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WARNING
THIS
REVIEW AND MOVIE
CONTAINS FULL FRONTAL NUDITY
and STRONG SEXUAL CONTENT
VIEWER DISCRETION IS ADVISED
บทความและภาพยนตร์นี้
สำหรับผู้ใหญ่เท่านั้น
โปรดใช้วิจารณญาณ
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Un chant d''amour (1950)
(หนังเงียบ)
Adult
Only
Directer:
Jean Genet
Writter:
Jean Genet
Running time: 26
min
Country: France
Language:
Silent
Genre:Romance Short
Fantasy
Subtitle:
No need to translate
Starring:
Java, Coco Le
Martiniquais and Lucien Sénémaud
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ใครจะคิดว่าต้นยุค50
จะทำหนังเงียบที่เฮี้ยน และแรงสสส์ขนาดนี้ ผมกำลังพูดถึง
Un chant d''amour (1950)
หรือ
A love song
หนังเกย์ติสแตกจากฝรั่งเศส ว่าด้วยเรื่องของนักโทษในคุก
Two prisoners in complete isolation, separated by the
thick brick walls, and desperately in need of human
contact, devise a most unusual kind of communication.
User Reviews
Overpowering, sordid, beautiful.
UN CHANT d''AMOUR is a remarkable short: sordid, brutal,
provocative; yet as poetic and lyrical as its title
suggests. Although not as rich and beguiling as
Fassbinder''s QUERELLE, and despite its claustrophobic
lack of humour, the film lacks the prolixity that often
mars Genet''s most famous literary works.
Indeed, there are no words in this film at all, or
music, or any kind of sound. Just complete silence. This
is thematically vital: set in a prison, with inmates in
solitary cells, the film explores the idea of the voice
- who has the power to speak, and hence represent
themselves, in our society. The film begins with the
figure symbolic of this power in society - authority -
in this case a police warden. Robbed of a voice, he is
reduced to the role of a voyeur, becoming OUR
representative. The complicity between authority and
criminality is a favourite Genet theme. As the audience
for this kind of film is predominantly middle-class, it
is the warden who sees for us an underworld we would
normally run a mile from.
We see frustrated prisoners, trying to communicate: by
passing flowers through barred windows; knocking on
walls; through special code; or, in the film''s most
exquisite and arousing sequence, through a shared
smoking between a hole in the wall. The film is a
melodrama, literalising what Nicholas Ray made
figurative - imprisonment and repression. The film,
inevitably, honestly, ends as it began, with one
crucial, perhaps hopeful, difference. Some men get
relief from this intolerable situation through
masturbation, others by mad erotic breakdancing. There
are scenes which escape this hell into a kind of
pastoral arcadia, where two men find happiness amidst
sunny verdure. It is difficult to tell whether this
sequence is a flashback, flashforward, or merely a dream
(the whole thing could be the warden''s fantasy), but it
too eventually ends in brutality and death.
All this is shown to us from the viewpoint of the
warden. His gaze, though, is explicitly fetishised - he
is made complicit in what he sees. This is literalised
when his arousal becomes unbearable, and he begins
whipping a prisoner. The phrase ''climax of the movie''
begins to take on more than one meaning.
The inmates themselves are subject to explicit fetishism
- being reduced to a series of torsos, limbs, hands,
members. Normally in cinema, this kind of spectacle is
visited on beautiful women for the delectation of the
male viewer. Here the male prisoners are treated to huge
close-ups and soft lighting, like the greatest Hollywood
starlet, a profoundly subversive gesture. Years before
cultural studies, masculinity is systematically shown to
a performance, a process of becoming.
The film is bookended with childlike Cocteauesque
credits on a blackboard, as if by laying squalor and
sexuality so bare and unflinchingly, Genet hopes to
return us to a kind of innocence, a new way of seeing.
Photos:
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