Personal films are extremely rare. Despite the fact that many talented masters who have made dozens of films for the studio in their lifetime, only not many, in breaks or on vacation, will begin to shoot their own cinema, where, in addition to their heart and mind, they will also bring their own soul, memories, thoughts, their own victories and defeats. So, in 2009, under the hype, in the distance from world cinemas, the drama of the six-time (at that time still 5-time) Oscar winner, the director of The Godfather, Apocalypse Today, and many other wonderful films, Francis Ford Coppola called Tetro came out. The film experienced a very difficult history - for several years the script of the picture was on the shelf (or rather on a laptop), and in 2007 - the year it was completely stolen from the office of the master. But as we can see, the picture was still shot, though not with ease, and now loyal fans, and ordinary people can appreciate the personal film of a living legend of cinema.
Angelo Tetrocini fled the family from his imperious father and great conductor to find freedom, namely to continue writing. A few years later, a large ship moored in Buenos Aires with Benny, Angelo’s younger brother. The elder, even when the plan of escape from the family was developed, promised that he would return for Benny, take him away, but now the younger sees a different picture - he and his brother are very distant from each other. Angelo turned into Tetro (a creative pseudonym) and has long been working on a play based on his own life. The curious younger brother, in the absence of the elder and his beloved Miranda, finds unfinished drafts and begins to immerse himself in the history of his family.
From the very first days of development of the project, Francis Ford Coppola said that he would shoot it as he wanted, without any modifications or hints. Coppola invites the viewer to enter the time machine and listen to his story as the director himself experienced it. The film turned out to be very stylish (the black and white color scheme is very good for the picture, and color inserts in the moments of reading the manuscript only enhance the effect of immersion in this difficult story). The script has been developed for many years, which may indicate not only that the project was really a hard nut, but also that the writer has long thought about how to connect his life with this work, giving it many memories of happiness and pain, about people who are no longer there. Would you agree that you could write a script about a piece of your difficult life and show it to the public? Same thing. However, with the setting and heroes, Francis Ford Coppola coped amazingly, because it was not necessary to invent much, because the maestro adds many details from his relatives to each image. Even he is not difficult to understand and recognize in the script, his thoughts, his words, his rage, slowly fading with time. It is worth noting the fact that not only the picture of black and white and color fight for dominance over the moments, but also the characters themselves - Tetro always walks in a black jacket, a black jacket, while Benny sympathizes with white - a white suit on the ship, a white jacket near the end of the film. The script is the most excellent, which should rightfully be called nothing but “the basis for a personal film”. Michael Malaimer Jr. shows excellent camera work, and I would not be surprised if the director himself said what to emphasize in one scene, and what to beware of in another, but the operator works slowly, shooting not only landscapes or views from the apartments of the heroes, but also how the characters see a particular moment (of course, in most cases, it will be Benny). Very soft music composed for the film composer Osvaldo Golikhov. Take at least the main theme of the film - it hides a secret, some kind of mystery (however, as in the tape itself). The music is very different, but sad notes are more prominent, which supports the specified “dark” tones. A tone of sadness. Tone of sadness.
In such films, the acting is very appreciated - she is here at a height. And then Francis did not skimp on talented actors, having recouped his expenses if not financially, then very strong work of actors - Vincent Gallo could perfectly pass for a psychopath obsessed with creativity, but with every minute his hero reveals himself, fills with life, and his speeches give the viewer to understand that Tetro is not mad, although certain notes of suicide in him there, he just does what he loves, but at the same time Alden Ehrenreik, playing Benny becomes a real screen brother, trying to help the elder to find himself, even though he does not need to make it quite popular. The Spaniard Maribel Verdoux is a bridge between two brothers, helping both one and the other. A very high-quality, convincing, real game of actors who you want to believe, you want to worry.
The film was presented at several film festivals, but did not receive awards. The exception was the Spanish “Goya”, nominated Maribel Verdu in the category “Best female role”.
