sâmbătă, 29 septembrie 2012

Seductie fara cuvinte


Kubrick's boldest project was a period piece set in 18th-century Europe... Barry Lyndon. He broke new technical ground, having special lenses manufactured to capture the glow of the candlelit mansions of the aristocracy. Instead of a picaresque tale, Kubrick offered another grim journey of self-destruction...the rise and fall of an opportunist. On the surface, the approach was cool and distant, deceptive. But I found this to be one of the most profoundly emotional films I've ever seen. Kubrick's style was strangely unsettling. His audacity was to insist on slowness in order to recreate the pace of life and the ritualized behavior of the time. A good example is this seduction scene, which he stretches until it settles into a sort of trance. What has always struck me is the ballet of the emotions in the film. Watch the tension between the camera's movements and the character's body language, orchestrated by the music (Franz Schubert - Piano Trio No.2 in E flat, n.r.) in this scene. (Martin Scorsese - A Personal Journey Through American Movies, 1995)



Barry Lyndon (1975, r. Stanley Kubrick)

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