How Many Citalopram To Overdose??

Player - Caroline Bottaro (2009)


An island. A woman on her bike. Helen disappears from her home to begin his day as a cleaner in a hotel. Upon entering a room, she overhears a couple playing chess. Fascinated by the power and intimacy that emerge from this scene, she'll get excited for this game obsessively, endangering everything that was his life.

A nice surprise that the first movie that shows surprising pitch Sandrine Bonnaire, daily maid dull see his life transformed when she discovered a passion for chess. This frame serves as a trigger to several exciting themes, while provoking a surprising fervor taking over the sports movie (it is surprising to feel emotions at the Rocky during the latter part of the film in the tournament) during the progression and gradually gained the confidence of heroin.

The film questions the discrepancy that can cause intellectual awakening, the birth of a passion with a more mundane surroundings. Sandrine Bonnaire and really carried away by something for the first time in his life finds it hard to join this craze with his family and his job more ordinary. The other characters, very well written (including an excellent Renaud Francis in the role of husband) also expressed their incomprehension at her, and this opposition gives the film a very successful social dimension. Without knowing it, by discovering a passion she has real talent, Helen rises well above the fray at his expense, and is finally "different" and "offset" against his associates every day. Thus the strategic and military failures (most used when approaching this game the movies) is completely erased in favor of the more social and feminist, including the emphasis on the figure of the Queen (the most powerful piece of gaming).

Sandrine Bonnaire delivers a stunning performance, her face lights up at the start so detached as and as the film progresses and she asserts in her art. She who has the habit of seeing in very dramatic roles (though there are exceptions of course like the beautiful Miss of Lioret that made it a romantic heroine) is radiant in this more positive note. Caroline Bottaro drives the point by multiplying the playful visual tricks to show the invasion of failures in his mind. Among the best ideas, our heroine launched in the imaginary parts with crumbs on a checkered tablecloth during dinner at a restaurant, or on a checkered floor tiles for a tile that same household taking a uniform color when she starts to doubt .

As in any movie "sport", a mentor is needed, here brilliantly portrayed by Kevin Kline Dr. gruff and lonely. Once again, Caroline Bottaro discusses their relationship with accuracy, avoiding the expected love story (without neglecting the mutual attraction experienced watermark) and the easy pathos through Kline's disease. The staging of chess is very successful. They aroused the interest of insiders and others (who will find hard to get started after the film), alternating maneuvers on the plates with the reactions of players, strained or amused. It is so taken by the party as much by the content of the game itself than the content of suspense and drama of the situation (going t make it?).


The party which concludes the film pushes the parallel with the pattern of sports movie using all the tricks possible to strengthen the narrative tension. The performance of Helen is an internal dialogue and voice-overs, the use of flashbacks and a nice idea of telepathy between Kevin Kline and Sandrine Bonnaire. An amazing surprise is the casting with the discreet presence of Jennifer Beals in a trigger and it is difficult not to draw a parallel with his role as worship Flashdance where she also went out of his condition by his gift for dance. Maybe it is totally unintentional coincidence but it offers additional depth to the key feminist film. One of the beautiful French Recent successes Caroline Bottaro which has still not responded. Hopefully soon!

Released on DVD from Studio Canal

Pokemon Leaf Green Rom

Die For - To Die For, Gus Van Sant (1995)


The beautiful Suzanne Stone (Nicole Kidman) is a young woman who does not hide his ambition boundless: she wants to break into the world of TV. Leaves to get rid of all those who could put a spoke in the wheel, starting with her own husband ...

Die For is a very important film in the career of its director and its main entry. Gus Van Sant, hitherto associated with an independent film is rougher sees the door ajar studios and most prestigious productions for a journey full of exciting movies like Good Will Hunting and replay psychosis. As for Nicole Kidman although it has shown some talent in some minor but effective film ( Quiet White , Malice ) its status as wife of Tom Cruise and the limited scope of roles involving the pair ( Days of Thunder, Far Horizons confess a soft spot for it) attracts much attention on it but everything will change with Die For .

