{"id":27067,"date":"2024-10-13T12:54:28","date_gmt":"2024-10-13T09:54:28","guid":{"rendered":"https:\/\/lorenalupu.com\/blog\/?p=27067"},"modified":"2024-10-13T12:55:31","modified_gmt":"2024-10-13T09:55:31","slug":"clubul-de-filme-vechi-quills","status":"publish","type":"post","link":"https:\/\/lorenalupu.com\/blog\/clubul-de-filme-vechi-quills\/","title":{"rendered":"Clubul de filme vechi: Quills"},"content":{"rendered":"\n<p class=\"has-medium-font-size\"><em><strong>Bine a\u0163i venit la clubul de filme vechi. Aici revizit\u0103m filme clasice, care ne-au marcat copil\u0103ria \u015fi adolescen\u0163a, \u015fi le apreciem prin prisma omului matur (lol) care suntem ast\u0103zi. <\/strong><\/em><\/p>\n\n\n\n<p>Disclaimer: C\u00e2nd fac recenzii de filme noi, am grij\u0103 s\u0103 nu dau spoilere. Dar c\u00e2nd filmul are 24 de ani vechime, \u015fi g\u0103se\u015fti un rezumat al scenariului pe Wikipedia, chiar nu am aceast\u0103 preocupare. Care vii \u00een sec\u0163iunea de comentarii s\u0103 \u0163ipi \u201espoiler\u201d, recomand s\u0103 vizitezi \u00eent\u00e2i Paypalul, s\u0103 izbe\u0219ti acolo cu o dona\u021bie care s\u0103 merite deranjul, \u0219i apoi \u00eemi poveste\u0219ti la ce film vrei recenzie f\u0103r\u0103 spoiler. C\u00e2nd v\u0103d \u0219i bani, nu doar preten\u021bii, devin irezistibil de cooperant\u0103. Mul\u021bumesc anticipat. <\/p>\n\n\n\n<p>Marchizul de Sade e o figur\u0103 interesant\u0103 a istoriei culturale. Are talent literar? Sunt fragmente din c\u0103r\u021bile sale, care sugereaz\u0103 c\u0103 da. Dar obsesia lui pentru perversitate, lipsa absolut\u0103 de reveren\u021b\u0103 pentru corpul uman, ba chiar pentru via\u021b\u0103 \u0219i dispre\u021bul pentru moralitate, precum \u0219i pentru ipocrizia aferent\u0103 falsei moralit\u0103\u021bi, au f\u0103cut din el o emblem\u0103 atemporal\u0103 a libertinajului.<\/p>\n\n\n\n<p>Nimeni nu va include o carte a lui De Sade \u00een Top 10 c\u0103r\u021bi f\u0103r\u0103 de care via\u021ba ta e degeaba; dar pe de alt\u0103 parte, pu\u021bini scriitori se pot l\u0103uda cu un cuv\u00e2nt n\u0103scut din reputa\u021bia lor. \u201eSadism\u201d. <\/p>\n\n\n\n<p>\u00cen mod paradoxal, via\u021ba \u0219i opera lui au fost folosite pentru a transmite mesaje radical opuse: Fie pentru a ilustra cum puterea absolut\u0103 corupe absolut, \u00een opera lui Pier Paolo Pasolini, <strong>Sal\u00f2, sau Cele 120 de zile ale Sodomei, <\/strong>fie pentru a ilustra rezisten\u021ba libert\u0103\u021bii de expresie artistic\u0103 \u00een fa\u021ba tiraniei, \u00een filmul despre care vorbim azi, <strong>Quills<\/strong>, \u00een regia lui Philip Kaufman, dup\u0103 un scenariu de Doug Wright, dramaturgul care a scris \u0219i piesa pe care se baza respectivul scenariu. <\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<div class=\"video-container\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"700\" height=\"394\" src=\"https:\/\/www.youtube.com\/embed\/HIpC0GbSuWg?