Brothers A young man escapes from the family, coming for a week to his older brother, a writer, who just as many years ago escaped from an overbearing tyrant father in order to develop creatively and fulfill his dream. Such is the plot of the film “Tetro”, named after the pseudonym of the same writer, a film of noir atmosphere and style, moving exactly to an incredibly strong emotional finale. Coppola plays with feelings, immersing in the realities of other people’s problems, playing an unusual turn in a completely predictable story.
The main characteristic of the film is its duality. It alternates notes of smoothness and evenness of events, with the presence of interesting and tense scenes, in this race of circumstances, the color is replaced by a black and white gray range and again jumps to bright and colorful memories, focusing on them special attention to detail. At the same time, in another part of the scenes, everything is so superficial that the author wants to reproach the primitiveness of the lines and the predictability of what is happening, and the excessive alien family scenes diluting the main storyline again contrast their emotional nature with the general coldness and grayness, again hinting at a certain duality of what is happening. Two sides of the same coin, or perhaps a valuable coin, are understood only to the denouement, where the power of the surging emotions is equivalent to the shocking revealed events. And you sit and think, yes - for this it was worth watching to the end, but the aftertaste is not as bright as you would expect, looking at the name of the director.
This same double manner is also evident within the plot. Tetro takes his brother extremely cold, and his girlfriend is very cheerful and joyful towards the young guest. And this is just one example, so as not to delve into each particular scene, looking for the details of the contrast, but this kind of mirroring events are here almost at every step.
Perhaps this is even the essence of the main black and white direction. Black and white, yin-yang, a sharp difference, but in each part there are intersperses of the opposite. And the film, like its director, deftly plays on all this, connecting the viewer's interest and his human feelings. Sometimes the difference of characters with common destinies skyrocket to such expressive scenes that you even doubt, and are the brothers the main characters really?
As a result, the drama delivered gives a certain playfulness, but at the same time looks with interest even despite its not small timekeeping. Coppola creates a viscous atmosphere from elementary improvised means, and immediately discharges it with elegant and light scenes, which does not interfere with the general entourage. The hand of the master creates still expressive and touching, but at the same time small scales do not give that greatness, and the film looks more passable than the desired guest of the home collection.
7 IS 10
Original