Another look at the sky of Austerlitz, this time from the opposite side Abel Hans' film "Austerlitz."
A large-scale historical canvas, a spectacular costume film, but thoughts when watching it, like the thoughts of Prince Andrew, for some reason do not arise. And there is no hint of the eternity and frailty of human existence, increasingly prosaic and mundane. The characters of the film speak for a long time, prove their rightness, justify themselves to each other and with a clever expression of their face make the appearance of something known exclusively to them.
Until we see the battle, we will witness Napoleon’s relationship with his entourage, his women, and his family. All this action will be seasoned with a fair amount of irony, both in relation to the characters of the film, and in relation to the audience watching this spectacle from the outside.
Then we will witness a coronation more like a farce, and it is still a long way from battle. However, the battle will disappoint, for all the entertainment, the heroes do not really believe. Somehow they do not fit into the scenery, and the scenery against the background of extras does not look very much.
The aging director wanted to make another film about the old days, wanted to talk about them with his usual nostalgic awe. Time dictated other times, other idols. Yes, and the terms apparently tightened, and the money was tight, and the strength is not the same as in his youth.
And it turned out, not exactly what I wanted. But I’m not saying it was bad.
Everything flows, everything changes, and life goes on. What was important 200 years ago is now the plot of a beautiful film. Someday in two hundred years, maybe they will make a film about our time. Where the spectacle of a beautiful picture reliably hides our pains and joys. There will be only a bitter irony that may not even be understood.