Total:
“Tetro” is Ford Coppola’s most personal film, made on his own money and independent of major film studios or major producers, made only as the master wanted to make it. The Oscar-winner doesn't care about critics, he literally says: No, gentlemen, I don't need your work. I make my own film, and in this case the critic is only myself. A great film that is worth not only watching, but feeling, plunge into the atmosphere and melt in it. A little later, about this style will be filmed the picture of Michael Figis “On the verge of doubt”, but it will be perceived in bayonets not like “Tetro”, but simply torn apart. The film should be recommended only to true fans of the work of a wonderful director, as well as ardent fans of independent cinema. Please don’t disturb the rest!
Thank you for your attention and pleasant viewing!
Humans and commas have remarkably similar problems – both are often out of place. A logical question arises, how often do people who are dissatisfied with their own lives awaken an invincible thirst to arm themselves with a toothbrush and burst out of a boring cobblestone majestic house, where eyes look - towards the horizon and the unknown universe, where unfulfilled dreams await their time? Here Francis Ford Coppola, having parted with the shackles of obligations and finances that promised film studios, decided to independently first form the script, and then convey through the prism of the screen a single vision of the problems of finding your “I”, flavoring the result with the original title “Tetro” – by the name of the protagonist with the unforgettable face of Vincent Gallo.
Nine years have passed since Angelo broke out of the care of his imperious father-composer and went on a writer's sabbatical, swapping New York's comfort zone for the passionate Buenos Aires. Now his name is Tetro. He works as an illuminator in a local erotic theater, and on free evenings he shares family coziness with Miranda, a Latin American Ava Gardner. And the book rested unfinished manuscript in anticipation of a bright future. And one day it, a bright future, was painted with forgotten colors of the past, when the little brother Benny, who escaped from the house, appeared on the eve of his coming of age on the threshold of Tetro’s apartment.
Benny does not recognize the callous nihilist, juggling unabashed brotherly feelings, the former Angie, whose letter nine years ago is still stored in his inner pocket. Tetro, like black coffee, is strong in words, bitter in deeds. Benny, by contrast, is a naive child obsessed with romance and a love of travel. But in life, as in black and white cinema, there are only dark and light tones. The most intense black color can be brightened - just dilute it with the colors of the past from the autobiographical manuscript, which Miranda's efforts fall into the hands of Benny.
Despite Coppola's stated continuity with the cult "Fighting Fish", "Tetro" has its own road. And it lies away from the street life of offspring from dysfunctional families. Now in fashion the art and halo of such an undiscovered genius as Tetro-Angie. Vincent Gallo is no stranger to complex characters who want to burn their past like a disgraced photo album. In his Angie, there is a clear connection with Billy Bryne, the hero of Vincent from his own production of Buffalo 66. A classic loser living in a staged world where he is the protagonist named Tetro. The image was so powerful that it left no chance to stand out neither the inexperienced Alden Eyrenreik, whose Benny was remembered for his exceptional similarity with the young DiCaprio, nor the sultry Spaniard Maribel Verdoux as Miranda.
But from the visual side, “Tetro”, on the contrary, justifies the reputation of the spiritual heir to “Fight Fish”. Both films are shot in black and white with episodic patches of color. Only if the role of painted frames in Fight Fish was limited to stylistic reception, then in the case of Tetro everything is much more interesting. Once the frames of the present give way to flashbacks, clarifying the details of family secrets, as the gray palette is torn by a stormy surge of colorful colors, which naturally ripples in the eyes. The uncomfortable effect is interesting in that it makes the viewer feel Tetro’s desire to cut off any ties with the past in his, so to speak, experience. At the same time, the director skillfully operates with the specifics of the black and white range. So, for example, the bed scene looks damn stylish precisely due to shadow camouflage. Shadowing the most intimate places, the bodies have not lost their erotic charm and appear in all the noir beauty. In addition, this technique made it possible to do without a false stereotype with a blanket, which sanctimoniously would cover a woman to the throat, and a man to the waist.
