Otets i syn (2003) aka Father and Son
Director: Aleksandr Sokurov
Scenario: Sergei Potepalov
Genre: Drama
Country: Russia, Germany, Italy, Netherlands
Year: 2003
Duration: 83 min (Cannes Film Festival) | Russia:97 min | USA:82 min (Wellspring DVD)
Rating: 6.5/10
Actors: Andrei Shchetinin, Aleksei Nejmyshev, Aleksandr Razbash, Fyodor Lavrov, Marina Zasukhina, Anna Aleksakhina, Jaime Freitas, Joăo Gonçalves
Description:
Nisam psiholog, ali definitivno ne razumijem porijeklo mnogih priča dad-son. ČMnogi pederi na chatovima ili u nekoj drugoj komunikaciji kažu da ih ne privlače mladići već samo stariji ljudi. Imam jednog prijatelja, koji ima oko 22 godine i koga privlače samo oni preko 40 godina. Za mene je rekao da mu izgledam nekako mladoliko pa sam ga zamolio da mi nikada ne daje kompliment da dobro izgledam. Al nije jedini koji voli samo dosta starije. Neznam zašto je to tako jer mene je u mladosti sve privlačilo. I mladji i stariji i žene i muškarci. Naprosto radoznalost me je pokretala u svim pravcima.
Ono što je ključno u privlačnosti starijeg muškarca je definitivno pouzdanost, sigurnost, snaga, karakter i postojanost. Zaštitnički, često dominantan odnos koji pruža stariji muškarac je ono što kod klinaca nikada ne možete dobiti. Sve u svemu sve to razumjem jer i mene privlače uglavnom stariji muškarci mada u zadnje vrijeme često imam seks i sa mladjima što mi se nije dešavalo ranije. Ono što ne razumijem je incestualna mašta koja se proteže kroz mnoge romane, filmove, stripove, predstave...
Da li je možda nedostatak očeve ljubavi uzrok homoseksualnosti, ili predominantnost majke? Na žalost ja to jedva da razumijem.
Prirodan odnos je da se dijeca u jednom periodu odrastanja poistovjećuju sa ocem, a kasnije prolaze kroz lavirint tražeći sopstveni identitet.
Ova priča nam nudi malo drugačiju perspektivu tog odrastanja. Ruski režiser Alexander Sokurov nam nudi malo drugačije viđenje odnosa između oca (Andrei Shchetinin) i sina (Aleksei Nejmyshev), priču koja je na ivici ljubavne romanse. Obrnuti redoslijed gdje se otac u jednom trenutku poistovjećuje sa sinom.
Film počinje erotičnom skoro incestualnom scenom gdje otac i sin pričaju o snu u kojem je sin sam negdje, go bez ičega na sebi. Otac ga pita jesam li ja pored tebe , on kaže , ne ja sam sam, na nekom putu! Jasno razumljiva simbolika potrebe da se sam odredi kojim putem treba da ide.
Priča je puna napetosti, strepnji i strahova. Kroz dijaloge oca i sina na krovu nekog stana negdje jako visoko izmješale su mi se silne emocije uzbuđenja, napetosti pa na kraju i straha da neko ne padne sa tog krova po kojem skaču kao da su na nekoj livadi.
Moto ove priče je iskazan kroz riječi sina: "Očeva ljubav je krst. Voljeni sin dopušta da bude razapet."
Emocionalna zamka u koju su upali nije prekinula put kojim se treba ići, ali je definitivno izazvala nedumice i strahove od samoće kod oca. Kada sin treba da se okrene sebi i ode da živi u drugi grad, otac se našao u strahu od samoće. Sin razapet između potrebe da bude sa ocem i potrebe da nastavi svojim putem u jednom trenutku pozove druga i kaže: " On je moj otac, a ovo je moj drug, ja ga jako volim!", ostavljajući bez teksta Oca jednako kao i gledaoce. Prirodan kraj ove skoro nestvarne romance.
Film je prepun imaginarnih slika koje se spajaju u jednu skoro mitološku priču o opterećujuće jakoj ljubavi oca i sina.
Inaće kroz film se konstanto provlači neka jedva vidljiva homoerotičnost, koja nas obasipa od početka do kraja priče. Zaista majstorski urađeno!
Ukoliko želite da se upoznate sa fantastičnom trilogijom Andrei Shchetinina, pogledajte filmove "Russian Ark" i "Mother and Son" koji predhode ovom filmu.
Eto toliko o filmu, bolje da ga odgledate sami nego u društvu. Neke stvari koje ova priča može pokrenuti u vama naprosto nisu za podijeliti sa bilo kim!
Sokurov's From Russia With Man-Love
By Fernando F. Croce
In this age when the media's interest in homosexuality scarcely extends beyond queer-eye, is-he-or-isn't-he winks, it's no surprise that so many critics have tried to pigeonholed Father and Son as a "gay movie," much to the irritation of its creator, Russian director Alexander Sokurov. (Repeatedly asked about his latest effort's alleged homoeroticism last year at Cannes, he reportedly tsk-tsked a roomful of journalists on how dirty-minded their side of the globe has become.) Either way, the label has stuck (it had its first U.S. showing at the Boston Gay and Lesbian Film Festival last May), but the film is hardly a queer work in the sense that pictures by Fassbinder, Warhol or Jarman are queer works, though those artists' influence is apparent in the first shot: heavy breathing against a black screen, followed by close shots of intertwined, sinewy male limbs.
