Le Clan, Three Dancing Slaves (2004)

Le Clan, Three Dancing Slaves

U zadnje vrijeme, bas i nemam vremana za pisanje bloga, a kako stvari stoje do septembra ga i neću imati mnogo. Al eto potrudicu se da ipak napišem ponešto o nekom filmu. Linkove za filmove koje nađem će te naći na sajtu. Updajtujem ga na dva servera tako da uvjek jedan radi. Naravno sve je na engleskom. Jednom ili dva puta sedmično ću ga osvežavati sa filmovima koje nađem po netu.
Ovaj film sam gledao prošle godine. pregledao sam ga na preskoke i nije mi se dopao nešto posebno. Danas sam ga pogledao ponovo i odlućio da ga ipak stavim na blog.
Film mi je nekako čudan, nema neku posebno dobru priču, a opet je vrlo dinamičan. Tako da ga je zanimljivo pogledati.
Radi se o tri brata ( Alžirci) koji nakon što ima je majka umrla sa ocem žive u nekom malo gradiću u Francuskoj. Jedan je delikvent, tek izašao iz zatvora, drugi se upetljao sa narko dilerima, a treći je naprosto simpatičan peder. Zanimljivo je da u cjelom filmu nema ni jedne ženske uloge, ako ne računamo scenu gde je prikazana njihova majka i to kao sjećanje jednog od njih.
Ono što ovaj film čini pravim pederskim je izraziti mačizam uz podosta scena golih muškaraca koji na sebi svojstven način vode rčuna kako o sopstvenom izgledu tako i o tjelu.
Tri brata sa svojim društvom izlaze i provode se po žurkama, jure labudove po jezeru, drkaju kurac gledajući porniće.
Uz sve to Marc upada u nevolje sa lokalnim narko dilerima, koji ga prebijaju i maltretiraju. Ovaj namladji se zaljubljuje u Marcovog prijatelja, te sa njim ostvaruje intimnu vezu. Naravno otišlo mu dupe na doboš u jednoj brvnari pored jezera.
Najstariji brat pokušava da se uozbilji i nadje posao u jednoj firmi za prozvodnju pršuta.

Da vam ne pričam cijelu priču, u filmu ima podosta zanimljiv scena. Npr kako Mark šiša dlake oko kurca, Jebanje jednog tranvestita, gubitak nevinosti, zajednička drkanja i slično.
Očit je uticaj Francis Ozona na čitav filmski pederski pravac u francuskoj!




Director: Gaël Morel
Writers: Christophe Honoré (writer)
Gaël Morel (writer)
Release Date: 16 June 2004 (France)
Genre: Drama

Plot Keywords: Penis | Gay Sex | Beach | Masturbation Scene | Fistfight

Cast
(Cast overview, first billed only)
Nicolas Cazalé ... Marc
Stéphane Rideau ... Christophe
Thomas Dumerchez ... Olivier
Salim Kechiouche ... Hicham
Bruno Lochet ... Le pčre
Vincent Martinez ... Le "professeur"
Jackie Berroyer ... Robert
Aure Atika ... Emilie
Nicolas Paz ... Montana
Mathias Olivier ... Ryan
Gary Mary ... Luc
Geordie Piseri-Diaz ... Jérémy
Clément Dettli ... Henry
Pierre Vallin ... Sly
Janine Ribollet ... La mčre de Sly


Also Known As: 3 Dancing Slaves (USA)
Clan des hommes, Le (France) (working title)
The Clan (International: English title)
Trois danses d'esclaves (France) (working title)

Runtime: 90 min
Country: France
Language: French


I know what boys like: Arty French beefcake reverie meditates on masculinity and nudity
by Dennis Lim

Like so many films that target a gay male audience, Three Dancing Slaves transpires in an abstract parallel universe where half the population has mysteriously disappeared and the other half works out a lot and often goes unclothed. The only female presence to speak of in French actor-turned-director Gael Morel's latest feature is the dead mother of the titular fraternal trio. Exactly one flesh-and-blood woman is allowed to interrupt the beefcake reverie (in a single measly scene at that), and when even the most macho of the brothers has sex, it's with a bewigged pre-op transsexual (whose biological status is of course full-frontally corroborated). Unfocused and vaguely arty, Three Dancing Slaves is a Bruce Weber shoot come to life, a tone poem on masculinity that doesn't concern its pretty little head with very much besides the photogenic ways in which men bond, bicker, brawl, and practice capoeira (the unfortunate English title derives from the martial art's slave culture origins; the movie was released in France as Le Clan).

Co-written by Morel and Christophe Honoré (who authored the similarly blank and pouty Girls Can't Swim and Ma Mére), Slaves devotes a third to each brother's dead-end provincial existence. Marc (Nicolas Cazalé), a loose-cannon skinhead, is caught up in a vicious cycle of clumsy drug deals and angry vendettas (between visits to the gym). He hangs out with a bunch of ostensibly straight guys who jerk off communally to porn (with the help of a vibrating cell phone) and is such a carnal fellow that when he steps into the shower with his beloved dog, the movie for a few alarming moments threatens to redefine heavy petting. Marc's near zoophilic attachment to the poor pooch naturally leads to its brutal demise, setting in motion a sputtering revenge subplot.

In part two, eldest brother Christophe (Stéphane Rideau, Morel's co-star in André Téchiné's Wild Reeds), newly released from jail and committed to straight-and-narrow rehabilitation, distances himself from Marc and takes an upstanding job at the local ham factory, where his rapid ascent infuriates Marc and somewhat placates their dour father. The youngest sibling, Olivier (Thomas Dumerchez), whose segment is the sweetest and shortest, grieves the loss of their Algerian-born mother and slowly settles into a sexual relationship with Marc's friend Hicham (Salim Kechiouche). Morel idealizes the erotic hunger of new lovers—sending the boys on a hang-gliding adventure and eavesdropping on their idyllic dirty-talk comedown.

Morel is obviously up on his gay art films: Fran Ozon's influence is palpable, not least in the matter-of-fact sexuality and evocative use of water; the meat factory pointedly echoes the abattoir in Fassbinder's In a Year of 13 Moons. Most of all, the director, who has appeared in several Téchiné films, strives to emulate his mentor's suggestive use of ellipses and poetic detail. But the unpredictable emotional turmoil that animates Téchiné's work is almost entirely missing. Morel spells out his blood-ties theme in an archly symbolic shot of the three brothers sleeping in the nude, limbs entwined, watched over by their helpless father. The actors make the most of their severely underwritten roles (though there's only so much you can do with pube-trimming and ass-shaving scenes). For those so inclined, this lulling, banal, and rather pleasant film cultivates a mood of zone-out voyeurism. In the absence of a larger purpose, Morel is content to ogle, perhaps rightly assuming that his viewers will be too.

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