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All my heart beating
(De battre mon coeur s' est arrêté)
Jacques Audiard France 2005
With Romain Duris, Aure Atika, Emmanuelle Devos, Niels Arestrup, Jonathan Zaccai.

Metronome

Tom listens to electronic-pop while his hands move in rhythm with the natural frenzy of the studies of classical music, which is preparing for an audition.
Every sound becomes inaudible, the size is hushed: there is only the essence of music, one that grips you with no way out and always attracts you and pushes deeper into its vortex of fascinating seduction.
violent hands melt into sweet and smooth movements against those damn piano keys that allow a pianist to get in touch with the music, enchanted by that while you can not help but love to madness, by 'Another will be the object that cry a thousand times your anger to that scale in difficulty putting out your hand for that nuisance caused by excessive stress and study for that tendon under tension are aware soon betray you.
ALL beat of my heart creeps in the relationship between a person and the world, between a person and music, between music and the world: the infinite possibilities of interpersonal relations merge and articulate in the course of the story into a story peaceful evolution and meticulous, as the study of a rhapsody or a symphony. Constant and stubborn, the protagonist sees himself butting in and around the world that surrounds the opposites which keep alive the world, understanding the role inevitable but not resigned to his submission.
Tom lives by instinct, to touch, grasp his life to music, this is the one that accompanies the buttons crossings by car through the city of colored neon lights at night or in times that the cradle of study in which face to face with a score, tackles the past, present and future than relying on individual sentences to those individual breaths to disconnect the world around him to concentrate exclusively on the sound, technology, shape, style.
Virgil in the forest of arpeggios and chords in this case is a guide whose words unintelligible and peremptory give body and shape to the musical rigor, the iron discipline behind the performance, the determination that a critical eye may seem exhausting and which is really the only way to totally get in touch with the music: is therefore on the boards in China emphasized by gestures and looks that Tom rejoined the philosophy of the discipline of musicians, anyone who can close their eyes behind their eyes and find rows and rows of chrome and demisemiquavers and I can hear ringing in their ears melodies and accompaniments.
The human element is wound up on the thread of music, slap realistic universe dreamy and wonderful sounds of the cosmos: the daily drama, violence, brutality, represents the entire size of the gray-stained blood film of the occupations of buildings and evictions, loss of money, betrayal of friendships, theft, threats of revenge killings.
La sintesi del percorso del film di Audiard è insita in una delle sequenze visivamente più coinvolgenti: Tom, che come qualunque musicista si tiene lontano da tutto ciò che può danneggiare l’esecuzione, osserva le proprie mani ferite ed insanguinate.
La magia della musica si dovrebbe spegnere qui, nella “dissacrazione” delle mani di un pianista: ma non è così.
Si continua a suonare, si continua a viaggiare lungo gli infiniti e dolorosi binari della musica.
Come sempre è stato e sempre sarà.

Priscilla Caporro
www.spietati.it

rassegna Vita & Musica

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not covet your neighbor's wife
(Brode / Brothers) by Susanne Bier Denmark 2004

With Connie Nielsen, Ulrich Thomsen, Nicolaj Lie Kaas, Bent Mejding, Sarah Juel Werner.

This time the Italian translation of the title of a foreign film (Danish, winner of the Audience Award at Sundance 2005 and appreciated the San Sebastian Film Festival in 2004) sounds better than the original.
just a shame that, while stimulating the curiosity of the public, end up betraying the meaning of the work.
not covet your neighbor's wife (In the original "Brødre", literally "Brothers") is the common history (not in the banal sense of "that unites") Michael - career military man, preferred by his father, beautiful wife, two daughters, a new house - and Jannik, the second good for nothing, a conviction on his back, no good purpose in the drawer.
Written by Anders Thomas Jensen, but direct and "conceived" by Susanne Bier, this strong and sometimes violent strikes for the skill with which the director has managed to mix up the atrocities of war to the delicacy and the subtle nuances of ' human spirit, including love relationships.
The first character to be presented with all the features of his role, Michael (Ulrich Thomsen), the brother of "good" commanded to participate in a mission in Afghanistan with the troops of the United Nations.
Jannik (Nikolaj Lie Kaas), the bad, is just out of prison.
between the two brothers in the house's bad blood and the atmosphere is calm all things considered even if the father of two often manifested their disappointment with the minor child.
A table at the dinner preceding the departure of Michael, we talk about the value of war and military discipline. Jannik, whose positions do not agree with those of family, is to discuss with Sarah (Connie Nielsen), beautiful wife and perfect brother.

Then the start and the tragedy: the helicopter they were traveling Michael rushes. The man is given up for dead.
We follow his funeral and the family's response, we find that Jannik is not a monster, and that the beautiful Sarah also has her weaknesses.
same time Michael, who survived but was taken prisoner, is subjected to extreme tests that will change forever.
the old balances are skipped, canceled the certainties.
Then the return of the hero and the new terms with a reality that is constantly changing, affected by feelings, behaviors and moods, fragile, of the protagonists.
are actually the characters of the two brothers to be put under the magnifying glass by a director who proves once again (after the experience of dogma Open Hearts), attentive and capable.
"I find it fascinating," said Bier, "telling how the newspaper can be abruptly interrupted by random events, sometimes brutal, and how we can relate to them and the changes they cause."
The plot itself is not particularly original (and we can not delve more into the details without revealing aspects that would remove the suspense vision), but the characters are so well characterized that we are able to participate in their intense suffering, and eventually, as happens increasingly often, is to give value to the final film.
Ben wrote and starred in, moved by subtraction.
Emotions naturally.
How had the opportunity to tell the director: "My goal is to investigate the reality and find hints of hope, affirming the possibility of life over death. Because no matter how difficult it may be, one can not ignore the aspects of light and joyful life: it is this ability that makes us human. "
The use of hand-held camera, often differently from abuse ingiustificato a cui si assiste in questi ultimi anni, accompagna e sostiene sia i momenti tragici che quelli più delicati.
La buona riuscita del film è dovuta anche all'interpretazione dei due affermati attori danesi Ulrich Thomsen e Nikolaj Lie Kaas, apprezzati anche come attori teatrali; accanto a loro, al suo primo film nella terra patria e nella lingua natia dopo le avventure hollywoodiane (la Lucilla de Il Gladiatore e il Capitano Osborne di Basic), un'affascinante Connie Nielsen, che deve abbandonare le pose statuarie per affrontare toni più drammatici.

Claudia Russo
www.offscreen.it

rassegna Mimosa Forever