Andy Warhol extolled the principle that everyone was entitled to a day in his life at 15 minutes of fame and that's the only thing which just over Suzanne Stone. At the opening, Van Sant offers a fragmented narrative in which various types of filming will upset. The appearance is variable depending on the perspective adopted, but also according to the purpose intended. So all the scene of narration "classic" with a photograph in pastel colors using values of garish outfits Kidman and referring to the commercial world of his ideal. On the other side interventions were facing camera Suzanne Stone on strengthening its immaculate white artificiality and giving her opinion biased and hypocritical about the events of the story. The process is also included as a report "on the spot" where actors are filmed in their everyday environments in which even more ironically as part of a TV reality show so highly touted. Van Sant also included in its mounting inserts a few flashforward on places or objects that will be important later.

All this rain of fireworks is with the portrait of a lackluster ambitious social climber found to be actually "ready for anything." Van Sant knows his classics and is thought by a modernized version of Sunset Boulevard with this game on the magnitude as heroin and attributes to himself the eyes of others far less flattering (the sequence towards the end when she strikes a pose told reporters last in the spotlight to be amazed in the spotlight and brings shade alternating vision and the sordid reality underscores the conclusion of Wilder). The conclusion with the teenager became famous in spite of herself at the expense of Suzanne eyeing on it behind the irony of Eve Mankiewicz.

Providing Nicole Kidman also evokes that of Gloria Swanson in Sunset Boulevard except that Swanson stay locked the star status she was while she freezes Suzanne Stone in the mask and ways to become the star she thinks. The scale is not the same, the prestige film of the golden age gave way to the ambition of the major television networks. This fascination for the small screen, Kidman gives a beautifully illustrated hollow. Suzanne Stone convinced of his good taste in every thing wears makeup just right too marked, chained ready-made phrases spiritual hand of cards in the magazine and shows constantly smiling mask concealing the most treacherous thoughts. It is the suburban, the provincial city of dreams and fancies than its more mundane surroundings. Van Sant continues his vision of American white trash and populated by misfits of all types (found also in Will Hunting, Elephant, Paranoid Park ) Kidman is worth little more than teenagers she interviewed . Among them a young Joachim Phoenix (and Casey Afflek) already brilliant teenager lost.

Nicole Kidman gives a performance stunning femme fatale in the media obsessed, alternately sexy, psycho and a falsity constant, making it a complete mystery. All that we know of it is defined by its focus on his career but we will not know anything more about the origin of this motivation. In the first scenes Matt Dillon falls under the spell without any dialogue is exchanged between them, Kidman still representing a distant figure, sensual and posture always perfect.

And that's what Suzanne Stone eventually throughout the film, a figure as remote and unreal as those icons that stars likes to watch on television, in permanent representation (and this screed that look after its grandiose first interview!). The role gained her a Golden Globe, serious things can finally start to the fabulous career that is known as the next year comes the magnificent Portrait of a Woman . Gus Van Sant for his proved intact acuity of his gaze in a studio and this time it may be preferred rather than returning "arty" in his later years.

Released on DVD in region 2 French Studio Canal

Womengenital Painful Tattoo

Gone With The Wind - Gone with the Wind, Victor Fleming (1939)


In Georgia, in 1861, Scarlett O'Hara is a proud and willful young woman of high society Southern. Courted by all the good parties in the country, she only has eyes for Ashley Wilkes, despite his engagement with his sweet and shy cousin, Melanie Hamilton. But Scarlett is determined to make him change his mind, but upon receipt of the Twelve Oaks is the cynical Rhett Butler she attracts the attention ...

