French Bulletin: If you are given a linked paper, write across – a review of the film – Kino -theater.ru
French Bulletin: If you are given a linked paper, write across
On Russian screens – French Bulletin» Wes Anderson . In a difficult era of pandemia and post -truths, the director pays tribute to the newspaper men of the past and their inspired work. Of course, in the format of gigantic installation with all the stars of the world. Daria Tarasova He tells if Anderson brought to the graphomaniac impasse, and what the new director managed to demonstrate as part of a well -recognized style.
Once the son of a large media magnate Arthur Hovitzer Jr. (Bill Murray ), written off from The New Yorker, left Kansas to the French Annui-Sur-Blase and founded a division of the newspaper Liberty-French Herald there. On the pages of his issues, materials of the best journalists of the 20th century gathered – daredevils who, for the sake of professional duty, will pass fire and water, and then write about it – exciting and interesting, accessible and original, with fascinating details.
«French Bulletin – Love letter to reporters , compiled by the Wesanderson toy scribble – was probably a matter of time. Director Since childhood, he adored the printed press and read out just the New Yorker to the holes. Echoes of this love can be found in almost every film of it, where if not newspaper clippings, as in Grand Budapest and The island of dogs, Then full -fledged issues of periodicals in the hands of the characters, as inWater life, Reported the misadventures of the heroes or events in the world.
The format of the almanac, chosen by Anderson for the “French messenger”, also naturally looms from his infantile-megalomanian manners. UES is a nostalgic collector who selects for each work the most bizarre visual images of different eras, compulsively hiding them in the back of the frame and behind the backs of world stars. In the new film, the director neatly packaged Benisio del Toro , Edian Brody , Tilda Swinton , Ley Seyd , Francis McDormand , Timothy Shalame , Jeffrey Wright , Mathieu Amalric , Bill Murray , Boba Balaban And another dozen of eminent actors, whom you may not even notice, according to several novels and sketches from the life of a fictional edition. Each head of the stylistically differs somewhat from the other, and the plots are deployed on the basis of materials really written by journalists. These are stories: about the love of a psychopathic prisoner (del Toro), who discovered a talent for modern art, and his overseer (Seydu); about the barricades of student protests, consider, ruined by the same love (Shalama and Stotovschi); And about the unsuccessful kidnepping, where the child saved the desperate Japanese chef.
Despite the fact that the plots in their conception are interesting and typical of Anderson's well-considered buffoonery, the measure of the director's creativity has been not narrative, but visuality for quite a long time. It’s not for nothing that each of his paintings is taken away for picturesque posts with frames and artifacts for a video essay? And no matter how much the director himself likes to play in the ivory sandbox, it may seem that his filmography is gradually heading into a graphomaniac dead end, and Wes himself becomes a hostage of a polished, but too familiar style.
In the French Messenger the director is still true to himself: the wealth of the smallest retro details competes with a scattering of world-famous performers, the space of general plans is furnished with exquisitely funny interiors, the camera spans accompany the heroes rushing through the streets, and overhead sounds Alexandre Desplat . However, the director is also groping for others that have hitherto not constrained his framework. In the third novel, Anderson, who previously worked only with dolls, uses 2D animation for the first time in the style of the French-language comic strip bande dessinée. Such a transition, which does not seem to fit into the usual emasculated style, attracts more attention than the director probably expected. In the first and second novels, Wes finally allows himself to play with monochrome: scenes of student riots are shot predominantly in black and white and are reminiscent of the revolutionary May 1968 and the New Waves associated with that time, while a segment about art behind bars turns to color to reflect sensual experiences (due to) creativity.
In the creative method of Wes Anderson, it is customary to single out two facets of his talent: on the one hand, he is able to create such an artistic world that is pleasant and safe to return to, on the other hand, he builds this world like a real neurotic who becomes furious if something it is not in its place. The French Herald corresponds to the first point, but not quite to the second. Wes seems to be slowly looking for loopholes from his own designed exquisite captivity.
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