The Dardenne Brothers, The Last Humanists of World Cinema (Part 3)
About the work of the brothers Dardenne first learned from a friend who in relation to the “Son” said: “Here the man half the film sawing the board”, – which, of course, was not true. After all, although most of the action of this outstanding picture unfolds in the carpentry workshop, but it is not limited at all. The directors showed themselves in “Son” real geniuses of subtext: an incredible array of implied and unspoken and forms that indescribable suspense, which is mostly absent in other directors’ tapes. The Dardenne brothers have never filmed thrillers, and even “Son” is a thriller only in form, in content it is no less than an almost Old Testament parable. The directors themselves in an interview about the film said how important here is such a detail of Olivier’s clothes as a belt (or bandage), which they compared with the verb “to gird”, which is replete with the Psalter.
The belt in the Holy Scriptures symbolizes self-control, endurance, courage, because this is exactly what, if you think about it in essence, the whole “Son”. The main character Olivier Gurme shows himself in an emergency, first committing illogical actions, but when the plot gradually clears up, a real man, full of restraint and self-control, not allowing him to eventually commit a rash act. At the same time, we have before us a religious parable about God the Father, who, after the murder of his Son by mankind, not only forgives him, but also adopts him. The “Son” of the Dardennes brothers is about the all-consuming power of mercy, the allegory of Divine action in human work.
It is thanks to the fact that we see one thing in the film, and feel and imply another, in no way hesitating to believe Olivier’s good actions, that the incredible psychological tension persists in “Son” for almost an hour and a half, which likens it more to Hitchcock’s cinema than to the socially accented cinema familiar to the Dardennes. Compared to Rosetta, The Son is a blatantly antisocial and apolitical film, but with a serious existential nerve pulsating in it: eternal questions have always cared about the Dardennes brothers and much more than is commonly believed, just this must be seen behind the tinsel of anti-bourgeois criticism, which first catches the eye when watching their tapes. It is no coincidence that in his next picture “Child” Dardenne will further exacerbate existential conflicts, testing the strength of family ties by surrounding troubles, which is their constant theme.
After all, in “Son”, as in “Promise”, and in “Rosetta”, live interpersonal connections that arise between casual acquaintances are sometimes stronger than relatives, which forms a constant paradox of human life. “Son” is a filigree thought out and brilliantly executed picture, largely due to the fact that the colossal subtext here is the result not of abstract allegory, about the skin of felt emotions, genuine events, thoughts and actions. The viewer literally in every scene feels that the subtext here is not far-fetched, that it is not the fruit of abstract work of the mind, but the result of the feelings restrained from the last forces of male self-control. It is this impression of “The Son” that makes it one of the greatest existential and not least religious dramas and even tragedies of modern cinema, elevating it to the rank of outstanding achievements of world art.
They make directors their film. By maintaining tension close to the majority of viewers in ways - moral choice stretched over time - not driven by circumstances and the stress of being in circumstances that caused great emotional pain - the loss of a loved one. And all this against the background of the Benilux "deep" both geographically and socially. Moreover, by making a “cut” of society, the authors do not continue further manipulation (in the subtext – actions, not hidden management) with the bare truth – and the reflection of this reality on the screen is very well conveyed and decorated, including “live” shooting – the reality of everyday life of ordinary people, like a prosperous country from the list of the notorious “golden billion” can not but make even the terry apologists of the market think. So the authors do not investigate the causes and consequences of the depicted on the screen and derived speculatively from the same video series - no, they offer another spiritual remedy - the forgiveness of the victim of their executioner and the formation of both on the right path in society. It is not quite possible that personal experiences are transferred to the help of society, and the fact that the penitentiary system has worked - this can also be the case. But the fact that these two lines converged at the same point in time-space is a stretch. A smaller owl of the scenario could be drawn to the globe of Jupiter-reality only if the inconsolable father deliberately intended to make the criminal kind members of society, and the teenager who realized the depth of his own fall himself came to the parents of the person he killed with the intention of paying for their loss with his presence.