Gone with the Wind , most commercially successful of all time (in constant dollars the Titanic Avatar and Cameron are far from account) is a triumph on many points for its participants. This is a victory studio system whose rigor, organization and contribute to the flair of other notable successes in this particular year 1939 (and to stay at MGM) The Wizard of Oz images also rooted in the collective unconscious that Gone with the Wind. is also the consecration of Vivien Leigh, talented and tenacious young English woman who emerge victorious most of the cast played in the history of cinema (Pauline Goddard, Lana Turner, Katharine Hepburn, Bette Davis even auditioned for the coveted role Scarlett) all young American readers of the bestseller by Margaret Mitchell Scarlett O'Hara in dreaming. The Rhett Butler dreamed up by those same readers, Clark Gable reluctantly assume the role as the pressure is great but the star, there will win his spurs as Hollywood legend.

Yet Gone with the Wind is primarily the triumph of him who commanded the project from start to finish with the authority and the tyranny of a general, producer David O. Selznick. This long-term success is the symbol of the revenge he has always wanted to take on Hollywood. Son of Lewis J. distributor Selznick, who cultivated his taste for very young opulence, he started very young in the movie business as an apprentice for his father whom he must succeed. Everything falls apart when it went bankrupt and the young David vows to polish the name Selznick in Hollywood. Very talented, he became one of the producers missed the middle through MGM (where he started as an apprentice), Paramount and RKO, producing for the last of the great classics like King Kong . This does however not enough for him and in 1936 he left MGM to form his own production company Selznick International Pictures and took the opportunity to add the famous O giving the prestige required to his surname.

be imagined in the first productions of the studio features such marked productions O. Selznick, for better or for worse: an attraction for the prestigious literary adaptation, romance and an exacerbated taste for pomp and luxury at all times. The film touches the symbol O. Selznick is Gone with the Wind , a project that just missed him escape. While the book by Margaret Mitchell is not yet published, an assistant in bed trials and subjugated, encourages the mogul to buy the rights. Few believe it will the insistence its used for O. Selznick yield to reason because once published, the book becomes a real social phenomenon. He then undertakes a race against the clock to find the funds (Selznick finally will partner to MGM for the budget) and the casting perfect. Indeed, in addition to dropping the gem to Scarlett O. Selznick must pass to be pay by Clark Gable MGM and Olivia de Havilland by Warner in the role of Melanie. The turmoil in the film itself also belong to the legend. Originally the film was jointly prepared by O. Selznick and his friend George Cukor, the first director envisioned. If the sensitivity of female Cukor worked wonders in all exchanges of spines beginning of the film, Selznick quickly finds that it is not the man for the job to communicate the strength of the epic moments provided.

Separation is rough (but should not interfere with their friendship, even while praising Cukor's triumph at the Oscars the following year) and it was the turn of Victor Fleming to take the stage. Great friend of Clark Gable, it makes it much more comfortable and gives the film the momentum he needed by his energy and roughness. Cukor yielded to the caprices of Vivien Leigh who constantly sought to soften Scarlett Fleming bullies mercilessly for it respects the character of the book (and script) for the result is known: an Oscar for best actress. Exhausted, Fleming will leave the ship temporarily, replaced a week by the modest Sam Wood before resuming his place. Wood, however, remain on the production to shoot some footage of a second team of a production that has accumulated delays and overruns. Even if he commits its share of error of judgments, the real driving force behind the project will be David O. Selznick. Passionate demanding and finicky, he constantly interferes in the authority of its directors (but found to talk with Victor Fleming) that flood of memos picky, often sound as ridiculous as the details. Aware of the draft standing there in his life, his energy (parallel, it also produces Rebecca Hitchcock) galvanizes a team on the verge of collapse. No offense to the French criticism on the definition of the real author of the film is him.

Originally of Gone with the Wind , there are of course the novel by Margaret Mitchell which will be the only book. Born in Atlanta, is a true child of the South rocked by the memory of an ancestor who lived through the Civil War (legend has it that the book was inspired by a diary found by the writer) and a mother walking often the remains of the fallen glory. True daredevil adventurer, she will challenge her time by being the first women reporters in the South and inject a lot of his fiery personality in that of Scarlett O 'Hara. Gone with the Wind is thus the story of the grandeur and decadence of the glorious South, wealthy and proud.

