The doctor said that the furniture can be repaired
“Art is a thought for which there is no other form in the world. There are no words, no images, Jack tells young man Andy. After burying his father, Andy travels around the country as an assistant to Dr. Fiennes. A lover of lobotomy and shock therapy, Wallace Fiennes once treated (if you can use this verb) Andy's mother. On the screen – a slow and sticky road movie, as if emphasizing the cooling of life at the edge of civilization – here, in special hospitals away from large and boiling cities, a doctor with something like a knife for picking ice in his hands cools to ice temperature the souls of patients overheated by civilization.
Andy captures what is happening with the old Polaroid while the director captures Andy’s always gloomy and tense face. Medical changeable fashion drives Fiennes to increasingly remote places, hidden behind dense forests and mountain ranges. In this journey through the periphery of the world, there can be no special purpose obsessively dictated by the youthful mind. Andy’s mind clumsily puts in one row a beautiful picture in his father’s house – the shore of a lake and a mountain against a stormy sky – with a cheap picture in Jack’s house with a childishly painted ice cap of a peak surrounded by forests. Another attempt to build a bridge between past and present life comes across the face of the patient, which Andy embraces with his hands, like the face of his mother. But the end of the bridge—the future—is hidden from Andy in the natural metaphysics of the eternity of the soul. “Where are they going?” asks the young man of the boss, according to Andy leukotom knocking the soul out of the mortal body in the best places.
The three components of Andy’s bridge of life – a picture, a picture and a thing – pop up in Jack and Andy’s dialogue about the painting on the wall: “It’s not a mountain!” It’s a painting, Jack explains, while Andy can’t remember whether the picture or painting belonged to his father. “Family as art, as a unique painting created by two people, and there is no other like it in the world,” he said. His observation of the world with a camera in his hands is like a picture. And going beyond this picture in the voice of his mother calls Andy to the true reality, where he will find the ontological existence of the thing. This order of things was laid down by Dr. Fiennes, reducing the uniqueness of the individual to neutrality and bringing the soul to the place where Polaroid does not work. This order of things Andy eventually reproduces.
Even all the emotionality of Jack (actor Denis Laban, as it turned out, did not improvise in the dialogue), all his artistry and ability to instantly switch from English to French (as if mocking those who have already lost the connection between different parts of the brain), all this work of art of the human person does not affect Andy and does not lead him out of the way over the bridge.
“Mountain” is a pure example of postmodern rhizome, in which of the three constituent images – a mountain, a mother and a hermaphrodite – the mythologem of androgynous humanity grows bizarrely, with the radiance of a lost snow-covered peak towering above today’s civilization in the face of an aging Jack. That's just this myth leads into the past, and the mountain should be directed with a peak down, and Andy - to show walking back across the bridge in the direction of the womb. In the end, the pace of “Mountain” would have to slow down even more – it is incredible how many strings of rhizome can open in each new second of the next appearance of the image on the screen.
7 out of 10
Original