Thriller “ Tire “. Whether everything film experiments are equally useful? WhetherIt happened to you to watch strange film? No, the speech not about Fellini, Jarmusch or Lars von Trier`s movies though it is worth recognizing that many masterpieces of these and some other classics of cinema are not always clear to the mass viewer. No, I speak about specifically and obviously crazy opuses during which viewing the brain experiences the raised strain similar to what the normal person feels at communication with the idiot or the schizophrenic. my hobby obliges me not to avoid
“ another “ cinema, though what a sin to conceal, I nevertheless prefer a mainstream an art - to a house. But others “ masterpieces “ it is impossible to classify within the available templates in any way. It can and it is good, other public only and swears supposedly Hollywood, and behind it and all others, got used to stamp cinema products as cookies on molds. Poor creatures should pass to terry exotic with a sort from Finland, Zimbabwe, Iran or Norway. However, far it is not necessary to go. Let`s take, for example, rather recent tape of the famous French musician - the electronics engineer Quentin Dyupye “ Tire “ (2010). Here where a festival of the inflamed imagination.
… The lonely murderer slides on the Californian desert. Slides because it is about a banal worn-out and worldly-wise tire. The rubber character begins with small: the plastic bottle, then the scorpion who was innocently crawling by goes the first to an expense. Each time the purposes become larger - a rusty can, a defenseless rabbit and a crow. And to people nearby, you will tell, and you will be right. The benefit that the local population in relation to / at tires would not differ in a special step and burns unusable tires in huge brotherly fires - graves how much in vain. What overflows ours “ hero “ natural misanthropy.
However first the tire was not so blood-thirsty. To be fair we will note that only those who asked for trouble fell under the dangerous vibrations which are blowing up the head. And to the nice girl traveling on a tired cabriolet, the tire blazed with strange sympathy at all. But the conflict of interests of a worn tire and people, indifferent to expectations of a piece of rubber, is inevitable. And then blood will begin to flow the river, and tires will begin to unite in packs and
Is good to crave for reciprocal genocide …, I paraphrase the question. Whether it happened to you to see such movies as “ Tomatoes strike back “ or “ Attack of chicken zombies “? Did not know that such in general exist? And they are. And hundreds, thousands to them the similar opuses called by the capacious word “ trash “ that is garbage. I with pleasure would add to this cart the most part of movies with Jean`s participation - Claude Van Damme and Steven Seagal, but these guys obviously lack self-irony - quality, vital when shootings pictures of this genre. But we will return to our rams.
Talented musician, author of electronic music of Mr. Oizo, it is Quentin Dyupye, since the beginning zero began to try the forces at cinema. Its first feature film cost producers 35 million dollars, but the comedy “ Change a face “ sank into a non-existence, despite tolerant reaction of public. Whether having been disappointed in genre cinema, whether having solved it is simple to engage in hooliganism, Dyupye in 2010 - m lets out “ Tire “ - a thin mockery over “ garbage “ cinema. The viewer, unprepared to such action, hurried to rasplevatsya, having accused the director (and also the scriptwriter, the operator, the film editor and the composer) Dyupye of peacockery, total absence of taste and lack of talent. Also more biting charges sounded, but we will not give them here.
Partially the viewer was right. Authors finished idea to the point of absurdity, having turned a typical trash horror film into buffoonery. It is not enough to make the center of the universe of the creation an inanimate object (the same John Carpenter with kingovsky “ Christina “ looks much more nicely). It is necessary to beat still a situation so that the total result was not interesting only to narrow group of film fans with nonconventional bents. Because are only clear to them a thin mockery over a film cliche and quotes on Hitchcock. The others stay in perplexity, and many without waiting for the final at all, switch off viewing after the first minutes of twenty, not in forces to look at monotonous rolling of the tire and to listen to frank nonsense from lips of nonprofessional actors.
As the only original moment it is possible to consider a peculiar interactive when the handful of the casual audience allegedly watches a plot in the movie. But also here creators at some moment were refused by sense of proportion if that in general was present. Then the tape finally comes down to theater of absurdity where each remark is said not lengthways, and across, and motives and acts of characters can be used as a handbook on psychotherapy for the advanced users. Inadequacy is regarded as of paramount importance, and the humour sparkles all shades of black. Closer to a half the thread of the narration is at all lost, and carries away heroes in far distances “ little squirrel “ with which all are on friendly terms here, young and old.
“ Tire “ it is senseless also on that and costs. From first minutes persistently prove us extremely obvious fact: there is no implication, and all events on the screen - causeless phantasmagoria. As the chairs which are accurately falling under the pressure of the car. As the strange assistant eating the poisoned food of own preparation. As the head tires which are blowing up from fluctuations. As the tire watching on TV aerobics.
The poke towards Hollywood whose existence is under the threat of invasion of tires - murderers, is also imposed by authors artificially. Like, you watch our film because in it we honestly rave, without being covered with beautiful pictures, moralising and false truth. But “ global “ the plan on derision of a mainstream developed into boring, even sad, monotonous opus where the tire played all actors both by the number of emergence in a shot, and on extent of influence on a plot. Dynamics is absent completely therefore at some point you catch yourself on thought that you watch the movie only because, oh, damn, there is a wish to know, than this utter nonsense will end. And when you contemplate a fig at the end, any more you are surprised to nothing.