dont be wrong rorwrong

Those who are supposed to know are either unwilling or unable to explain it.

I thought about film students.

hello rorschach! this is a short analysis i wrote for one of my film classes, maybe it can help you to understand why this is such an important and beloved film!

L'Atalante - A brief analysis by using the film theory Béla Balázs'

Béla Balázs describes in his text about the "ritardando of distance loneliness
Charlie Chaplin in the dugout by his comrades because of a war
Avoid bad luck wird.1 There is the "panoramierende camera", which the spatial
Distance between them very slowly and thus durchmisst when the recipient
Impression of an immense distance rise. Never before has someone so
Mutterseelenallein like him. In my enthusiasm for Vigo film I contradict Balázs
easy (he will cope with it) and claim the loneliness jeans in the same assembly,
to the demonstration of the wondrous gramophone repaired linked (Père Jules wants him
so cheer up), can not be beat. We can not directly and immediately to
read his face, as he stands with his back to the camera. But the expression of surface
of people who become Balázs' regret on his face temporarily reduced,
is determined by the proper use of the medium of film directors by experts again
extended his entire body. What makes it so already, when he gave us in these
Settings back zukehrt - because at the back of a Greek torso,
when his head is lost, you can clearly see if the deprived
lost face hat.2 cried or laughed jeans posture tells us no less
ausdrucksvoll his seemingly hopeless solitude, as a close-up of his
Face could.
From its directly visible to us, we physiognomy to its supposedly
invisible: his view must also be absentminded like his attitude, so passive and
apathetic as his drooping shoulders and arms, as confused as his disheveled hair.
If the movie ever had a full and infinitely jammer lonely creature has
1 Béla Balázs, the spirit of the movie. Articles and Essays 1926-1931, Munich: Hanser 1984, p. 100 f.
2 Béla Balázs, Visible Man. Reviews and Essays 1922-1926, Munich: Hanser 1982, p. 53
it is, at this moment, Jean. The backlight, which the bank of the canal from him
falls, it can also be a silhouette pieces. Juliette, the source of this light is for
it untraceable. His gaze is directed into the void, reality pulls past him as
the shore landscape, his mental aura illuminates the surrounding environment,
gives him the aura of absolute isolation. And yet ... it is also so much
gentle humanity, with so much warmth in the game. Perhaps that is precisely the
"Naturalism of Love", which he refers schreibt.3 Balázs this form of observation
Close-up on, but perhaps we encounter this naturalism of love in
Halbtotalen like the one examined here. From sharp observations of the details is
Balázs at the speech, in which an observation is tenderness. Because "what we
really loves the well-known and observed its smallest details, with gentle
Attention ".4 observations, which are not of a sharp eye, but a good
Stir the heart. But to a gentle sense of familiarity and intimacy evoking,
required, Vigo no big shot. Because we all certainly know that feeling
of total abandonment and hopelessness after a painful separation, by
Jeans picture is all of us have ever been as lonely people in the world
seen.
The lonely creature of the World
Vigo, a deep appreciation for all living things feel (if it is not
just around authority figures or spit citizens), a Allsympathie observed this
poor drip and understanding as tenderly as a small kitten, which is located in
3 Balázs, Visible Man, p. 84
4 Balázs, Visible Man, p. 84
Funnel has nestled a gramophone, or a queue of job seekers who
under police surveillance in the cold endureth. His paintings radiate a heat from a
Poetry, and their particular artistic significance is that it is touching without
to be sentimental. Impersonal and objective, it must remain urges Balázs.5 The
Mouth to avoid the sentimentality is for a film with a romantic motif rather
difficult, I would argue, but Vigo succeeds in "L'Atalante" successful.
One of the reasons is probably that the respective generally focus not on the
Axis view of a character set. The camera is not a means for him to order the
Events from the perspective of the protagonists set out, only rarely do we see, what Jean
Juliette, or are watching. Yes, there are a few isolated moments here and there, in which
our vision to that of the character-oriented - once visited the couple, for example, a
Dance hall, and we see the receipt from his point of view. Later we