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/div>\n<\/div><\/figure>\n\n\n\n<p>Filmul &#8211; ca \u0219i piesa, de altfel &#8211; trateaz\u0103 ultima perioad\u0103 a vie\u021bii lui De Sade, \u00een azilul de la Charenton. E de men\u021bionat c\u0103 o parte dintre personaje sunt reale: \u00een aceast\u0103 etap\u0103, De Sade chiar a \u00eent\u00e2lnit un prieten \u00een\u021beleg\u0103tor \u00een persoana abatelui de Coulmier, un prelat care administra azilul de nebuni, \u0219i care trata cu empatie \u0219i omenie problemele mintale ale fiec\u0103rui pacient \u00een parte. Acesta i-a permis \u00een realitate lui De Sade s\u0103-\u0219i fac\u0103 trup\u0103 din pacien\u021bii azilului \u0219i, \u00een mod real, trupa lui De Sade de la Charenton a avut c\u00e2teva reprezenta\u021bii de succes, \u00eenainte s\u0103 fie desfiin\u021bat\u0103 oficial de autorit\u0103\u021bile vremii. Aveau \u0219i ele dreptatea lor, pentru c\u0103 piesele lui De Sade erau lascive \u0219i obscene, \u00een ton cu literatura lui, \u0219i pe atunci, Onlyfans nu se inventase. <\/p>\n\n\n\n<p>Dar, cum Wright \u0219i Kaufman sunt arti\u0219ti, evident c\u0103 au rearanjat adev\u0103rul istoric \u00een jurul mesajului lor: acela al tenacit\u0103\u021bii artistului \u00een lupt\u0103 cu ipocrizia opresorilor. <\/p>\n\n\n\n<p>De Sade (Geoffrey Rush) e \u00eenchis la Charenton, dar duce o via\u021b\u0103 bun\u0103. Are un apartament somptuos mobilat \u0219i sus\u021binerea gra\u021bioas\u0103 a abatelui Coulmier (Joaquin Phoenix), care \u00eel \u00eendeamn\u0103 s\u0103 scrie, s\u0103-\u0219i elibereze spiritul de tenta\u021bia celui necurat. Pentru cei care l-au v\u0103zut pe Phoenix juc\u00e2nd to\u021bi demen\u021bii \u0219i dezaxa\u021bii, e o surpriz\u0103 s\u0103-l vad\u0103 transmi\u021b\u00e2nd at\u00e2ta puritate \u0219i credin\u021b\u0103 inocent\u0103, \u00een rolul de \u00eenger protector al tuturor oropsi\u021bilor soartei, pe care \u00eei dirijeaz\u0103 s\u0103 joace teatru, s\u0103 c\u00e2nte \u0219i s\u0103 picteze. \u201eE mai frumos s\u0103 pictezi fl\u0103c\u0103ri dec\u00e2t s\u0103 dai foc \u00een realitate\u201d, \u00eei spune abatele unui alt pacient. <\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>* <\/p>\n\n\n\n<p>Totul ar fi minunat, dac\u0103 De Sade n-ar fi un scriitor de mare succes. Editorul s\u0103u din Paris \u00eel preseaz\u0103 s\u0103 trimit\u0103 manuscris dup\u0103 manuscris, \u0219i o sp\u0103l\u0103toreas\u0103 prietenoas\u0103 (Kate Winslet, zei\u021ba thicc original\u0103 a anilor 2000, toat\u0103 numai ochi, buze \u0219i \u021b\u00e2\u021be) strecoar\u0103 aceste manuscrise printre cear\u0219afuri, p\u00e2n\u0103 la poarta azilului, unde sunt preluate de un c\u0103l\u0103re\u021b misterios. El aduce \u0219i pungile bine burdu\u0219ite cu banii rezulta\u021bi din v\u00e2nz\u0103ri, pentru c\u0103 romanele lui De Sade se v\u00e2nd pe pia\u021ba neagr\u0103 ca p\u00e2inea cald\u0103, \u00een ciuda faptului c\u0103 at\u00e2t clerul, c\u00e2t \u0219i puterea politic\u0103 (Napoleon Bonaparte) \u00ee\u0219i exprim\u0103 zgomotos indignarea \u0219i organizeaz\u0103 periodic c\u00e2te un incendiu cu volume confiscate ale lui De Sade prin pie\u021be. <\/p>\n\n\n\n<p>De Sade flirteaz\u0103 f\u0103r\u0103 ru\u0219ine at\u00e2t cu Madeleine, care \u00eei r\u0103spunde cu