petek, 31. julij 2009

Gal Costa: a Bela e a Besta



Ceux qui me connaissent savent que mon goût en musique est plutôt éclectique - et des fois même un peu bizarre -, mais pourtant, il m'arrive de passer par des périodes d'exclusivité où je n'écoute qu'un genre bien limité. Depuis plus d'une semaine, je me laisse emporter par la beauté de tropicália, genre musical issu d'un mouvement culturel brésilien du même nom. Celui-ci est né à la fin des années 60 dans un milieu embrassant plusieurs arts; on pourrait le considérer comme la réponse au mouvement hippie en Amérique du Nord.

En tant que genre musical, tropicália est une mélange de rock psychédélique, bossa nova, fado, y compris également l'influence de la musique africaine. Caetano Veloso, Jorge Ben, Jards Macalé, Gilberto Gil, Os Mutantes et Gal Costa sont parmi les noms les plus connus, même à ceux qui, ordinairement, se débattent contre la musique brésilienne.

C'est Gal que j'adore au plus haut point. Une heure ou deux en sa compagnie ne peut faire que du bien; elle dispose d'une trés belle voix, pleine de charme et tendresse. Or, cette voix si douce peut parfois être modulée jusqu'au point d'un cri sauvage. Ecoutons son grand hit Meu nome é Gal (Je m'appelle Gal) pour l'entendre.



à suivre ...

petek, 17. julij 2009

Michael Haneke and the Table Tennis Player

Whenever the name of the notorious Austrian cineaste Michael Haneke is brought up, chaos ensues. Praised by fans and critics for his technical mastery, macabre humour and unmatched studies of the human condition, he ranks among the very finest directors of today. However, there are many who write him off as a pretentious, talentless hack, his films driven by little more than shock value antics. Whatever your view on the author, his work is guaranteed to affect you in one way or another: message boards and forums are full of heated discussions on Caché, La Pianiste, Benny's Video, Funny Games and the rest of his oeuvre.

In terms of movie viewing, the month of June has been particularly busy for me, as I've been fervently discovering Austrian and Hungarian cinema. Of all the films I've seen, Haneke's »glaciation trilogy« (or the Austrian trilogy, as I like to call it) is without a doubt the most memorable and haunting experience. The gloomy mood that pervades the deeply disturbing - and also brilliant! - The Seventh Continent (Der Siebente Kontinent, 1989) is unsettling to the point where one is likely to stop watching, just to get away from Haneke's fiction and embrace the suddenly oh-so-pleasant reality. Benny's video (1992), while certainly an engaging thriller, is the lesser of the three films, being no match for 71 Fragments of a Chronology of Chance (71 Fragmente einer Chronologie des Zufalls, 1994), a magnificent ensemble drama. As the title suggests, the film consists of 71 vignettes, depicting the everyday life of various individuals in urban surroundings. Naturally, this being Haneke, the initial setup is only a façade, soon succumbing to the uncanny. There are lots of interesting scenes to choose from, but, for the purpose of not making the post too long, I shall only concentrate on one.


71 Fragments is probably best known for its scene of a young table tennis player training against an automatic opponent (see here). It is shot in a single take, lasting almost three minutes, three minutes of doing the exact same thing! A stunt of this sort is very difficult to pull without coming off as pompous, so how is to be justified? In an interview conducted by Serge Toubiana, Haneke - to my great disappointment - touches only the surface of the problem, saying the scene is devised to test the audience's patience. He suggests the viewer should go through various states, starting off with amazement, then anger, followed by some kind of reluctant fascination. Since Haneke always stresses his films can be interpreted as one sees fit, I shall try to come up with my own reading of the scene.

Just before the end, the table tennis player turns out to be the central figure of the film. He rushes in a bank, starts randomly shooting at people (some of them are main characters, of course), and takes his own life upon returning in his car. What prompted him to commit this thoughtless deed? As Haneke points out, his films offer no clear answers, especially this one, which puts much emphasis on the fragmentary nature of displaying people's lives. Nevertheless, finding a valid answer to this question might not be as difficult as trying to explain the group suicide in The Seventh Continent. The solution might just lie in the table tennis scene.

In general, the film narrative tries to be as economical as possible: there is no need to show scenes of people doing trivial things, such as fingernail cutting, ear cleaning, locking the doors, saying 'bye' to end a phone conversation, etc. If the director chooses to show us a scene of a person walking to their car, there is a very high chance of something happening along the way, be it a sneaky attack, a chance encounter with someone, or an exciting shootout. We are so used to the absence of trivial doings, that when we finally see one (must not be short), we tend to attach meanings to it. For instance, let's say we are watching a scene of a woman brushing her teeth, her look calmly fixed on her image in the mirror. Let's try to imagine it, and then ask ourselves: wouldn't she seem unhappy, tired of her life, with no prospects on the horizon? And all she would be doing is brushing her teeth, like we do every day. The table tennis scene works in the same way: the more we observe the player, the more peculiar he seems (especially after knowing what happens in the end). Suddenly, we find ourselves unable to tell if that is fatigue on his face or an angry expression brought forth by an unsound mind. His mechanical movements are frightening, there is something pathological about them. We do not know what was the young man's exact motive, if there was any (that would undermine Haneke's philosophy), but we begin to understand how the shooting could have happened.