together with Juliette in a Paris shop window, the latest women's fashion issue.
But mostly observed Boris buying Mans (Dziga Vertovs younger brother) camera
their own, independent character-position, a position which has been selected to
own images to create, not subjective impressions of the characters to convey, these
Images resides then the mood, the meaning, the effect of a scene inne, not the
attributed to a specific person feelings. Even in the vision of the climatic
Films, in Juliette's love sick man under the water appears, you can see in the
next setting is not, as Jean this miracle with an answering smile
replied, his face is seemingly indifferent to him as if the water is wonderful
Vision that we as viewers see quite clearly, is not divulged. We can
ultimately not be sure whether he has seen. The images are taken from the camera
not his head, she does not see with his eyes. Vigo allows independent camera
it, regardless of the mood of the (emotional) involvement with his characters
vary. They observed jeans desperation or curiosity in Juliette Père Jules' cabin
a precision that is not by feelings of solidarity and the rejection tarnished
is. Therein lies Vigo secret to stir us, without drifting into too sentimental, and just
because of our apathetic Jean zukehrt his back, not on the camera shot
Counter shot conventions insists, this attitude makes us smile understandingly,
while in our eyes while tears collect.
5 Béla Balázs, Visible Man, p. 84
Jean Vigo, is a poet living pictures. He sets in his first and unfortunately also last
feature-length film to those principles, the Béla Balázs in his theory as "the face
of things "6 or" Pansymbolismus "7 means. I think it would be wrong, these two
Terms to be treated separately because it is being strongly related appearances
, and they will probably no one more clearly than by Père Jules and
his aura, through which it is the amazing animated objects, they come to life,
gives them a face. Because "the important miens of things only insofar as they
a relationship to the people ".8 Nowhere is the inherent things
vivid physiognomy apparent than in his narrow bunk, his Wunderkammer,
in which he souvenirs from around the world hoarding. Horseshoes, Asian fans and knives found
there, among other things, but they are not "strictly utilitarian objects, tools,
Means to an end, where it dwells not ".9 In each of these mementos, he sees
an autonomous life, one's own soul, and has its own face. And what
Père Jules true also for its creator Jean Vigo validity: the artist wants
things do not use, but darstellen.10
In a sequence of the film, after about the third term, leads his wife to Jules
Master, Juliette, into the world of his cabinet of curiosities On. Right at the beginning leads to it
his "Bon Homme", a puppet which represents conductors and with a
built mechanism is playing. Jules uses this apparatus, and the previously
motionless figure wildly jerking now conducted to a gentle chimes (that the
Women's World using such devices can take for themselves, we know at least since
Renoir's "La règle du Jeu"). By Jules' gift is one of the puppet
Paganini's spirit spirited animated devil conductor, and the more passionate and
their ecstatic (and Jules') movements, the more distorted it will
"Face". We have seen so far from not expect that so Jules
temperament can be. Jules' cabin is a microcosm of its own: you will meet in the
remaining confined spaces of the ship, with the broad lines of its wooden furniture,
rather on the fleeting shadows of Rembrandt, as we encounter here between the guitars and
grotesque carnival masks, Asian subjects and mangy cats, the artful
6 Béla Balázs, Visible Man, p. 92 ff
7 Béla Balázs, Visible Man, p. 103 f.
8 Béla Balázs, Visible Man, p. 98
9 Béla Balázs, Visible Man, p. 92
10 Béla Balázs, Visible Man, p. 92
Shadow Goya. Jules can lead to all these objects tell a story ( "I found it
in Caracas during the revolution ... in 1890, "one learns about the conductor), and all
Stories together, his own. It is overgrown with the things (often, he wears
the kitten on his shoulder around, like a pirate's parrot).
Jules breathed the puppet to life
Things like his gramophone, or his many cats (in this film cavort
actually more cats than in Chris Marker's entire oeuvre) are not merely "dead and
vignettes empty "11, which is an important, but not direct your own reality
and merely mundane parables show (something like: "Père Jules likes kittens, so must
under his rough shell a soft core plug "). They are supported by Jules' Aura revives
his "over the contours of the body enlarged physiognomy" .12 Their reality is ultimately