Why is the situation shown, although it has the right to exist, but is a far-fetched response to the social conflict claimed by the film? Yes, after all, the characters of the characters and the external environment conducive to such a choice of actions of the characters are extremely dotted. Among the characteristic features can be noted the words of G. about the need for his work for difficult adolescents and his daily "squeezing black" physical exercises. About the boy and even less said - takes pills and wants to get the profession of carpenter.
On the basis of the above, there is a feeling that by revealing to the audience the realities of life in Belgium, the authors imply something else known and understandable to the people themselves who are in these realities and outsiders not understandable and cinematically not shown, missed.
6 out of 10
A good film to think a little on the director’s topic, not more.
I write a neutral review because the film is neutral. Immediately in the annotation the plot is prescribed and in general the main idea and message can be considered. Therefore, the discovery of a large one does not occur. I wrote about this in the title of the review to think a little. This film does not hit the head, does not cause irritation, a little awakens feelings, thoughts on difficult topics.
It seemed interesting camera work, the feeling of presence, shooting the main character from the back, from the side, as if you were going with him in the same car in the next seat. The colors are nice and appropriate.
Very detailed and consistently filmed all the actions of the hero, if he goes, we are shown how he will dry out, comes to the car, opens the door, starts the car, moves, goes, goes, goes. Arrives, stops, opens the door, gets out of the car, etc. I suppose what has been done to achieve in the viewer a sense of the reality of what is happening, the truthfulness of the story, in its everyday life, similarity to what is in the usual actions. It really helps, but I think you could limit it to one or two scenes, but not as many times as it was in the movie. I think it's a little too much.
The acting is convincing, but not bright, not brilliant. So I don’t even know what else to say here. Probably the best played by the boy who was released from the colony. It causes pity and desire to take care of him. At the same time, it makes a repulsive impression. I think how the director’s idea worked, too.
I can’t recommend this movie because I don’t really know who and why it will be interesting to watch it. It seems to me that there are many more powerful works that deafen the impact on various complex psychological and philosophical topics.
7 out of 10
In their third feature film, the former documentary filmmakers Dardenne brothers unexpectedly move away from his favorite theme of capturing the joyless life of the lower strata of society and focus on the fate of one particular character. Olivier is a Belgian carpenter whose young son was accidentally killed in a robbery years ago. Since then, the life of the main character has changed dramatically: his wife left, the apartment was empty, and he himself was completely immersed in work, teaching carpentry to teenagers who served in the colony. However, the usual order collapses when a new student appears on the threshold of the workshop - the same boy who once took the most expensive from Olivier.
After the stunning success of Rosetta at the last Cannes Film Festival of the last century, where no one known Belgian directors received the highest award, bypassing their more venerable counterparts in the workshop, the new creation of the Dardennes brothers was expected at least another strong acute social statement, at most – the next “Golden Palm”. The Belgians, instead of making another pseudo-documentary about the hardships of unemployment, gave a chamber story about the torment of forgiveness, wrapped in a detective thriller. Despite the fact that the identity of the killer opens in the first 20 minutes of the tape, the viewer until the very end will not be able to predict the outcome of the seemingly familiar plot.
The directors were able to achieve this effect by completely building the action of the film around the personality of the main character. The delightful Olivier Gurme, who plays the whole picture with one back of his head, has so masterfully reincarnated into his character, devoid of any emotions, that his every act is interpreted in two ways. Why did he hire his son's killer? Why is he stalking him on the streets? Has he really forgiven or wants to win over the boy so he can take revenge? None of these issues will be resolved until the end, as Olivier’s face remains surprisingly expressionless throughout the film and avoids contact with the camera that always follows him.
The Dardennes in this story appear only as cold-blooded observers. If in previous films they allowed their characters emotional outbursts and even encouraged improvisation in the climactic scenes, then in “Son” they have each character acting strictly according to the instructions, each gesture is honed, and the simplest things in the frame acquire special meaning. Undoubtedly, the biblical parallels have not disappeared from the minds of the brothers, and here they, as in Rosetta, are easily guessed, for nothing that the profession of the hero is clearly emphasized. However, the path of the cross that Olivier goes from the opening to the final credits, this time looks too smooth, cleared of any external experiences to elicit a hot response from a sympathetic viewer. And in this, the directors lead us to one simple but monumental truth: it is much easier to feel sorry for a person who suffers, falls and weeps in frenzied repentance than it is for Jesus Christ.