Do not occupy the senses of Coppola style and in the entourage. The director does not hesitate to use the South American atmosphere, seasoning it with impulsivity characteristic of those edges. Buenos Aires is not just a massive scenery, it is a whole life south of the equator. Grumpy couples do not shy away from clarifying relations in Spanish in the whole district in plain sight. Little-known regulars of cafes in narrow alleys panibratically start a conversation, exactly familiar, at least a hundred years. And behind the scenes lulling and softly resonate the strings of acoustic guitar. This fabulous place is infinitely far from the criminal reality, but watching the result, I want to just take and speak Spanish to stay in this city forever.
In short, falling in love with Tetro at first sight will not be difficult. It is much harder to keep warm feelings when it comes to storytelling. On the one hand, it is not devoid of versatility, and each new round, revealing a new mystery to the viewer, forces to revise the known details from a different angle. On the other hand, the more actively Coppola thickens the colors, the more the history of the relationship of the creative family is corrupted to a frank farce in the spirit of soap operas, and the finale to the title of the worst allusion to Star Wars. And the question "Why?" clearly comes only one answer "so wanted."
Coppola, as a director, has long crossed the line when for the sake of proof of his genius it is necessary to smash his forehead against the wall for the fun of studio bosses, magazine critics and ordinary viewers. But in the production of films, as in a fight, you need to have a heart to fight on the verge of risk with fire and acne in the eyes. Otherwise, the film risks turning into infantile jelly, which partly happened with Tetro. Francis may be tired, or he may be tired. But much more likely, he elementary achieved his dreams and, as a retired millionaire, is content with filming for his own pleasure. In life, it happens – you never know where dreams will lead and where a toothbrush paired with a comma will finally find its place. But it doesn't make us any better.
A complex, stretched film; its problem, like the problem of any author's film, is a couple of theses that the director has to say, it deliberately veils and complicates. Therefore, we have to think a lot, despite the fact that the plot twists themselves, if really taken from their own biography, probably represented much deeper and more unambiguous emotional shocks that do not need to be deciphered.
Vincent Gallo and Alden Ehrenreich at the same time played great, but on one type of two leading actors it is difficult to leave in such a long film.
5 out of 10.
A movie you watch trying to capture every moment. Like when you speak in a quiet and melodic voice, you listen to hear every word.
This is a story about two brothers, a father and a son. A young writer and genius who has not written for a long time. But the storyline, the acting and the black and white picture are not that important. This is a film, brilliant in its simplicity, absolutely honest, sincere, insanely beautiful. Autobiographical, inspired by life and inspiring to live.
An unfinished story. Exposing the soul, it is difficult to go to the end. And the author of the film could not answer the questions posed by him. The ending was not in the book that Tetro wrote, there is no final in the film.
Questions have been asked and life will tell the rest. And now you know that the main thing is not to look at the lights. Don't burn. Don't catch fire.
Every family has its own secrets. Innocuous or not – this is what is called privacy. Like each individual, he has his own story, about which outside observers do not know and about which he will not tell a word. This is a book written in pencil. It seems to exist, it is material and meaningful, but the letters in it are barely distinguishable, the text has no material form and will never be published, because it is not just a plot - it is true, but sometimes, we do not want to look it in the eye.
This is exactly the book Tetro is writing. It has no ending, because the story is not over yet. Someone has to put a stop, but not Tetro, he's too emotional, too lost and broken, he doesn't know what the finale should be. But Benny knows. To spin this story once and for all, to learn the whole truth, and finally to be free is what he wants. The book must be completed, and if Tetro cannot do it, it must be done by someone stronger than him. Benny, a man who wants to have a family for what it is, wants to get rid of secrets he's tired of. He's a little naive, but also very wise. He is willing to face the truth, if that is the case, he is willing to accept it.
Several times Coppola shows us scenes from the Capelia, the story of a puppet who obeys the puppeteer. Tetro was also involved in this game, he was led. Benny and Miranda, never. They remained steadfast, they remained themselves and were honest. They did not create secrets, but they were the only ones who dared to reveal old secrets. So we all keep our secrets, harmless and not so, beautiful and ugly. And it's up to us to continue this game or to let them out and free ourselves. There is always a chance to move forward, but will you? It's our call. And if you have the courage to decide, even the mistakes of others can be corrected, and the family will again become a family in which everyone loves each other, in which there is no rivalry and no secrets.
10 out of 10
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