cochet\u0103rie tipic fran\u021buzeasc\u0103, c\u00e2t \u0219i cu Coulmier, care \u00eel expediaz\u0103 cu un z\u00e2mbet. Asta pentru c\u0103, \u00een mod vizibil, Coulmier \u0219i Madeleine  sunt \u00eendr\u0103gosti\u021bi unul de cel\u0103lalt, \u0219i fiecare interac\u021biune dintre ei e o rev\u0103rsare de senzualitate sublimat\u0103. Chiar c\u00e2nd au o conversa\u021bie banal\u0103 sau fac un exerci\u021biu de scriere, tensiunea erotic\u0103 sparge ecranul \u0219i te tot a\u0219tep\u021bi \u00een fiecare clip\u0103 s\u0103 rup\u0103 hainele unul de pe cel\u0103lalt. Iar faptul c\u0103 acest lucru se tot am\u00e2n\u0103 e mai sexy dec\u00e2t toat\u0103 opera lui De Sade. <\/p>\n\n\n\n<p>Dar publicarea romanului de mare succes <strong>Justine<\/strong>, care trateaz\u0103 desfr\u00e2narea ascuns\u0103 pe dup\u0103 fa\u021bada de moralitate a preo\u021bimii, pune cap\u0103t acestui fericit echilibru de la Charenton. Napoleon vrea s\u0103-l execute public pe De Sade, dar un sfetnic al lui are o idee mai \u201edemocratic\u0103\u201d: s\u0103-l trimit\u0103 la Charenton pe renumitul medic Dr. Royer-Collard (Michael Caine), care s\u0103 \u201etrateze\u201d nebunia lui De Sade. <\/p>\n\n\n\n<p>Apoi, ne trezim \u00een stabilimentul lui Royer-Collard, care e \u00een contrapunct cu bl\u00e2nde\u021bea \u0219i empatia de care beneficiaz\u0103 \u00een acest prim moment pacien\u021bii de la Charenton. Pacien\u021bii sunt tortura\u021bi \u00een diverse moduri, iar Michael Caine joac\u0103 pl\u0103cerea pe care o experimenteaz\u0103 urm\u0103rind scenele de tortur\u0103 cu o elegan\u021b\u0103 \u0219i subtilitate de mare clas\u0103. Ar fi fost u\u0219or s\u0103 interpreteze un sadic g\u0103l\u0103gios, asumat; dar controlul absolut al reac\u021biilor, tr\u0103date doar prin priviri \u0219i inflexiuni subtile, dau genul de actorie de care eu sunt iremediabil \u00eendr\u0103gostit\u0103. <\/p>\n\n\n\n<p>\u00cen definitiv, Royer &#8211; Collard \u0219i De Sade \u00eemp\u0103rt\u0103\u0219esc aceea\u0219i pl\u0103cere: cea de a chinui fiin\u021be f\u0103r\u0103 ap\u0103rare \u0219i de a deriva pl\u0103cere din \u021bipetele, lacrimile, durerea lor. Dar De Sade e asumat \u0219i expresiv, \u00een timp ce Collard e controlat \u0219i reprimat, ascuns sub o fa\u021bad\u0103 rigid\u0103 de respectabilitate. Sadismul s\u0103u se manifest\u0103 \u0219i \u00een mariaj: a ales o adolescent\u0103 pe care o cre\u0219te la m\u0103n\u0103stire, \u0219i c\u0103reia \u00eei preg\u0103te\u0219te un dormitor \u00eenchis cu cheia pe dinafar\u0103 \u0219i cu gratii la geam. <\/p>\n\n\n\n<p>Evident c\u0103, dup\u0103 ce Collard ajunge la Charenton, iar marchizul \u00eel \u00eent\u00e2mpin\u0103 cu o pies\u0103 despre un b\u0103tr\u00e2n desfr\u00e2nat care corupe o fat\u0103 t\u00e2n\u0103r\u0103, privilegiile lui De Sade \u00eencep s\u0103 dispar\u0103. Collard e r\u0103ul pur. E infinit de inventiv \u00een a g\u0103si metoda perfect\u0103 de tortur\u0103 \u0219i abuz, fizic sau emo\u021bional, pentru fiecare personaj \u00een parte, \u0219i lipsa lui de scrupule na\u0219te haosul absolut. Mai ales dup\u0103 ce so\u021bia lui t\u00e2n\u0103r\u0103 