To spread or not to spread is the question
There is a certain delight
To disseminate the palpitation
The throbbing ache at the lump near the throat
Through nothing but words
Jotted hastily on the pulpit of my dream.
Perhaps I should remain silent,
Perhaps I should make an attempt
To bear all my agony and deprivation
With a little more grace and propriety.
I will stay here alone
In this gutter of endless reverie
Waiting to crawl beneath the earth
My solitary self,
I am so divested that all I can miss
Is the solitude of days bygone.
The intricacy of the father-son relation meets the bitterness of a self-obsessed unrecognized genius: this is what the highly critically acclaimed film “Footnote” comprises. Among myriad of comedic moment of the film, the darkness of ambivalence, the reticent love and affection and the vociferated wrath, all are co-mingled with a touch of distant indifference and that was turned the work from a intense drama set in the world of academics, to a relatable humane effort.
While one cannot fail to notice that the story is full of oxymoronic elements: such as the exposure of rivalry and acerbity amid the pristine-looking whitehead academicians, the envy of the father to his son’s success who to the contrary upholds him as his inspiration; the private disdain confronts the publicly showing affection of the son, never finding the recognition of his own father while the world approves of him; all in all the film is there to stay with its viewer, not to prove a point, not to ram it home with intense drama, but as a bitter-sweet taste that does not go away.
Xavier Dolan is one of the most promising film-makers of recent time. With his first film I killed my mother he showed the prospect of turning out sincere dramatist on the silver screen. With his second outing as director, in Heartbeats or Les Amours Imaginaires, Dolan depicts another emotion laden drama of friendship and love and other tributaries of the quasi-amorous relations.
Francis and Marie, two friends, meets Nicolas in a party and both of them felt attracted to the charming young man whose sexuality is not evident. The film goes on telling us the story where both of them pursue Nicolas as his and her lover, trying to build an image of him within their own mind according to one’s own convenience. They find other partners for sexual gratification, thus baring the emotional bankruptcy in the age of easy promiscuity. The generation to which Dolan himself belongs, is a generation fatigued by making love without loving and thus it is portrayed not with indifference or with hostility, but with care, how this generation flails for love all the same. Perhaps this is the strongest trait of the film.
While making a film on a subject somewhat hackneyed by overuse by all the other directors over the years, Dolan remains true to his own strength of story-telling with tinge of experimental form. His use of humour is restrained and hence effective. The use of background music especially in a scene where Bach’s cello song was playing on the back, it truly elevated the film in totality. So Heartbeat should be watched not only to observe the signatures of a young promising film-maker on the silver-screen, but also to watch a very fresh take on a subject we all thought we have left behind.
The animation film Idiots and Angels offers a thinly veiled passé morality tale that for some would seem worth retelling, for others it would appear as done to death. How unnamed central character, a lecherous self-obsessed man suddenly develops a pair of wings and with that a morality bound that makes him do things he never imagined: this is the synopsis of animated feature with minimalist attires. At the end of the film, it is apparent what the angelic feature attained by the character (and represented by a pair of wings) is probably an allusion of love that, as we all know, integrates beatific qualities into vile. The world depicted in the film is a corrupt avaricious world obsessed with money and fame, thus heightening the merit of the good deeds of the character or rather the wings.
Personally, what I found as the only intriguing aspect of the film is its style of animation. The coarse industrial look that the artists conferred upon the film with is worth experiencing. The way the face of the central character constantly changes and yet remains the same, alluding his position as an everyman is definitely appreciable (even if it was not done purposefully). In conclusion, I would rather say that Idiots and Angels are neither a treat to watch nor something that sweep the viewer of his feet through its profundity. In spite of its occasional staleness, it is worth watching for the sake of the experiment with the animation quality.