his. They are an expression, so lively continuation of his personality. All the things that
around him are signs of habits, plays back far-reaching
Life experiences, which is pushing him and his aura form. Wherever it
together with its objects not stop, he is always accompanied by a strange exotic
Surrounded his poetry, even if it is on an old boat like the "L'Atalante" a rather sad
Industrial landscape Nationale. The fact that the faces of affairs of the enlarged physiognomy Jules'
are attributable and through his emotional appeal significant Miene
develop, for example, in some scenes to see where its a cat
decisive role: as it to a board game with Jean threatens to lose,
11 Belá Balázs, Visible Man, p. 105
12 Béla Balázs, Visible Man, p. 98
jumps suddenly one of his cats on the board and apply the threat of defeat
from, and when he was at the beginning of the film querulous observed how the newly teasingly
flirt, they suddenly attacked Jean and paste it scratches to the cheek to, a
other times we complained about the fact that a cat in the bedroom of the couple their young
got. Such moments like the latter two can be seen as signals
point, indicating that Jules and what he represents a threat to
Jeans and Juliette sexual intimacy represent (its quite ambivalent
Relationship with Juliette, I have received), even if it is at the end of the couple
after their separation back together. I think that such operations
Balázs' Pansymbolismus concept of the cinematic experience is made: the people and the
Things communicate with each other, subliminally and sometimes quite explicitly. The
Things do not move the plot and hence the people, as they turn from the
People are moved, they are always charged with meaning, or can
symbolic quality win.
A cat as spoilsport
Jules' Kazen pass to Jean los
Besides Balázs' Pansymbolismus through the movie pages, I could be interesting to me
otherwise would have remained hidden, I would like to mention one aspect of the film received, I
always fascinating, and I was inspired by Balázs as "Pansexualität"
would describe. The sexuality of the characters is in fact in a way that will
the usual standards and definitions of heterosexuality beyond. About Père Jules
We learn, for example, that he definitely sexual interest in women - so when it comes
several occasions the name Dorothy, when he writes of his previous adventures
reported in another scene he is about to love the services of a full
Fortune to take advantage of them, and we also remember clearly that he is to Juliette
drawn feel. But these references give my opinion, only a portion of its
sexual nature again. His relationship with Juliette is somewhat ambiguous, a
mysterious kinship seems to combine what is already covered by the similarity of their
Name implied. This relationship always comes to light then, when they
on certain things react the same way: in a scene - just before the
previously mentioned sequence in Jules' Wunderkammer - it leads to both her as well
our surprise, his skills in dealing with the sewing machine before. Then he tried
for a Women in Rock, he stands for model, so that they can adapt to the hem - a
Employment, which prepares him great pleasure. Shortly thereafter, at the end of the
Wunderkammer-sequence, they mutually admire her hair and make
Compliments, after he has discarded his shirt to her about his tattoos
show. In such scenes, they behave almost like two girlfriends. And as Juliette
him to mysterious hands conserved questioned, then it seems as if he wanted to
not quite the truth back: "No, it's my ... a friend who died three years
ago. His hands. It's all I have left of him. " In Vigo universe, it seems quite possible
that it is his dead friend to a former lover is.
Jules is not afraid of women's clothing
Hands of a deceased friend
There are still more scenes, which show that the conventional
Subdivisions of sexual orientation in this film are virtually irrelevant. Already in
one of the first settings of the film is to see how Jules and the ship's boy (with the
he sleeps in the same cabin) in the same solid hand in hand clothes from a church
run. And the wedding guests, Jean and Juliette at the procession from the church to
Here the boat, give a picture of amorphous sexuality as they are invited to the spouses
in a series of two to follow - since the wedding but not limited to couples appeared, go
in the series also homosexual persons side by side.

I could not have said it better myself.

Mit welch Poesie du die Sprache zum blühen bringst ist meiner unwürdig.
->
With poetry you what the language is to flourish bringest my unworthy.