The force of history comes from the perspective adopted, namely the product most flamboyant and arrogant born of the country, Scarlett O'Hara. This is also the shadow of war and the indifference of the capricious heroine who opens the film. Two boys are seen from the back court to a girl while maintaining the threat of imminent war. Dolly while the two figures differ to reveal safe and disdainful of her charms Scarlett O 'Hara, who then expressed his deep contempt for the things of war and its suitors amount of maintenance subjects more fun.

The first part shows the South so legendary in the magnificence of a lost paradise, its people proud and confident in the future, his slaves happy in their condition and being treated well. This last point (and even then) wince as the roles may seem caricatures of blacks and the film is on a tightrope between the energetic and engaging interpretation of Hattie McDaniel (the first Oscar for a black actress in the key ) in Mamma and the much more problematic Butterfly McQueen replay the silly servants Duel in the Sun .

During the long preparation beforehand, Selznick will be wise idea to hire William Cameron Menzies on the film's artistic design. Visual genius, he has much evolved in the English productions of Alexander Korda (The Thief of Baghdad , the amazing film adapted from HG Wells SF Worlds future that realizes in 1936 and which was spoke in April on the blog) that later in Hollywood including Selznick therefore Duel in the Sun . He designs for Gone with the Wind elaborate drawings, an evocative power and a bombast that anchor the story in a mythological past blazing.

opening connects the visions so fabulous as the sequence where the shadows of Scarlett and her father are taking shape at the foot of a gigantic tree, a traveling back revealing what they behold: the imposing vastness of the area Tara where the servants are busy, bathed in sunshine glowing, announcing already the twilight of this world. The staging inspired by Fleming offers scope to all such moments, backed by the lavish photo of Ernest Haller (who replaced Lee Garms being film) and the unforgettable score by Max Steiner. This is offset by moments up more humane but running on the same idea as this sumptuous ballroom scene where the swagger of young Southerners alternate with the beginning of a love triangle between Rhett Butler, Scarlett and Ashley Wilkes.

After the Civil War began, it was again progressively lost the innocence of Scarlett that will reveal the apocalyptic visions of the conflict. Infirmaries unhealthy saturated mangled screaming in pain, Atlanta fire and sword to the impending defeat, the movie ose moments of unbearable cruelty reinforced by the bias of the monumental. The most striking moment remain the arrival of Scarlett at the station in Atlanta, where a crane movement offered the magnitude of the debacle with the Confederate soldiers wounded in the eye. In that hell may yet rise from the noblest moments, always colored by the ambiguity of intentions Scarlett: the pain of childbirth Melanie heroic flight from Atlanta into chaos and especially the kiss snatched from the Gable heroin loses the ironic distance flown so far for a declaration of love and violent passion.

Return to Tara now ravaged obeys an inverse manner to the opening. Desolation, misery and starvation to meet the opulence of yesteryear. Scarlett now would just aim to make their luster lost his land, the only thing that matters as he finally told his father in other happier times. Fleming reproduces the same camera movement as the beginning with only this time Scarlett guarantor of Southern pride. While his fierce figure stands under a scarlet sky, she screams the whole world that she will never again feel the hunger that the pincers, see the poverty that surrounds him. At any price ...

Gone with the Wind represents the collective unconscious (and we have seen the film or not) the quintessential expression of romantic cinema. Critics of this form of narrative, all that bombast is no unwelcome cliches and sentimentality of any kind. There is indeed a common obedience to the canons fiction classics in Gone With The Wind, but not the main couple. Ashley Wilkes (Leslie Howard) chimera which runs after love Scarlett represents the fragility, dreamy and poetic personality of classic romantic hero. His wife Melanie (Olivia De Havilland) is benevolence personified, a kindness and unwavering support for his friends and above all unconditional love for her husband and exclusive. We need all the conviction of his two interpreters characters (including Olivia de Havilland beautiful) not falling into the marshmallow harder. A recent film like Cold Mountain prefer emulate his heroes on the most reassuring Ashley / Melanie that the real couple in hell center of the film Selznick.