fuge cu arhitectul angajat s\u0103 amenajeze castelul cump\u0103rat special pentru ea. <\/p>\n\n\n\n<p>E ceva tragic \u0219i \u00een\u0103l\u021b\u0103tor \u00een tenacitatea cu care de Sade, pedepsit din ce \u00een ce mai aspru, g\u0103se\u0219te noi \u0219i noi metode de a scrie: cu vin, cu s\u00e2nge \u0219i, \u00een cele din urm\u0103, cu excremente. Amuzant c\u0103 exact acestea sunt etapele corup\u021biei din Cele 120 de zile ale Sodomei, dar nu e dec\u00e2t dovada c\u0103 simbolurile sunt maleabile \u0219i ductile. <\/p>\n\n\n\n<p>O scen\u0103 de un tragism aparte e c\u00e2nd De Sade, r\u0103mas f\u0103r\u0103 posibilitatea de a scrie, \u00ee\u0219i dicteaz\u0103 textele nebunilor care fac telefonul f\u0103r\u0103 fir, ad\u0103ug\u00e2nd fiecare un twist personal, p\u00e2n\u0103 la u\u0219a lui Madeleine, scribul. \u0218i aici urmeaz\u0103 \u00eentors\u0103tura de situa\u021bie care d\u0103 genialitatea unui film deja minunat: inflama\u021bi de perversitatea cuvintelor lui De Sade, nebunii \u00ee\u0219i  pierd autocontrolul \u0219i \u00eencep s\u0103 dea foc, s\u0103 atace \u0219i s\u0103 se dezl\u0103n\u021buie. Tot Charentonul devine un c\u00e2mp de lupt\u0103. <\/p>\n\n\n\n<p>A\u0219adar, \u00eentr-un manifest despre libertate artistic\u0103, Wright \u0219i Kaufman strecoar\u0103 un avertisment: c\u00e2nd mesajul ajunge \u00een creierul gre\u0219it, se poate \u00eent\u00e2mpla un dezastru. <\/p>\n\n\n\n<p>Evident c\u0103 mamutul erotoman Bouchon, care o urm\u0103rise pe Madeleine tot filmul, se n\u0103puste\u0219te acum asupra ei \u0219i o \u00eeneac\u0103, cu complicitatea lui Collard, care z\u00e2mbe\u0219te z\u0103rind scena \u0219i \u00eenchide u\u0219a dup\u0103 ei, asigur\u00e2ndu-se c\u0103 nimeni nu va opri crima. Moartea lui Madeleine \u00eel face pe Coulmier s\u0103-\u0219i piard\u0103 treptat min\u021bile, \u0219i ascensiunea gradat\u0103 \u00een nebunie, sus\u021binut\u0103 de manipularea sadic\u0103 a lui Collard, d\u0103 ni\u0219te scene de un tragism \u0219i de o tensiune de nedescris. <\/p>\n\n\n\n<p>Finalul e ironic. La un an dup\u0103 moartea tragic\u0103 a lui De Sade, torturat p\u00e2n\u0103 \u0219i-a pierdut ultimul strop de voin\u021b\u0103 de  a supravie\u021bui, Charenton a devenit editur\u0103. Nebunii lucreaz\u0103 ordonat, \u00eenfrico\u0219a\u021bi de pedepsele lui Collard; acesta scoate pe band\u0103 rulant\u0103 volumele lui De Sade, extrem de apreciat postmortem. Iar locul nebunului periculos e luat&#8230; surpriz\u0103, de Coulmier. El \u00ee\u0219i scrie furibund povestea, \u00een timp ce o sp\u0103l\u0103toreas\u0103 &#8211; mama lui Madeleine &#8211; asigur\u0103 circula\u021bia manuscrisului. Ironia tripl\u0103, ba chiar cvadrupl\u0103, a situa\u021biei, te las\u0103 cu respira\u021bia t\u0103iat\u0103, \u00een timp ce \u00eencep creditele finale. <\/p>\n\n\n\n<p><strong>Quills <\/strong>e un masterclass de actorie fenomenal\u0103 din partea unor genii ale ecranului britanic &#8211; Caine, Winslet \u0219i Rush. Da, \u00een aceast\u0103 ordine. E u\u0219or s\u0103 joci un tic\u0103los dezl\u0103n\u021buit, dar e fenomenal s\u0103 joci un tic\u0103los subtil \u0219i