The opening suggests man-love, though its eroticism is spiritual -- the Father (Andrey Schetinin) comforts his Son (Aleksey Neymyshev) after a nightmare, and Sokurov frames the sculptured bodies as soft-edged, amber-toned pietas, the first example of both the auteur's painterly visual style and his questioning of established notions of masculinity. Reductive as it may be, the gay interpretation is more than understandable -- ruggedly handsome Schetinin and teenage-dreamy Neymyshev are strapping specimens, photographed ethereally in all their shirtless splendor, gazing into each other's peepers and caressing each other's faces when not lifting weights on their building's rooftops. The film further fans the flames by grounding the sliver of a plot upon jealousy and separation anxiety, as the arrival of a bereft young buddy, left behind by his own dad, threatens to push Father and Son apart.
Sokurov's images of beautiful guys horsing around and exchanging bear hugs make people squirm because they present the eroticization of male flesh without the mediation of the female gaze, since the contemplation of male beauty in mainstream cinema can only be kosher after it's been filtered through a woman's eyes. Save for Neymyshev's duplicitous girlfriend, women are rarely seen in Father and Son, yet the film is the most feminized of Sokurov's works. Or, to be more exact, the one where such qualities as tenderness, grace and delicacy, normally filed by society under "feminine," are allowed to roam and bleed into such "masculine" ideals as virility, aggression, and stamina. Touch bridges the two. While the characters' energies find an acceptably "male" channel in the military touch exercises the Son participates in, the intimacy of feeling between the two men remains just as bound to an intense physicality that, through Sokurov's purist handling, strips the visuals of any prurience, straight or homo, and makes them exalted, the spiritual turned flesh, tangible.
It's fascinating to compare the film to Andrei Zvyagintsev's The Return, another Russian import also dealing with father-son relations. Zvyagintsev shares with Sokurov a painterly sensibility (the estranged father's first appearance sprawled in bed recalls Mantegna's Dead Christ) and a preoccupation with Nature (absent in Father and Son, except for glimpses in dreams), though his movie's boot-camp itinerary is far more conventional than Sokurov's, with the father's abusive behavior torturing his standoffish sons only to be sentimentally celebrated at the end. Looking back, I believe Zvyagintsev has a paternal relationship of his own to deal with, namely with Andrei Tarkovsky, that grand albatross wrapped around the neck of every young Russian artist. The Return is full of allusions to the late genius, and the characters' ambiguous relationship may mirror the director's with his ghostly father figure, with the movie a way of both acknowledging and exorcizing his presence. Equally mysterious but far more autonomous, Father and Son drenches its opacity in a depth of expression that lifts the familial relationship onto a cosmic plane.
Moviegoers who know Sokurov only from the crowd-pleasing technique of Russian Ark have no ideal what a demanding director he is. Though that picture's one-camera-movement-through-the-ages extravaganza forged a wondrous anti-montage statement that Hitchcock, Ophüls, Rossellini and Preminger would have killed for, the stunt flattened the complexities of both Russian history and the filmmaker's own art. Sokurov's follow-up is a return to the profound transcendentalism of Second Circle and Mother and Son (to which the new movie plays companion piece), works of overwhelming aural-visual emotion where the loss of a parent equals nothing less than the death of the world. Like those films, Father and Son challenges and maddens, its liquidity of image and thought dovetailing into the deepest well of emotion. "A father's love crucifies. A loving son lets himself be crucified," says Neymyshev, bringing the film's Biblical dimension to the fore. His later comment cuts even closer to the bone: "This is my father. And he is my friend. I love him very much." A statement of breathtaking simplicity in a film of breathtaking complexity.
Nisam siguran da je ovaj tip filmova san današnjeg prosječnog tinejdžera, više mi nekako liči na snove tinejđera 70-tih godina. Kako god bilo, onim romantičarima koji sanjaju o svom najboljem drugu, a ne smiju mu to reći, mjuzikl Where the world mine bi mogao oslikati san. Negdje sam već gledao neku skraćenu verziju ovog filma, al nisam bio baš nešto oduševljen. Možda je samo bio loš trenutak ili naprosto nisam bio raspoložen za mjuzikl o tim dječačkim snovima.
The phenomenon of teen musicals - beloved by actual teens - is a little perplexing. There is just nothing ... cool ... about breaking into song and dance routines in daily life. Disney's "High School Musical" juggernaut and the popularity of the stage show and film version of "Hairspray" have brought more attention to the teen-centered Broadway hit "Spring Awakening," which will be made into a film as well.
"Were the World Mine" follows the teen musical formula but renders its material with admirable lushness and intelligence. It was a hit as an indie short film on the film festival circuit before director and writer Tom Gustafson turned it into a full-length musical, so irony and self-referral humor are written into its DNA.
"Were the World Mine" tells the story of out gay teenager Timothy (Tanner Cohen), who is attending a boys' private school. He is hazed repeatedly and ruthlessly by his homophobic classmates, but he survives by escaping into fantasy (here come the musical sequences) - mostly, fantasizing about the extremely cute Jonathon (Nathaniel David Becker). He also has to deal with his struggling mother (Judy McLane) and friends Frankie (Zelda Williams, daughter of Robin) and Max (Ricky Goldman).
Life changes abruptly for Timothy when, after being cast as Puck in the school production of "A Midsummer Night's Dream" by his slightly batty drama teacher (played by "Twin Peaks" actress Wendy Robie), he finds a secret recipe embedded in Shakespeare's famous farce. Timothy, like Puck, has the ability to make people fall in love with the first person they see. Should he use it?
Well, it wouldn't be much of a movie if he didn't. As the action unfolds, with dazzling color and crisp choreography, the homophobic boys get the lesson of their lives.