Once again, it is in the evolution of Scarlett throughout the film that we must seek the reasons for the romance (s) through the amazing brilliant performances by Vivien Leigh. George Cukor it will initially helped to find the right tone (he advice even after he left the shoot) of this detestable and Scarlett both endearing and Fleming will push its limits in order to explore its real shadows and do not make a conventional romantic heroine. So starting over on a whim to have been abandoned for another that clings to Scarlett pale Ashley Wilkes. He is a man who, despite low transparent and genuine attraction regrowth for fear of their different characters to marry his cousin in the gently more similar to hers.

Later, he will maintain the illusions of Scarlett for lack of courage by not telling him that he is really in love with Melanie. While avoidance and hesitation, it is the exact opposite of the more determined Rhett Butler. Once he saw Scarlett at the grand ball scene southerner, he literally undresses gaze and the first exchange between them (after she was gently pushed once by Ashley) will be worthy of the screwball comedy the most removed.

Where a son Ashley is a good family of transparent, Butler behind a turbulent past as a racer and unsavory player. Clark Gable gives all his masculinity, his poise and relaxation at this charming bad boy. He recognized immediately in the personality of volcanic Scarlett a woman of her caliber. This supported virility, strength of character that make it the ideal man for Scarlett, whether in the set pieces (the whole episode of the flight from Atlanta) where he seems indestructible, or so the underlying fact that it is the only man not manipulated by the film's heroine.

Beyond the historical aspect, or even romantic, Gone With The Wind is a great film about survival. Survival of a lifestyle, a part of an idealized past. That's what Scarlett clings through Ashley Wilkes or more interested in her second husband and finally Rhett Butler. To preserve his memory, no villainy will be too many, the most despicable being to marry the wealthy fiance of her sister. She finally yield to Rhett for his wealth (and its promise to renovate Tara) without realizing that it is the only man with whom she was never happy.

Heroes and pass the film to miss each other, the intensity of feelings for each other is never like the same time. This occurs when the most daring sequence of the movie where Scarlett finally discovers his feelings for Rhett. Tired of being again separated from his wife by the memory of Ashley, he grabs under the influence of drink to their room for what seems nothing short of a marital rape. Yet surprise when the following sequence where Scarlett wakes radiant, happy and finally in love with "her" man.

The film so far to balance narrative gives a little too perfect in its last third to the spate of adventures (several tragic deaths occur at a time too short) to widen the gap between Rhett and Scarlett has an eye-opener too late. The supposed archetype of the romantic film therefore ends in a magisterial rebuke to her heroine through this bitter exchange.

- Scarlett: "Rhett, Rhett ... Rhett, if you go, Where Shall I Go?" What Shall I Do? "
- Rhett: "Frankly, my dear, I do not give a damn.

is in this lack of compromise that the film finds its essence yet romantic. By raising for his monumental proportions by the framework consequences of mutual incomprehension, a failed romance, the film speaks to everyone. To those maintaining the resentment of the man who brought so much suffering to those who live in the memory of the loved and lost especially those living in hope never to regain an off day ...

It is on this note of hope that ends the film by combining this ode to the South to the power of narrative fiction. By Tara is the cradle of its strength and its origins that Scarlett will perhaps one day be able to find Rhett. An open ended fantasy and * among the finest in film history.

After all ... Tomorrow is another day.

* The inevitable result will also very late with the novel Scarlett by Alexandra Ripley Scarlett and adatpation mediocre soap opera in which Joanne Whalley and Timothy Dalton reprising their roles mythical.

Available on DVD Zone 2 French and recently reissued in a sumptuous edition for the 70 years of film .

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The next weekend (March 6), three runners Mazères Race Walking will be present for the 25th anniversary of a major regional meeting of the race on foot.

This test must see each year the cream of the Midi-Pyrenees athletes compete in international athletes on both events 10 km and 21 km.
Nito carry our colors on the semi, David R and Christophe on the 10 km. The course
fast but sprinkled with many ups is often synonymous with good times for very very many.

We wish good luck to our three champions!

