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 CINEMA :Les blessures narcissiques d'une vie par procuration
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CINEMA :Les blessures narcissiques d'une vie par procuration

VIP-Blog de tellurikwaves
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  • Créé le : 10/09/2011 19:04
    Modifié : 09/08/2023 17:55

    Garçon (73 ans)
    Origine : 75 Paris
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    ©-DR- LE JOUEUR DE FLUTE de Jacques Demy (1971) fin

    01/12/2014 05:02

    ©-DR- LE JOUEUR DE FLUTE de Jacques Demy (1971) fin


    ...and out into the dawn meadows with the children

    His enchantment of the children occurs as a direct reaction to Melius’ imminent immolation. We don’t see where they go; some fairyland equivalent of Gavin and Lisa’s garden, perhaps. But they go there full of joy, singing and dancing. And anywhere is better than this world, it is suggested. Franz, supervising the execution, hears the flute’s dancing pastoral melody drifting off in the distance, and feels an instinctive loathing for its light-hearted, optimistic airiness. He drowns it out with a music more in tune with the world which he intends to build with his commercial and ecclesiastical allies – the uniform, martial beat of his guards’ snare drums.

     The pre-final credits historical summary, setting the film in context in classical Hollywood style, looks forward to the atrocities of the religious persecutions and inquisitions to come, which Melius’ execution anticipates. With the statement that they would ‘remain without parallel until this century’ we are brought into the present, and the contemporary relevance of this fable is made plain. The bowl of the guards’ helmets has a stormtrooper curve, with horned metal spikes at the sides giving it an extra satanic embellishment. The execution of Melius’, the Jew, and the suspicion cast upon the players, who are referred to contemptuously as gypsies, bring to mind Nazi genocidal murder and the repeated demonising of outsiders and ethnic groups as a verminous ‘other’ throughout history.

    The chaos which descends on Hamelin at the end of the film, with people leaving on wagons piled high with their belongings, also brings to mind the mass displacement caused by warfare, ancient and modern. If the piper has led the children away from the world until it is a fit place for them to live in then, Demy suggests, that world has not yet come into being. In some ways, then, this is another 70s film about the failure of the 60s countercultural dream. It’s a sobering conclusion to this brightly coloured fable with a heavy and brooding heart.






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