elegant, al c\u0103rui sadism apare doar \u00een momente \u00een care aparent nimeni nu se uit\u0103. Ter\u021ba regal\u0103 e completat\u0103 de Phoenix, figura ingenu\u0103 \u0219i pur\u0103, corupt\u0103 treptat de pozi\u021bia de tampon \u00eentre doi adversari \u00een egal\u0103 m\u0103sur\u0103 nemilo\u0219i, \u0219i care \u00eel calc\u0103 pe suflet f\u0103r\u0103 s\u0103 ezite. <\/p>\n\n\n\n<p>Must see. Must see \u0219i dac\u0103 l-ai v\u0103zut. Iar dac\u0103 nu l-ai v\u0103zut &#8211; de ce mai pierzi timpul pe aici? <\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>***<\/p>\n\n\n\n<p>Vrei s\u0103 m\u0103 urm\u0103re\u015fti \u00een social media? \u00cemi po\u0163i da follow pe&nbsp;<a href=\"https:\/\/www.facebook.com\/lorenaalmighty\/\"><strong>Facebook<\/strong><\/a>&nbsp;\u015fi&nbsp;<strong><a href=\"https:\/\/www.instagram.com\/lorena.lup\/\">Instagram<\/a><\/strong>, subscribe pe&nbsp;<strong><a href=\"https:\/\/www.youtube.com\/channel\/UCCHBtHi6S2GlUFqETH70cjQ\">YouTube<\/a><\/strong>&nbsp;\u015fi pe<strong><a href=\"https:\/\/www.tiktok.com\/@lorena.lupu\">&nbsp;TikTok<\/a><\/strong>.<\/p>\n\n\n\n<p>***<\/p>\n\n\n\n<p>Dac\u0103 \u00ee\u021bi plac aceste articole, po\u021bi alege s\u0103-mi oferi sus\u021binerea de care am nevoie.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.paypal.com\/paypalme\/Trollywood\"><img loading=\"lazy\" decoding=\"async\" width=\"250\" height=\"82\" src=\"https:\/\/i0.wp.com\/lorenalupu.com\/blog\/wp-content\/uploads\/2024\/01\/paypal-.jpg?w=700&amp;ssl=1\" alt=\"\" class=\"wp-image-25884\" srcset=\"https:\/\/i0.wp.com\/lorenalupu.com\/blog\/wp-content\/uploads\/2024\/01\/paypal-.jpg?w=250&amp;ssl=1 250w, https:\/\/i0.wp.com\/lorenalupu.com\/blog\/wp-content\/uploads\/2024\/01\/paypal-.jpg?resize=150%2C49&amp;ssl=1 150w\" sizes=\"auto, (max-width: 250px) 100vw, 250px\" \/><\/a><\/figure>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Bine a\u0163i venit la clubul de filme vechi. Aici revizit\u0103m filme clasice, care ne-au marcat copil\u0103ria \u015fi adolescen\u0163a, \u015fi le apreciem prin prisma omului&#46;&#46;&#46;<\/p>\n","protected":false},"author":2,"featured_media":27068,"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_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-27067","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\/2024\/10\/quills.jpg?fit=937%2C737&ssl=1","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/posts\/27067","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=27067"}],"version-history":[{"count":3,"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/posts\/27067\/revisions"}],"predecessor-version":[{"id":27071,"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/posts\/27067\/revisions\/27071"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/media\/27068"}],"wp:attachment":[{"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/media?parent=27067"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/categories?post=27067"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lorenalupu.com\/blog\/wp-json\/wp\/v2\/tags?post=27067"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}