I am writing about spiritual realism in art. I started watching movies about miracles more often. The introduction of metaphysical space into human lives and days. On the flowing of our reality with unearthly light.
I recently watched Proshkin’s Miracle. But for some reason, while I was watching, I was thinking all the time. It shouldn't be. Immediately other mechanisms of perception should be included: thirst, tears, trilling of the soul, prayer... I didn't get it, did I?
I watched the Dardennes’ Son today. And it is obvious that she experienced the dizzying closeness of God.
The film is meek, brief and simple. One boy died, the other is alive. An adult must forgive his life. To understand, to accept, to give, to give... Unobtrusively, without the rudeness of moral teachings, without the fogs of mysticism and metaphysics (faith is the evidence of the invisible!), the very Plan of Salvation is drawn. So infallible that the film can easily be called an illustration to the ninth word of John’s Ladders. Because it says everything about pardon. And about mindfulness too.
I will show a few “ladder” truths; in them, in my opinion, the whole content of the film:
Memory is the fulfillment of anger, the preservation of sins, hatred of truth,
The destruction of virtues, the rust of the soul, the worm of the mind, the shame of prayer, the suppression of prayer, the alienation of love, a nail plunged into the soul ...
You will not know that you have completely rid yourself of this rottenness when you pray for the offender, or give him gifts for evil, or invite him to a meal: but when you hear that he has fallen into some misfortune of soul or body, you will grieve for him as for yourself and weep.
Some have undertaken labors and exploits in order to receive forgiveness; but a man who does not remember evil has preceded them. Let go of little and let go of much (Luke 6:37).
There's a moment in "Son." Olivier’s ex-wife faints when she learns who he communicates with, who he fiddles with, who he helps. And for many of us, faced with this situation in life, it would look wild. From the outside.
But mercy does not know situations "from the outside." It is in the short formula "about him as about himself," as about his son.
It's beyond formulas.
Throughout their careers, the Dardenne brothers have essentially made the same film about how circumstances affect the moral choices people often make. In "The Son," it's the dilemma of a father facing his own son's killer. Olivier Gurmet was awarded the silver branch in Cannes for the best male role, and the ecumenical jury noted the Christian nature of the picture. However, religious selectors can award the Dardenne brothers for all films at once. Apostles from the cinema are tirelessly promoting repentance, redemption and forgiveness of sins.
In "Son" the main character Olivier for many years teaches carpentry young guys from disadvantaged families. For them, he is more than a master who helps to understand the intricacies of wood processing. Feeling responsible for these guys, Olivier is keenly interested in what conditions they live in and often helps with practical advice. By giving them a profession, he protects them from the criminal path that children from marginalized families often take. One day, Francis, who has just been released from prison, enrolls in his school, and Olivier recognizes in him the murderer of his own son. Guided by an unconscious array of feelings, he takes the guy as an apprentice and has been following him ever since. What's going on in Olivier's soul is anyone's guess.
In The Son, the Dardenne brothers’ habitual manner of filming (they always work with the same cameraman, Alain Marcohen) takes on real meaning. The camera does not lose sight of Olivier for almost a second, only when it is necessary to focus on the object of his attention. The ubiquitous Marcohen, at first glance careless, masterfully captures Olivier’s physical and emotional movements, turning him into a kind of mystery ever since the true nature of his interest in Francis is revealed. “No one does this” – after a slight fainting, his wife concludes, finding the guy in his husband’s car. Olivier agrees, and all this chaos in his soul is conveyed through the image. If this film had been filmed differently, Olivier’s mental rushing dynamics would not have been visible at all. And if you compare with “Rosetta”, much more mobile, which is inherent in the character of the heroine from the previous film of the Dardennes, “Son” can still seem visually aesthetically dramatic.
