are a true reflection of the unsettling and disturbing prose Rulfo. More than any of the versions of "Pedro Páramo", "secret formula" transcribed to its full potential gloomy and languid images of claims places recreated by the great writer from Jalisco. These sites appear as a desert, alone and forgotten (haunted by miserable beings, who walk in the depths of despair.) Is a clear allusion to the impoverishment and neglect of the countryside, migration, urbanization, the remoteness of the years rustic, something indefinable. Rulfo expressed in his story "Luvina"
"From whatever side you look at it. Luvina is a very sad place. You going to there will notice. I would say is the nesting place of sadness. Where there is no known smile, as if all the people he had brought his face. And you, if you can see the sadness when you want. The air that blows there's stirring, but never takes it. Is there or was born there. And until you can taste and feel, because one is always on top, pressed against one, and because it is oppressive and a large poultice on the living flesh of the heart. "
And this constant also occurs in approximately 40 minutes of tape. Images and arguments very sad, pessimistic and reluctant to change.
I think the movie is somewhat dialectic. Its implementation is obviously dreaming, (suggesting too many things through resources from the subconscious), but is also supported by the current exhibition of ordinary people using the street as theater and represents their daily activities. Work is ambivalent, first obviously has a surreal concept, but his characterization is so realistic as the people who every day are in the streets, plazas or butchers.
No doubt the film is faithful to its goal. It is clearly the product of a young director, openly, eager to experience and no desire to please anyone but himself. However, no stranger to his time and it was a transition period, a stage where people are torn between modernity and archaism, Gamez chose the latter and he never fails to transmit its images. Chose to be innovative to defend a cause rather stale.
plot is actually a complex, eclectic and surreal which is a bit difficult to keep pace with time. The essence, Gamez argues, is a warning of the impending ambush of U.S. imperialism. To reflect that uses all kinds of visual metaphors and seemingly outlandish events. The film contains several plot lines, but the constant seems to be the confrontation between the customs (the typical, entrenched or conservative) and the emerging modern, imported and imposed, in the sixties.
The images that accompany the narration of Sabines are a true reflection of the unsettling and disturbing prose Rulfo. More than any of the versions of "Pedro Páramo", "secret formula" transcribed to its full potential gloomy and languid images of claims places recreated by the great writer from Jalisco. These sites appear as a desert, alone and forgotten (haunted by miserable beings, who walk in the depths of despair.) Is a clear allusion to the impoverishment and neglect of the countryside, migration, urbanization, the remoteness of the years rustic, something indefinable. Rulfo expressed in his story "Luvina"
"From whatever side you look at it. Luvina is a very sad place. You going to there will notice. I would say is the nesting place of sadness. Where there is no known smile, as if all the people he had brought his face. And you, if you can see the sadness when you want. The air that blows there's stirring, but never takes it. Is there or was born there. And until you can taste and feel, because one is always on top, pressed against one, and because it is oppressive and a large poultice on the living flesh of the heart. "
And this constant also occurs in approximately 40 minutes of tape. Images and arguments very sad, pessimistic and reluctant to change.
I think the movie is somewhat dialectic. Its implementation is obviously dreaming, (suggesting too many things through resources from the subconscious), but is also supported by the current exhibition of ordinary people using the street as theater and represents their daily activities. Work is ambivalent, first obviously has a surreal concept, but his characterization is so realistic as the people who every day are in the streets, plazas or butchers.
No doubt the film is faithful to its goal. It is clearly the product of a young director, openly, eager to experience and no desire to please anyone but himself. However, no stranger to his time and it was a transition period, a stage where people are torn between modernity and archaism, Gamez chose the latter and he never fails to transmit its images. Chose to be innovative to defend a cause rather stale.
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