Visualizzazione post con etichetta Georges Delerue. Mostra tutti i post
Visualizzazione post con etichetta Georges Delerue. Mostra tutti i post

martedì 21 ottobre 2014

Come se fosse ieri

Il 21 Ottobre 1984, a Parigi, era una domenica fredda e piovosa.
Non c'ero, ma l'ho letto tante volte. Era una giornata grigia e triste, la più triste di tutte, in effetti, perché era il giorno della morte di François Truffaut.
Trent'anni sono un tempo lunghissimo, per qualcuno che se n'è andato.
Eppure sembra essere ieri, nel caso di Truffaut.
I suoi film, la sua poetica, le sue passioni, tutto è ancora così presente, la sua influenza è tale, ancora oggi, sul cinema, che sembra quasi non se ne sia mai andato. 
Ogni anno, in questo giorno, cerco di andarlo a trovare al cimitero di Montmarte (10 minuti a piedi da casa mia, no, per dire, a volte, i posti in cui ci si ritrova a vivere).
Oggi, più di ogni altro anno, volevo andarci. 
Ma i casi della vita hanno voluto che fossi in viaggio e che tornassi a casa solo a metà pomeriggio.
Alle quattro, ho telefonato al cimitero, perché non ricordavo a che ora chiudesse.
Mi ha risposto un signore dalla voce gentile, in sottofondo si sentiva una campanella che squillava senza sosta: "Il cimitero di solito chiude alle 18, ma oggi purtroppo stiamo già chiudendo". Io, incredula: "Come sarebbe state già chiudendo? Per quale motivo?".
"C'è un allarme tempesta, e il comune ci fa chiudere prima..."
"No, ma non è possibile. E non riaprite più?"
Silenzio perplesso, dall'altra parte della cornetta.
"No, signorina, non riapriamo più".
Mi sono immaginata la tomba nera di Truffaut sotto la pioggia, la scritta 1932-1984 lucidata dalle gocce, gli alberi ondeggianti al vento riflessi nel marmo scuro. E nessuno intorno. 
Ho avuto un momento di panico, di tristezza infinita.
Mi sarei quasi precipitata fuori nella speranza di riuscire a trovare ancora il cancello aperto.
Ma poi ho alzato gli occhi e ho visto la faccia di Truffaut sul poster della sua mostra alla Cinémathèque (l'ho appeso alla porta di casa), quella in cui ride tenendo le dita sulle orecchie.
Non ho potuto fare a meno di ridere anch'io.
Ma guarda in che stato sono per colpa tua, François! Ma si può?
La risposta è sì, si può. 
Perché mi manca. 
Mi mancherà sempre.

Effetto Notte by Zazie from Zazie from Paris on Vimeo.

Questo video l'avevo preparato per il 25° anniversario della morte di Truffaut, ma ho pensato di riproporlo perché ci sono molto affezionata: è un mio personale omaggio alla scena in cui il regista Ferrand ne La Nuit Américaine tira fuori da una scatola dei libri sul cinema, che poi erano quelli amati da Truffaut nella vita, con in sottofondo la musica di Georges Delerue. 
Un effetto notte versione Zazie, insomma. Spero vi piaccia, cari lettori!

lunedì 15 luglio 2013

Frances Ha

I am crazy about movies quoting other movies.
Because I feel the joy of having found soul mates, people who go through their lives constantly thinking about cinema, talking about cinema, making cinema referring to other cinema. Basically, cinema freaks like me, who can’t conceive life without the filter of movies.
When I watch films made by people like this, I feel like they’re telling me: Hey you, welcome home!
It doesn’t happen every day, but it does happen.
It is something I have constantly felt looking at the last Noah Baumbach’s movie, Frances Ha, written by him and by the main actress of the film, Greta Gerwig

The two, who already worked together in the previous Baumbach's movie, Greenberg,
are now a couple à la ville.
Sophie (Mickey Sumner) and Frances (Greta Gerwig)
Frances Ha tells the story of Frances, a 27 years old girl who lives in Brooklyn together with her best friend, Sophie. While Sophie works for a publishing house, Frances has a precarious job: she is an apprentice dancer who dreams to integrate a dancing company but always fails at it. When Sophie announces to her that she is moving to Manhattan with another friend, Frances's world starts progressively to collapse. She looses the apartment, the job and, after a monumental fight, also her best friend. It will take time, to Frances, to put together all the pieces that will bring her to become Frances Ha.
New York filmed in black and white: it is so Manhattanesque that you almost believe to have heard a Gershwin music somewhere, but instead, quite surprisingly, what you really hear is a piece called “L’école Buissonière” by Jean Constantin, taken from Les 400 Coups by François Truffaut. The whole music, as a matter of fact, is taken from Nouvelle Vague films, with a prominent presence of Georges Delerue and a hint of Antoine Duhamel
I have prevented you: this is home.
It is home to the point that, when Frances starts walking/dancing on the streets of New York on Modern Love by David Bowie, the image of Denis Lavant in Mauvais Sang by Leos Carax naturally arises, overlapping the one on the screen. 