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The Angel of Darkness - Edge of Darkness Lewis Milestone (1943)


Norway, 1942. The village of Trollness lives at the time of German occupation for two years now. But resistance is growing ... Involved in the fight against the invader, Gunnar Broggi, a fisherman, and his fiancee, Karen Stensgard, should exercise caution on the eve of a drop shipment of arms from England ...

Released in the heart of the Second World War, Edge of Darkness is not in half measures in terms of expressing a vindictive and exalted call to fight against the Nazi enemy. The story then plunges us into the drama of a small Norwegian coastal village under the yoke of German occupation of ruling with an iron hand on the small community. Under the apparent submission, however slowly rising fury against the invader and the screenplay (by Robert Rossen who adapts a novel by William Woods) very cleverly explores the conflicting emotions behind the Norwegian. National pride and hatred of the Nazis alongside therefore fear and cowardice very ordinary and understandable if not outright collaboration with an odious character as an entrepreneur. Its different forms is emerging through a range of diverse characters and psychology content searched despite the obvious propaganda film.

Errol Flynn is masterful charisma as a leader of the rebellion and even if it is clearly the hero melts into the skin of an ordinary fisherman member of this community. A modest and nuanced performance in which he excels because it does not stock mechanical inappropriately as Sabotage in Berlin previously mentioned. The scene or to avenge the attack on Ann Sheridan has been the victim is severely reduced due to the community is so wonderfully strong, especially when the camera scrolls over the faces all the more determined. Walter Huston as a doctor hesitated and then won the war fever is also fascinating, Ann Sheridan more one-dimensional fierce resistance also offers a solid performance but the whole cast is wonderful. Besides the Nazi camp offers the most ambiguous figures with John Beal lost who joined the German by weakness and will never be able to repair his error, Nancy Coleman as Polish submitted at the pleasure of Koenig camped with a perfect sadism by Helmut Dantine.

The film offers a slow rise dramatically when the village awaiting delivery of arms by the English for a massive attack to undergo all the torments. The narrative construction also invited to the black tone as the story opens with the arrival of a German army in the village devastated and littered with corpses leaving a flashback we discover the events. The heroes we are also presented from the point of having enemies when the Nazis converse on the most disrupting the community. The atmosphere suffers when a voltage of all the moments with this pervasive threat that can happen at any time. Having managed to really dedicate ourselves to this small community, Milestone does make the misfortunes and sufferings harder to which is the greatest asset of the film, emotional strength that goes beyond the aspect of propaganda and bellicose. Nazi atrocities are thus more and more outrageous is that humiliation is a sober and filming the rape trauma where the terrible spray grazing an old intellectual who courageously dare to oppose the theft of his house.

Conclusion war raging on the reaction of the village is a true outlet caused a massive audience empathy as Milestone was able to play this expectation. The Last Stand is one of the fiercest seen in a war movie this time, heroic and sacrificial moments overexcited, mass destruction in the whole mess with a rabies shot and a phenomenal virtuosity by Milestone (this approach when Flynn Nazi HQ in carts at full gallop and jump to throw a grenade grand!). This is very reminiscent Went the day well British film studio Ealing (Treaty in July on the blog) just as angry when an English village rose against underground Nazi invasion. Edge of Darkness is as hard and exciting in his ode to the struggle against tyranny, ending on a hopeful note, but just as t goes to war. Great war movie and a passing score dark and fabulous Frank Waxman especially during the final assault which he adorned with funeral to boost Wagner.

Released in Region 1 DVD from Warner in the box Errol Flynn already mentioned above.

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Walkabout - Nicolas Roeg (1971) Like a flood


Two young brother and sister are abandoned Western in the bush after the suicide of their father. Somehow surviving in the hostile desert, they meet a young aboriginal right in "walkabout", this wandering initiation ritual.

For his second film after the experimental Performance , Nicolas Roeg realized may be his masterpiece after this immense Walkabout. Adapted from a novel by James Van Marshall, the film from a simple premise expresses themes of great depth and express a range of complex and contradictory feelings the only formal power of his divinely inspired filmmaker.

