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The end of innocence
remember when I was a child I had a friend very rare. But I do not really want to do a review talking about it to talk to me. So I tell you another thing of my childhood. From age 9 I am fan of Swedish cinema. And it was all because of a cycle that put the second string (the 2 is a lack of respect, a familiarity that neither your aunt) got me hooked on a movie that I thought he was talking about me. It was in 1975 (the year I came to birth) and was named Jonah, who turns 25 in the year 2000 (Jonas qui aura 25 ans en l'an 2000). Then it was discovered that the Swedish film series was really freaked me Swiss film, the director of that film which was Alain Tanner then I saw a movie infumable Fernando Trueba and even named his son Jonah (also born in 75) and this is now dedicated to blogging is a pain. The end of innocence, folks. What I was saying.
why. No, I'm not sure this criticism with a "why" because then I feel guilty of being a critic predictable. As I said earlier, the Swedish film would mark my childhood until I saw a Bergman film and I thought of the Swiss Army knives. I was a kid suicidal poet 15 years and as my friend went to a strange hidden place I wanted to go to another neighborhood. But then they put one of Sjostrom and I realized that the problem is the air they breathe. I already got addicted and I stopped being a kid and suicide. The principle of guilt, my friends. Already said my grandmother while smoking.
why (now I) back to my friend in a Swedish movie is like the innocence again let into my reality with lawyers. And it is because the directorial debut of Thomas Alfredson is one of those rare reasons why a return to reunite with primitive values \u200b\u200b(cinematically writing) that gradually have been forgotten somewhere remote. Let me get a piece of jewelry, flashing and sober, cold as humans, hot as the blood of animals. Natural. Original as the first bite. Soft as the memories. Frugal World Cup and summer 86. Tight as that room that we could never enter. Novice. Hard as the stone that broke all the windows.
is the rediscovery of core values \u200b\u200bwhen the film had no dialogue that would cause background noise (and shape). Although the dialogue he has is very good (eg "I have 12 years but for too long") and have nothing to do with the film of the Lie which is the most abominable English cinema. It has more to do with the power of suggestion, with the humility to understand that not every field is what our eyes see (nor oregano) and sometimes more effective to give a reed a kilo of anchovies. The scene of the pool and I have ordered me to the end of the year as plausible planning example studied in any school worthy of the name. I guess it's handiest (and easier to teach) Wandering in depth of field: Liverpool without Xabi Alonso, game viewing in shadows or impossible schedule and their synergies. Luckily
studied philology. Is that why I love literature and language, drama, poetry and drinking sun while talking to friends. So when I talk about movies I like to talk about literature, theater, poetry, light, shadow, friends and, above all, language. Talking is like eating food. Alfredson is the work of syntax and semantics, a terrible story about the punctuation of our fears and memories, the autopsy, made in life, a genre and its ramifications, the elimination of borders, no wars, no statutes, including codes that are really key to enter another dimension differences (dissenting) to the usual. Alfredson
not entertaining watching the trees. Includes forest. His performance is elegant, lively, without fanfare or critical narrative platitudes. Even using a topic as thorny as that of bullying is determined by respect for cinematic logic. Bullying is not an issue but a consequence and it shows in every scene in which on-screen bullies explicitly or not. The resolution of aggression in the snow plays perfectly with this concept, using elements of comedy (this crime is usually always based on the comic, since the completion of the joke to public ridicule on the Internet) to enforce the protagonist's temporary revenge . What happens is that humor is a chameleon who hides and turns in the snow like other mine turned into salt life or in the desert in Lawrence of Arabia.
innocence ends with the first contract. Do not leave at all but try to do it constantly. When you are guilty it is not, which is important. Innocence always circular currents traveling through time. And in this case, inter-train in compartments where you could still smoke. The beginning is the end as in the Sunset Boulevard (Sunset Boulevard Billy Wilder, 1950). The end is the beginning as the first League of Pep Guardiola.
