[ ดูREVIEWทั้งหมด ]

 
       
     
 
   
 
 

The Inner Scar (1972)

(บรรยายไม่จำเป็น)

 
   

Directer:Philippe Garrel   Producer:Sylvina Boissonnas, Philippe Garrel  

Writter:Philippe Garrel, Nico  Music:Nico  Cinematography:Michel Fournier  

Editor:Philippe Garrel  Running time:60 min   Country:France 

Language:French German English Genre:Drama Fantasy Music Poetry Circular Traveling Surrealism  Subtitle: No need to translate
Starring:
Nico ... The Woman, Philippe Garrel ... Man / Devil,
Ari Boulogne ... Child / LittleBrother (as Christian Aaron Boulogne),
Daniel Pommereulle ... Sheperd, Pierre Clémenti ... Horseman / Archer,
Balthazar Clémenti ... Baby, Jean-Pierre Kalfon ... Fire-keeper / King

 

   


 



A collage of dreams. Garrel made a name for himself with this film as a new Jean Vigo. With Nico (Velvet Underground).

A poetic and painterly film that has been described as ‘a collage of dreams’. The film was shot without a script, but Garrel had already thought up the eventual title (‘the scar inside’). This title was an obsession for him, every shot had to be an expression of ‘the scar inside’. Apart from Garrel himself and actor Pierre Clémenti, Garrel’s former partner Nico, member of the legendary Velvet Underground, played a role in the film. Another important role was for the landscape. Garrel, 23 when he made the film, was compared with Jean Vigo because of his age and talent. La cicatrice intérieure even led Claude Mauriac to call him the Rimbaud of film. –IFFR

 


 

Among the very few new talents in the New York Film Festival, the young Frenchman Phillipe Garrel is on several counts the newest. An avant-garde filmmaker who began directing movies while still in his teens, he was only 22 in 1970, when he made "Inner Scar," which played last night in Alice Tully Hall.

"Inner Scar" features Pierre Clementi (nude) and the Andy Warhol superstar Nico (dressed in a loose robe) and a few others, including Phillippe Garrel. Clementi speaks French; Nico sometimes complains in English and sometimes declaims in German verse, and sometimes sings for musical background on the soundtrack. There are no subtitles.

The people, never more than two at a time, move through a variety of landscapes from glacial to nearly tropical—but that are always, in some manner, desert. The people may walk or run or ride a horse, or drive a flock of sheep or even sail a little boat—but almost always they are in movement. At some level I suspect there is a story in which Clementi, carrying bow and arrows and wielding a sword, comes as king or savior or avenging angel to Nico in the wilderness, and then disappears without satisfying her complaint. But the story is very obscure.

Much of the time the landscape seems reduced—even self-consciously reduced—to the four elements of earth, air, fire and water. It conveys the feeling of a space unreal in the way, say, that the landscape of the Krazy Kat comic strip was unreal. And as if it were in a comic strip or cartoon, the landscape supports images and gestures of great stylishness and wit.

"Inner Scar" is sometimes very funny, and it is a humor—usually concerning the indignities suffered by an unhappy Nico spurned — that grows out of, and depends upon, the incongruity of human finiteness seen against the vast perspectives of the film''s natural world.

In such stark, unyielding simplicity there is surely a good deal of pretension. But I think there is also some achievement, and irony, and an implicit appreciation of the ridiculousness of sticking a couple of people out in the middle of nowhere (in fact, several strange locations, including Iceland) to perform symbolic drama.

Compared with the desert journeys of Alexandro Jodorowsky—"Fando and Lis," "El Topo" — "Inner Scar" seems downright civilized. Not a movie you can exactly warm up to, and no startling breakthrough in screen art either—but a very interesting and restrained experiment in visual rhetoric, in minimal gesture, in setting some highly abstract patterns of human behavior in the midst of a curiously agreeable wilderness.
 


 

This is a highly experimental French film consisting of no more than 23 camera shots, total. It resembles nothing so much as one of Warhol''s earlier films, except that it is more episodic. Nico of the Velvet Underground portrays a different woman in each of the episodes. The first three concern her "rescues" from Death Valley, Egypt and Iceland by a young man to whom she eventually says "stay away from me." Following that, she recites from various texts in German, French and English, makes various gnomic observations and encounters various men in various guises. All the men are played either by director Philippe Garrel or Pierre Clementi.
 



Movie Review from the ''THE ART OF SEEING WITH ONE''S OWN EYES''

La Cicatrice interieure may very well be the most arresting avant-garde film I have ever seen. I''ve encountered many great ones before, including Michael Snow''s Wavelength (1967), Chantal Akerman''s Jeanne Dielman (1975), and many of Brakhage''s films, but never something that made me so aware (and, by turns, happy) that I was watching a film.

The other two Garrels I''ve seen, 1968''s La revelateur and 2005''s Regular Lovers, each have their own poetic essence, with the latter possibly being my favorite of his. But there''s something altogether unnerving about a film like La Cicatrice interieure, whose 60-minute length seems to encompass so much.

In essence, the film is like Satantango (1994), Gerry (2002), and the Brown Bunny (2003) in its portrayal of space and time, but Garrel''s work (a tremendous influence on all these films) is more gorgeous and hypnotic, perhaps because of how completely it embraces the, I don''t want to say pretension, but materialism of a landscape film.

Knowing very little about the film before watching it, I was shocked to see Nico in it. As it turns out, she was one of Garrel''s major collaborators in the stage of his career immediately following La Cicatrice interieure. Not only is she the emotional driving force of the film--delivering a performance that is both captivating and frightening--but her enigmatic and utterly amazing songs adorn the photography of the film.

In as much as can be reduced (though I don''t really want to spend a lot of time breaking this film down), La Cicatrice interieure seems to be a work about life. Garrel approaches the subject from an elemental point of view, shooting his film in long takes of people walking, without any deceitful editing. The viewer sits there, calm, fully aware of what''s to happen in the next few minutes, with little to no surprises coming. This, to some, may seem like a harsh way to spend an hour, but it''s really quite exciting and calming. Garrel is exploring what is beyond our physical experience, but the irony is how he does it in the most material and aesthetically-restricted form.

If the screams Nico howls in this film mean anything (and I''m not sure that they do), it has to do with something close to Garrel''s title, a scar, an inner trouble. This, Garrel suggests, is what keeps us human, whether we like it or not.

Without a doubt, La Cicatrice interieure is an unforgettable experience.
 


 

 

คลิกดูรีวิว ผลงานการแสดงเรื่องอื่นๆของ

Pierre Clémenti 

 

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คลิกดูรีวิว ผลงานการแสดงเรื่องอื่นๆของ

Louis Garrel (คนลูก)

 

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