One two and three four five, I go looking I don't like movies with a didactic flavor, but this one is good. And what's important, what's naturalistic and scary, you could say frighteningly believable. When some ghoul with a drooling mouth, jumping out in a dark dungeon, and tries to plunge sharp fangs into the unfortunate victim, who, as if because of a magic spell, surely walks in the night through abandoned houses and cemeteries - this is as they say to the lover of the genre and not at all scary. But when in broad daylight there is a certain man, of dubious appearance, but for some reason he seems pleasant to you, and you seem like a zombie trailing behind his counterpart, and he draws you into his life a worm made of mud - this is a real creep.
I don’t know if the director conceived the concept, because directors of nature are carried away and reckless, but we are not talking about any love in this film work. Instead, addiction is clearly shown, and the conversation is not about ludomania, but about adrenaline addiction to unhealthy relationships.
When a person learns to enjoy simple things, as if a drug addict is addicted to negative emotions. Adrenaline does not distinguish between + and -, the modality of the emotion is not important, only its strength is important. The power of negative emotions is enormous.
The most memorable events are negative events, yes, you remember the good ones, but this is not a permanent state. But it is a resentment or a sense of injustice, from the victim of self-esteem to launch his claws into a fragile heart, and this monster will torture a person for years, devour his energy, time and life in the end.
The inner emptiness and yawning loneliness of the main character performed by Stacey Martin, like a hungry mongrel rocking his teeth, in the hope of stealing at least a scrap of emotional food, albeit from the garbage. And hunger is so strong that you don't even feel like you're eating carrion. This is not snobbery, but common sense.
As Sophia Loren said in one movie, “They cry when they know what good is, but they don’t have it, I never knew what good is.” So the heroine Martin, the benefits of communication with normal men apparently did not know, since such a connection is not possible for an emotionally stable person. When you're doing well in your personal life, you don't see crooks trying to seduce you.
However, the phrase that has become outdated, "...you better starve than eat what you eat, and it is better to be alone than with anyone."', looks good on paper. In life, the need for love is a basic need. A person who cannot satisfy this basic need becomes a neurotic. And the neurotic literally unconsciously drives himself into a dead end insoluble situation, and begins to enjoy it. For I have learned over the years of emotional emptiness that it is simply unrealistic to get pleasure from something truly pleasant, the frustration background is extremely high, the sensation is nothing but a crying voice in the desert. In general, neurotic love is similar to a vulture, it begins as something from the series: “I want to eat, but there is nothing to eat.” And at some point, a person stops noticing that he is eating carrion, forgetting the taste of fresh food. But if the vulture is a specific feature, to eat carrion of all kinds, then in a person it is only a consequence of loneliness and dislike.
The neurotic relationships reproduced in the film are based on the mesalliance in social status, and this is a lesson to all lovers of pink dreams, lilac ponies and Mr. Greys of all stripes and styles.
Of course, the finale of the film makes you think that the director Marie Monge at 31, is still in the sweet captivity of girl dreams about sultry passions on the verge of foul, and in the power of imperishable images of chimeric and dangerous men. Where love equals suffering.
But as we remember the Chimera in mythology is a fire-breathing monster with the head and neck of a lion, the body of a goat and a tail in the form of a snake. What such a relationship really is – a monster that can eat anyone! And the type of such men in reality, not a young Delon from the “Predators” – an attractive cunning and a womanizer, languidly holding a cigarette in his nerve fingers, which he usually sees as women who have fallen into the “viscous spells”, these rogue Romeo.
This is “the trunk of a goat and the tail of a snake”, and do not look at a pretty face, even if it is available. Inside it is a monster that will not hesitate to trample your life. However, in the film “Players”, for some reason we have transformed into an obsessive motif of zero from the group “Tatu” – even a pretty face “monster” is not observed.
The hero of Rahim, of course, not without the participation of the actor himself - looks like a typical crook and a weasel, who even a bag can not be kept in the train car. And to inflame an incredible love for such a type, something on the verge of fiction.
And the point here is not in taste preferences, but in the elementary logic of the plot-shaped concept of the film, because if the script character Rahim is a charming seducer, which, based on the narrative and reaction to it, the heroine is, then I would like to see it on the screen.
And we are not talking about some “canonical” beauty, but the main character a priori should be pretty, yes, he may be sexual and does not attract all 100% of women on the planet Earth, but with external data, you can not argue. It’s like a sunny day at the sea – good in any case, even if someone is melancholic with experience, and experiences incredible bliss, from watching raindrops on the glass in drenched November, mixed with tart cigarette smoke.
Because if you do not bet on the slickness of the actor in the lead role, the whole house of cards called “love – passion – attraction” falls apart, and this is undoubtedly a strategic miscalculation of the director. Since the possibilities of cinema are limited, and alas, and ah, the “animal” pheromones of testosterone macho, are not transmitted through the screen and it is simply impossible to understand why the main character fell for “this”. You look and think, either the poor girl went wild, or her IQ is close to 60 points, and you can’t tell.
And then again, the hope creeps in that the director specifically picked up such an actor to even more clearly demonstrate that sexual attraction can make a person absolutely brainless and weak-willed creature.
The result is that the edifying motive of the film work is obvious, even if it was not thought of as such and shown to girls as a prophylaxis from 13 to the moment when brains appear, someone has 25, who has 30, and someone in 50 imagines “love” where it can not be.