Le Fond de l'air est rouge (A Grin Without a Cat) (The Base of the Air Is Red) Reviews
uma coisa que achei engraçada na edição dele foi o movimento "de fora pra dentro" optado por marker pra contar a história desses anos loucos. ele começa " o fundo do ar é vermelho" num contexto global, se debruça sobre a causa francesa pra depois se jogar novamente no exterior. marker só peca por adentrar demais nos aspectos da esquerda francesa, o que faz o espectador descontextalizado boiar tremendamente. apesar disso, mesmo nesses momentos distintos, o faz sempre de forma profunda e não exatamente documental - o filme consegue, ainda assim, guardar uma poética única na edição de imagens.
A difficult but ultimately rewarding film experience. Communism is not something taught in much detail in the American school systems, so for the first half of the film I felt like I was desperately treading water, trying to keep my head above the waves (and quickly losing the battle) as I tried to understand the importance of Communism on world events during the 1960's as it was presented to me in rapid-fire pace. It was rough going for the first hour or so.
But suddenly I began to realize that while I wasn't fully comprehending the details of the situations presented to me, the power of the images conveyed the message that (I think) Marker was trying to get across- the power of the masses when they unify.
A four hour version of [b]A Grin Without a Cat[/b] was made in 1977, in 2002 Marker re-edited the film, cutting out over an hour of its running time, which he felt made the film too confusing.
A fascinating film, especially now upon reflection. Its artistry and power makes a contemporary documentary like [b]Bowling for Columbine[/b] seem like child's play- juvenille, obvious and artless (not that I liked the film much anyway, but that's beside the point). I'm definitely looking forward to seeing more of Marker's work in the coming weeks- just from one film (and not even one of his signature ones), it is obvious Marker possesses a unique perspective and voice in cinema