E foarte greu, \u00een timp ce urm\u0103re\u015fti “The Danish Girl”, filmul bazat pe povestea real\u0103 a unui t\u00e2n\u0103r pictor din anii 20, Einar Wegener, care ascundea \u00een corpul lui de b\u0103rbat un “eu” de femeie – e foarte greu, zic, mai ales pe m\u0103sur\u0103 ce povestea evolueaz\u0103, s\u0103 \u0163ii minte c\u0103 Eddie Redmayne, interpretul, e mascul. Feminitatea care vine valuri-valuri dinspre erou \/ in\u0103 e r\u0103v\u0103\u015fitoare, umple ecranul \u015fi sala. Conven\u0163ia e at\u00e2t de intens\u0103, \u00eenc\u00e2t te pomene\u015fti c\u0103 ai cump\u0103rat pe nesim\u0163ite faptul c\u0103 prive\u015fti o femeie. <\/p>\n
\u0102sta e genul de transformare fizico-psihic\u0103 specific actorilor cu adev\u0103rat uria\u015fi. Capacitatea de a lua o alt\u0103 fa\u0163\u0103, cu alt corp, alt\u0103 minte \u015fi alt suflet \u015fi a le face at\u00e2t de profund ale tale, \u00eenc\u00e2t s\u0103 uite toat\u0103 lumea cine erai la \u00eenceput. \u0102sta e Eddie Redmayne, recent Oscarizat pentru modul \u00een care \u015fi-a transformat fiin\u0163a s\u0103 devin\u0103 Stephen Hawking in “The Theory of Everything”. <\/p>\n
Povestea de la care porne\u015fte filmul lui Tom Hooper (tipul cu King’s Speech \u015fi mult \u00eenjuratul Les Miserables) e una real\u0103. Mai nou, realitatea e principala vac\u0103 de muls a cinematografiei. Exact \u00eenainte de film a rulat spotul publicitar al unui alt film care urma, despre \u0163epele imobiliare din Statele Unite. E cumva bizar\u0103 epoca \u00een care tr\u0103im. \u00cen care presa a devenit organ de copy-paste la anun\u0163uri de PR \u015fi, \u00een schimb, fic\u0163iunea a preluat rolul reportericesc \u015fi acut al jurnalismului. Dar divaghez. S\u0103 revin la oile din posesiune, cu sau f\u0103r\u0103 c\u00e2inii aferen\u0163i.<\/p>\n
Lili Elbe, fata danez\u0103, chiar a existat, \u015fi ini\u0163ial s-a numit Einar Wegener, a fost pictor peisagist de succes, c\u0103s\u0103torit cu Gerda, ea \u00eens\u0103\u015fi pictori\u0163\u0103 de succes. Gerda, libertin\u0103 \u015fi incitat\u0103 de poten\u0163ialul unui experiment amoros, \u00ee\u015fi \u00eencurajeaz\u0103 delicatul \u015fi femininul so\u0163 s\u0103-\u015fi exploreze aceast\u0103 latur\u0103, \u00eei cump\u0103r\u0103 cu m\u00e2na ei rochii, peruci \u015fi ciorapi \u015fi-l picteaz\u0103 iar \u015fi iar, ca pe o div\u0103 exotic\u0103 \u015fi felin\u0103, \u00een egal\u0103 m\u0103sur\u0103 crea\u0163ia ei. Detectezi un lesbianism latent \u00een acest Pygmalion inversat, \u00een modul \u00een care Gerda se hr\u0103ne\u015fte artistic din aceast\u0103 nou\u0103 identitate, fluid\u0103 \u015fi acaparatoare, a so\u0163ului ei. <\/p>\n
Problema se complic\u0103 abia c\u00e2nd Einar e incapabil s\u0103 se mai \u00eentoarc\u0103 la sine. Sau dimpotriv\u0103, e incapabil s\u0103 se \u00eentoarc\u0103 DE LA sine. \u015ei decide, cu ajutorul unor medici revolu\u0163ionari ai perioadei interbelice, s\u0103 fac\u0103 una dintre primele opera\u0163ii de schimbare de sex atestate documentar. <\/p>\n
Desigur, \u00een clipa \u00een care Gerda \u00een\u0163elege c\u0103, \u00een procesul artistic al explor\u0103rii lui Lili, \u015fi-a pierdut so\u0163ul, \u00eencepe drama. Drama conjugal\u0103. Drama nevestei p\u0103r\u0103site. Cumva, de\u015fi peripe\u0163iile lui Lili sunt subiectul pove\u015ftii, modul \u00een care actri\u0163a suedez\u0103 Alicia Vikander \u00eencaseaz\u0103 fiecare etap\u0103 a acestei rela\u0163ii care se metamorfozeaz\u0103 pe nesim\u0163ite din amor conjugal \u00eentr-o pasiune incert\u0103 \u015fi dureroas\u0103 f\u0103r\u0103 finalizare, o avanseaz\u0103 \u00een pozi\u0163ia de protagonist. <\/p>\n
Ca femeie, ar avea nevoie de un mascul cu bra\u0163e puternice. Ca artist \u00een c\u0103utarea unei muze, are nevoie – o disperat\u0103 nevoie – de aceast\u0103 prezen\u0163\u0103 eteric\u0103 \u015fi diafan senzual\u0103 \u00een care \u00ee\u015fi transform\u0103 so\u0163ul, cel pu\u0163in cu aceea\u015fi abnega\u0163ie cu care se leap\u0103d\u0103 el de masca masculinit\u0103\u0163ii. <\/p>\n
Din acest punct de vedere, am perceput The Danish Girl ca pe un omagiu adus feminit\u0103\u0163ii. Al feminit\u0103\u0163ii subtile, suave, \u00eenv\u0103luitoare; al feminit\u0103\u0163ii care invadeaz\u0103 \u00eencet \u015fi bl\u00e2nd, aparent neamenin\u0163\u0103tor. Al feminit\u0103\u0163ii gra\u0163ioase, unduitoare, ca un strop de parfum pulverizat \u00een aer. Al hainelor, texturilor, privirilor, z\u00e2mbetelor, ezit\u0103rilor feminine. Al feminit\u0103\u0163ii care iube\u015fte abandon\u00e2ndu-se complet, f\u0103r\u0103 limite, al feminit\u0103\u0163ii lascive, versatile, periculoase. <\/p>\n
\u015ei da, drama cutremur\u0103toare prin care trec ambele personaje mi-e cumplit de familiar\u0103. To\u0163i b\u0103rba\u0163ii pe care i-am iubit au fost cel pu\u0163in 30% femei. <\/p>\n","protected":false},"excerpt":{"rendered":"
E foarte greu, \u00een timp ce urm\u0103re\u015fti “The Danish Girl”, filmul bazat pe povestea real\u0103 a unui t\u00e2n\u0103r pictor din anii 20, Einar Wegener,...<\/p>\n","protected":false},"author":2,"featured_media":10212,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[1],"tags":[],"class_list":["post-10211","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-spicy"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/lorenalupu.com\/blog\/wp-content\/uploads\/2015\/12\/danishgirl1.jpg?fit=1280%2C721&ssl=1","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/posts\/10211","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/comments?post=10211"}],"version-history":[{"count":7,"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/posts\/10211\/revisions"}],"predecessor-version":[{"id":10219,"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/posts\/10211\/revisions\/10219"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/media\/10212"}],"wp:attachment":[{"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/media?parent=10211"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/categories?post=10211"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/tags?post=10211"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}