The Anatomy of Love at First Sight What did you bring from Italy?
- Leftist ideas.
- You should have brought someone who loves you.
Claude Lelouch is a truly brilliant film director and a very talented person. Only such a sinophile and life lover could make such a bright film, motley as life itself. At the same time skillfully alternating - color and black and white image, energetic songs by Gilbert Beco and melodic music by Francis Lay, fictional stories of different people and real facts from his own biography. Yes, finally, in the main character, the features of Lelouch himself are easily guessed. As if teasing film critics, through the prism of his worldview, he rather wisely philosophizes on topical topics (politics, religion, racism, sex, money and happiness). Because of this, the film, you can almost disassemble quotes. Of course, there are those who can call the picture too politicized. But landmark historical events and countries here serve only as a backdrop for the only value of our world, which is love. It is this muse, in all its manifestations, that Lelouch invariably sings. Men and women are eternal, and this topic will never get old. Neither in the days of the Lumière brothers (where it begins, and all cinema in the world) and until the 2000s (when happiness will be discovered).
A man must be a man, not a politician. A person should encourage friendship, love, activity, and political views encourage only lies and money.
Claude Lelouch himself, unknowingly, was ahead of his time back in the 70s, creating a universal intergenre “mixture” that makes the audience not only have fun, but also think about many important things. Lelouch himself called his style “a spectacular author’s film”, which is why he was so disliked by film critics, accustomed only to the strict framework of a particular genre. But no matter what, Claude was always an innovator, he was alien to rigid frameworks and conventions, and he was never afraid to share his view of the world. I must say, as in any author's film, in this film for Lelouch, there is a lot of personal. This is the profession of the main character (as well as the author himself, who began with advertising), and Leluz’s favorite number “13” magically present in the frame (the number of the prisoner’s cell, the number of the advertising festival and even the number of the cracker on the set). Very indicative, as the episode with a caustic remark to read in prison magazine "Kaye du Cinema" (more than once, completely without exception branded all the work of Lelouch), and the episode with a lone audience in the hall, calling the film fascist, but failed to explain what it is (hint to the critics nicknamed the fascist film Lelouch "Adventure is adventure"). I am not talking about the presence of numerous friends of the director in the frame (Charles Gerard, Gerard Cyr, Arlette Gordon, Eli Shuraki, Pierre Whitterhoven, Francis Lay). But the main thing is that the master remained true to himself, an intuitive mixture of themes and styles, which created a stunning two-hour canvas, only for one moment of love.
Be true to yourself and do not try to please others. The only way to achieve universality is not to go beyond personal...
9 out of 10