After a short introduction to urban, so we are immediately plunged into the Australian bush with our two young heroes quickly delivered to them even after the tragic death of their father. Roeg typing method of entry with its hollow exchanges between father and children, the prevailing malaise will lead to tragedy is not feeling in words, looks and fleeing from the brutal strangeness rebound shot with a confusing installation.

's sister (Jenny Agutter) and brother (Luc Roeg's young son Nicolas Roeg) which we will never know the names then began a long wandering in the vast Australian outback to them at any point in their education as hostile to the city unprepared for such a trial. Sun, drought, panorama to the infinite horizon in the form of open prison nothing seems to be spared the unfortunate especially as Roeg films the bush as if they were on another planet. Hypnotic score by John Barry accompanies therefore a symphony of sensations expressed by the assembly (with many inserts on the strangest animal that is accompanying the march of the characters), providing color photography supernatural and the natural scenery and the sky Roeg achieving that gives as much beauty as threat framed under this outsized and we never saw before nor since then.

The hello happens then a young aboriginal (David Gulpill) Full walkabout, the tribal rite of passage where young people must undertake a wandering in the wilderness in communion with nature and seeking them Going back even transfigured and adult. Then evades the rules of any conventional narrative completely captivated in its illustration of the rapprochement between the two civilizations with a sense of peace and brotherhood.

's younger brother so puny a departure becomes tough to contact This aboriginal teaching him how to move, feed and protect themselves in this country with accomplice and a palpable imitation of them (the young boy eventually be constantly shirtless and sporting the ritual painting of his friend, that Aboriginal wakes up one morning and turns on the radio the most natural). It's the same with Jennifer Agutter who gradually loses her inhibitions (see this long swim naked in a creek), while the aboriginal slowly allows himself to win by a certain desire for her, both of which are magnified by the camera which Roeg craves the contact of their bodies young and supple.

The subject could also suggest a naturalistic staging and skinned, it is not. Roeg uses all the tricks available inherited from its past as an editor and cinematographer to make the experience constantly surprising and sensitive. Thus we find an assembly in the form of associations of ideas when David Gulpill completes the beast he hunted with a butcher inserts reproducing the gesture as if to signify its content universal for man to bring refreshments.

At another point when the boy decides to tell a tale of his knowledge in Aboriginal (who does not understand word) again short image page that will accompany the turn sequence. The film was barely 14 pages of script and gave free rein to events, the vagaries of nature and improv team and that liberty is felt in the vast breath that is all.

This happiness is fleeting and yet the differences will eventually cause an insurmountable gap. In the book, the aboriginal die having contracted through contact with an unknown illness whites of his body. Roeg give a more poetic this evil by making the mutual incomprehension and influence of whites instruments of the fall of the aboriginal carefree. After showing us the communion of man with his environment in the beautiful scenes of hunting, there is a massacre and for the free form of various animals by a group of hunter.

While aboriginal was based in nature and did not disturb the natural course of life (killing for food) the reverse of this sequence shows men killing for fun and leaving the carcasses to the vultures . Roeg a game on the speed of image editing and jerky shows the appearance of their intrusive and harmful act by breaking the contemplative tone going far. The other point is abortive romance between Jennifer Agutter and aboriginal where ambiguity is placed between a real rejection and misunderstanding because a ritual dance of love will be seen as a threat.

The conclusion echoes the opening and our heroine returned to a more urban line seems to express regret for the adventure and sense of freedom at that time, her eyes melting into the memory of an afternoon bathing. The poem A Shropshire accompanying the latest images voiceover reinforces the emotional images by highlighting their wonderfully melancholy.


Into My Heart an Air that Kills
From yon far country blows: What are
Those Blue Remembered Hills, turns
What, What are Those farms?

That Is The land of lost content, I see it
shining plain, The happy highways
Where I Went And
cannot come again.



One of the jewels of English cinema, what is called a masterpiece .

Released on DVD in region 2 French Collection Agnès B and for the most wealthy and English there is a magnificent edition in zone 1 Critérion