By itself, this scene has no special meaning. We, the audience, must be there to give it one. In this respect, Haneke - as he often does - commands the audience's involvement, but this time it could be he's not even aware of it. He surely wouldn't care; after all, it's no secret he hates authors who know it all.



nota bene: I just remembered there'd also been some other scenes with the player, describing his student life, but they're of no great importance

četrtek, 16. julij 2009


Ob tuhtanju, kako bi poimenoval novonastali blog, sem zapravil več časa, kot sem pripravljen priznati. Porodilo se mi je veliko idej, z nobeno pa nisem bil docela zadovoljen; težko je zadovoljiti željo po naslovu, ki bi bil v slogu indie bendov čudaško izviren, hkrati pa vsaj nekoliko povezan z vsebino bloga. Ko sem že skoraj obupal nad zoprno nalogo, sem pomislil na Gospodarje časa, enega svojih najljubših animiranih filmov, in težava je bila hipoma rešena.

Niti moj spletnik niti omenjena klasika znanstvene fantastike se ne moreta ponašati s koherentnostjo, saj sta zvečine prepuščena trenutnim navdihom in razbohoteni domišljiji. Pisanje v večih jezikih je za zdaj moj edini jasno določeni cilj. Dalje, sem človek, ki je razdvojen med erudicijo in nekolikanj "lahkotnejšimi užitki", kot so fitnes, Xbox 360 in znanstvena fantastika, in tega me ni sram priznati. Ne prenesem pretencioznosti in samozanikanja.

Le kaj je lahko bolj navdušujoče od junaka, ki se je zavezal pravičniškemu ravnanju in ki ljubi romantične nesporazume z očarljivimi dekleti? Negativec, ki v sebi doživi veliko spremembo, kajpada. Princ Matton, navidezni glavni antagonist Gospodarjev časa, ki se nam večino časa kaže kot strahopetni skopuh, sposoben najodvratnejših hudodelstev, proti koncu filma izvede veličastno žrtvovanje. Da bi rešil Jaffarja, ki mu je pomagal pobegniti z domačega planeta, sprejme smrt z odkritim samoprezirom: moje življenje ni vredno veliko, duša pa prav nič.

Zakaj torej Jaffar in ne Matton? Ker sem bolj kot ne dosledna dobričina in nisem sposoben niti dolgotrajnega kuhanja zamere. Ko je to določeno, k osebnemu imenu dodam še ščepec absurdnega in tako dobim La Mâchoire de Jaffar, sorodno nazivu zasedbe La Oreja de van Gogh, le še malo bolj nenavadno.

To naj služi kot, če lahko tako rečem, sekundarni uvod v moje prenovljene pisarije. Upam, da ne bom (spet) izgubil veselja, vam pa želim prijetno branje.

sreda, 15. julij 2009

To Blog or Not to Blog: Les Trois questions

Salut les gars et les filles !

Fondamentalement, il y a 3 questions que l'on doit se poser avant d'ouvrir un blog:

  1. Ai-je assez de temps pour écrire régulièrement, répondre aux commentaires et commenter ailleurs ? Ma réponse: Oui, m'enfin, en principe ... Il y a des fois où je ne glande rien de ma journée, mais s'il est besoin, je suis prêt à bosser comme un fou. Je vais faire des efforts pour que mon blog soit intéressant afin de séduire au mieux. Espérons que ça roule bien.
  2. Ai-je des choses/histoires intéressantes à raconter ? Je ne vais quand meme pas parler de ce que j'ai mangé au petit déjeuner ?!
    Ma réponse: Je m'intéresse à pleins de trucs (vous allez tout savoir), alors ça ne devrait pas poser trop de problèmes.
  3. Et la maîtrise de la langue - ou le niveau fonctionnel, au moins -, est-ce que j'en dispose ? Ma réponse: La Mâchoire de Jaffar est conçu comme une petite expérience linguistique, c'est-à-dire un blog écrit en 5 langues: français, portugais, espagnol, anglais et slovène. Slovenščina je moj materni jezik, I've been learning English since forever, je suis étudiant de français, aprendo español desde hace tres años e estudo português há 10 meses, voilà ! En tout cas, je crois bien que vous allez me comprendre sans peine.
Bon, il me semble que je corresponds bien aux critères ... Et vous, chers lecteurs et lectrices, qu'en pensez-vous ? Êtes-vous d'accord avec ma constatation ou pensez-vous que je surestime mes capacités ? Il n'y a qu'un seul moyen d'en être sûr - lisez-moi !