Modern Love - Baumbach Version
Modern Love - Carax Version
And how is it possible not to think about Samy Frey, Claude Brasseur and Anna Karina in Bande à Part by Jean-Luc Godard when Frances is sharing the apartment together with Lev and Benji? Nobody will be surprised if these three would start running together in the corridors of the MET…
Bande à part - Baumbach Version
Bande à part - Godard Version
... and, of course, during her short trip to Paris, somebody wants to invite Frances to a party where there is a guy "Who looks like Jean-Pierre Léaud!"
Thus said, Frances Ha is not a good movie because of its hommages to the Nouvelle Vague universe. You can (of course!) see the movie completely unaware of them and enjoy it immensely. Frances character is super interesting: captured in one of those weird moments of life where adulthood should be installed but in fact is not already there, this young woman invades the screen with her clumsy gestures, her free-flowing monologues, her disarming need to be loved and to find her place in the world. Slightly irritating at first, gripping while struggling to survive among many difficulties, absolutely charming in her candid attempts to assert herself. The moment where, completely drunk, she explains what a relationship should be for her, is a little masterpiece, and Gerwig is astonishing in this made-to-measure role.
But be careful: this is not a rom com or a chick flick, this is a modern movie about a young woman whose first need is not to find a man but to find herself. 
Undatable, as her friend Benji keeps describing her? 
Maybe, but also very irresistible!


lunedì 22 febbraio 2010

Fantastic Mr. Fox

 
 Having a soft spot for Wes Anderson, I was ready to love his new movie Fantastic Mr. Fox, but I wasn’t prepared to adore it.

Based upon a children novel by English writer Roald Dahl (the very first book that Anderson received as a gift when he was 7 years old), the movie has been made in a very sophisticated yet very sweet stop-motion animated technique. 

Mr. Fox, his wife Felicity and their son Ash live a decent life in a decent hole but Mr. Fox, who promised to his wife two years earlier to give up stealing poultry as a job, is dreaming big dreams and he decides (against his lawyer’s advise) to buy a new home inside a lovely tree.
Once settled down, Mr. Fox (now a journalist) is unable to resist to the temptation of stealing from his new neighbours, the awful farmers Boggis, Bunce and Bean. Helped by his friend, the opossum Kylie, and by the sweet and smart Kristofferson (Mr. Fox’s nephew), they managed to steal many products from the three bad guys, but then they have to face their terrible revenge. To escape from it, Mr. Fox and his family dig a deep tunnel under the three farms, finding a bunch of other animals whose houses have been destroyed by the fury of Boggis, Bunce and Bean. After many adventures (more stealing, a flooding, a starvation problem, and various attacks), Mr. Fox and his friends will be able to outflank the enemies and be happy again (with great news coming along…).
I’ve always loved obsessive filmmakers.
Artists that, no matter how many movies their career is made of, will always talk about the same few things.
Let’s say no more than three themes per film, and Anderson is definitely one of them.
What he has created, film after film (6 in total), is a very personal world, parallel to the real one, where you can recognise the same characters, the same kind of situations, the same sense of humour, the same difficulties to face, the same happiness to look for. The fact that Anderson often uses the same actors to play in his movies just magnifies this sensation: Jason Schwartzman, the Wilson brothers, Bill Murray and Anjelica Huston, to name few of them, are part of the Anderson family. The filmmaker even writes his stories with the same people, especially with his friends Noah Baumbach and Owen Wilson.
In his cinema, the complexity of family's ties is central. As well as the difficulties of growing up. Very often, there is a character that feels at odd with the rest of humanity: usually a hyper-sensitive, hyper-intelligent, not very sporty, totally nerd, funny and romantic guy who is in trouble to find his place into his family and into the real world (my favourite one is still Max Fischer from Rushmore, but little Ash from Fantastic Mr. Fox is another good example of it).
In this last movie, it is incredible to see how much andersonian looks the world imagined by Dahl.
 
 And somehow, having animated puppets instead of human beings, gives to Anderson's world a deeper resonance, a lighter breath and a heightened sensibility. For sure, the "voices" chosen were pivotal in creating these great effects: George Clooney as Mr. Fox, Meryl Streep as Mrs. Fox, Jason Schwartzman as Ash, Willem Dafoe as Rat, Bill Murray as Badger... they're all more than perfect, but the little miracle here is the adorable Kristofferson's voice (courtesy of Wes Anderson's younger brother, Eric).
A last word about the music, that in Anderson's cinema always plays a very important role and it is amazingly used.
In Fantastic Mr. Fox, I was happily surprised by a song written and performed by Jarvis Cocker (now that I think about it, he is SO perfect for Anderson's universe!) but even more delighted to hear a couple of scores by Georges Delerue taken from two different Truffaut’s movies: Les Deux Anglaises et le Continent and La Nuit Américaine.
This last one is actually the same used by Zazie for her tribute to Truffaut in one of her first posts for this blog.
Well, Mr. Anderson, it looks like we have faith in the same God...

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