The most important thing about The Son is that the Dardenne brothers finally, without hesitation, clothe the film in an ascetic parable form, almost biblical in content. Of course, the directors do this trick with didactics in each of their directorial work, but it is in the “Son” that the plot itself is built according to the corresponding canons of a short instructive story about forgiveness. Too pretentious for a mid-range director, but just right for the Golden Palm holders, and that's what I think makes the picture one of the Dardenne brothers' best.
The Dardenne brothers are one of the leaders of modern independent cinema. However, they are little known to the general public, even unlike many of their colleagues. Apparently, the point is that they prefer truth to provocation, reliability to plot, independence to commercial success. And they are known mainly in Western Europe. In fact, in Christian Europe.
Here comes another feature of the Dardennes - their traditionalism. At least in "Child" and especially in "Son" they preach traditional family values, adjusted for the political correctness of modernity. However, in "Son" they also demonstrate the ability to handle symbols and build puzzles. The story becomes clear only to the end. The game is only getting closer to the end. Finally, the direction becomes clear for the final. Focusing the camera on the main character required confidence in Olivier Gurm and courage from the filmmakers. Despite all the novelty of the reception (quite often the main character did not leave the camera), in modern conditions it was quite extraordinary. Gourme doesn't fail. The game is entirely based on nuances. The explosion of emotions occurs only in the final. What, intrigued enough with the ending? But he's not the only one worthy of attention. Let’s go back to the details – the name, which refers to the Gospel, also sends the profession of the main character (charter, carpenter), students ... The Cannes Ecumenical Jury Prize. How can we overcome our archaic desire for retribution and walk the path to repentance and forgiveness as true Christians? Perhaps this is a leisurely, but authentic and emotional story of the Belgian brothers. The main thing is to wait until the final. So be patient, and intellectual pleasure is in your pocket.
9 out of 10
In the workshop for vocational education, where the carpenter Olivier, arrives a new student – 16-year-old Francis, just released from prison after serving time for murder. From the documents, Olivier learns that the newcomer is the same killer of his baby, who died in a robbery five years ago.
Unaware that his secret has been revealed, the unsociable teenager begins to reach for the teacher. And he is only suffering more and more from not knowing what to do. The inability to answer unequivocally whether forgiveness or revenge will win keeps both Olivier and the viewer in the dark.
The Dardenne brothers, who received the Palme d’Or for Rosetta three years earlier from the visionary David Cronenberg, this time more than pay for it, offering a story about the painful process of choosing the right one.
They again profess asceticism of style - a minimum of expressive means: a light hand-held camera (as in Rosetta) literally follows the main character on his heels, and therefore often removes him from behind, from the back, almost breathing down the back of his head. They completely remove music from the soundtrack, limiting the color range to faded, natural tones, and are engaged exclusively in observation, that is, what documentaryists (and the Dardennes began as non-players) associate with authentic cinema.
The characters do something with their own hands, for real, without any cheap imitations. Olivier clamps the board in the clutches, measures the distance, scores a nail, corrects the student, goes to another student and so on. And so broken half an hour, no explanations, on the plot level - only omissions. At the same time, in a strange, incomprehensible way, a suspense arises: all the increasing expectation of something completely bad, although in the workshop they do not make coffins at all, but only stools.
The authors remain silent as long as possible about the motivations of Olivier’s nervous behavior. Actor Olivier Gurme embodies the favorite texture of the Dardennes - puffy, nondescript, not changing facial expressions (as in the case of exactly the same "uninteresting" one). Rosetta - again acting prize at Cannes for best role! It hides more than it shows, and it doesn’t simplify anything. Therefore, when you watch him drive a nail into a wooden block, you realize that in fact he drives it into himself.
The “Son”, consisting as it were of nouns and verbs, sharpening his glance at the simplest physical actions, speaks exclusively of the soul and spiritual problems. And only then you begin to guess that this film is deeply religious, and only then you notice the carefully disguised Christian symbolism. If you read sermons from the screen today, it is only as the Dardennes know how to do it – in the form of a veiled parable.