crazy stories end badly, General : this one is not an exception unless ... Who is ? Falsely abroad to the plight of monads who wander in a former monastery converted into a mental asylum, a few steps from the great Moscow, Dr. Raguine eventually I take a fool.
And getting lost in turn in the infernal machine that binds forever the very idea of society to that of the standard but also to the back of the mind, follies wonderful decor.
Six characters. Survey copyright where it ? ... The first pictures are those of an interrogation that lingers long on the faces of "sick " , that are no First introduced s as such. Smile and men. D es walls. a moment to say the cycle disorder that leads to freedom from confinement. The desire to delirium. And leak . The image is pale, almost livid strictly framed , that defines its subject in a perspective which combines partitions and doorways where ... S omnes us theater ? At the outset, the realization sets the stage for an invitation to journey into the world Chekhovian where scene has a fundamental place. Another place and another time, the monastic asylum is white. Transparent of the patients peech Sew and Sew de . And now, the aesthetics of contagion is needed in the composition, which is questioning the pre-text to the unveiling of chaos.
Considered in terms of double time and history, so the EM metamorphosis, the austere and filthy hospital c ike is the ultimate symptom of shelling of the subject with the world. Protagonists in white coats, loaded maternity patients in ragged gray is the enemy. Are we really in the theater ? Who are these white gloves that slip on you wan ? Double nod to the scene and the new exposure is required and lingers. But you do not play here. They say. Professional Actors and " real " patients were given the word, and nothing can ever be distinguished from each other. Miracle of madness, these characters turn mention those of Application marriage and other facts of the author's literary Three farces and more. As the new (re) presentations of patients and physicians open onto a world with double entered e more input and less superficial and policy . And it's impossible dialogue between two instances , who inhabit this place without hunger, women, which is here being tragically awry.
Doctor careless and indifferent to the fate of his patients, Dr. Raguine watch them get lost within the walls of the infamous Room # 6 , whose mystery transpires beyond the cries ec snatch it. And then Andre Efimytch Raguine befriends otherwise of interest to the so-called " the prophet , a Gromov suffering from delusions of persecution and who invited him to reconsider its own analysis perspective on insanity and its treatment situ . Like Chekhov, a doctor Raguine not like the others. Moreover it does not appear as such but as strange and foreign . Her character is needed first by a BSENCE physical actor, through images brought to the screen as part of a systemic shift , and participates ontologically problematic vision of time and history. In fact, Raguine is " that "we have known that co-workers have crossed, or they heard. The man who " dreamed of wearing a camera " is primarily a series of images, stolen moments of intimacy with a man who laughs, cries and little to p had rushes into a fascinating world.
Where revives the image and plays with the power of the verb Chekhovian. First, the sequences of silent cinema, where speech disappears and thus raises the Reflex one of the spectator. Through the use of voice recordings of the doctor then. The links that form between image and word stress still e the dialectic of the other great and even, in a word the quest for identity that is as the ultimate horizon of Room No. 6. Quest oneself into the abyss of madness one another, where I do not becomes quite different, lies, plays with himself to punch does call into p PERSPECTIVE the normal unthinkable. Many where are the flashbacks Raguine, location, weapon and abettor disorder , becomes the subject of a clinical study on the terms of the disease. Raguin, per acters Nietzschean if there ever was, rebellious to the laws of the medical and curious cel the human body also ends up losing the use of a standardized normal language ... before losing purely and simply use the voice, a symptom of the radical alienation. And if he loses j had to prop the HETE is because Raguine is betting that garfish intelligence. I turned the , May s turn away most of the disease that eventually the condemn turn. Tragic Hero par excellence, the doctor pays double tribute of neglect and a way of destiny itself dramatic . Persecutor persecuted, the sick physician has no choice but to accept his own condemnation. Cerberus, he becomes Sisyphus under the eye of the helpless witnesses of the show and are all signs of madness obliged, meaning Music the term.
I never is without being in another s . Without arise by its mere presence - with the exception of sequences where Raguine appears alone and without words - that of another so us a spectral form of Vant back later .. . The preliminary evidence of patients and doctors is always routed to both spectators and witnesses to the silent but terribly present in the background. plans together and who want to take the physical measurement of madness and its ravages , through the many shots that make asylum a microcosm deadly, it never dies alone. The very idea of self-relationship with each other, one with another and oneself with something that could nevertheless be similar p self, even is constantly underpinned by a solitude paradoxical and problematic, since it eludes itself. The mysterious room No. 6, window rl'aliénation knew the subject, and hence its tremendous solitude , is actually a forum for dialogue and exchange, a way of qualifying for introspection great and deadly. Where is itself the straitjacket Raguine means precisely the inevitable spread of the disease for those who want the look f ace but the radicalism of the text and therefore, the relationship within the meaning of the word, the verbal exchange that , because it unites two beings to each other , can not not upset the balance of the report of the other and himself. A fortiori in a world where the relationship to the other is systematically regulated, tested and scrutinized suspicion.
La Salle is No. 6 and as metonymy of non-place, of same place u exclusion and paranoia System. It is, in both the new and the modifications that were made, the fortress of solitude breathtaking and the impossible difference. It is, in short, the para digm of political dissent, the unthinkable both socially and politically. And has catabase Dr. is like a trip down the common follies. This is an opportunity for a good look at the relationship between creativity and madness, which we know how they obsessed contemporaries of the author of Room No. 6. It is a "prophet ", not a bailiff who Raguine guide the paths of alienation. A man who quotes the great poets, a "philosopher . A magician and seeing Hugo's Rimbaud, who announced the great folly rational twentieth century and its destructive impulse.
Minutes - meaning Brownian - rehabilitation of e " the " madness, gives the new film thickness novel by digging further exploration of the disease through the image and vote. Also by using the free camera who deliberately plays tremors of an image that is a reflection of the flickering of the subject and hence the characters. The adaptation allows, in particular through the voices and flashbacks , express an extraordinarily problématiqu e to time and metamorphosis. This adaptation manages to ire of the impossible coincidence of the subject with itself worldwide. There is no other place, to know oneself as the other. And it is probably another possible freedom on this condition, that the exclusion of the world. The difference is within the system - a metaphor for the mental institution - such as the insignia of the aberration and creates, as such, its own destruction. The "prophet " brilliant intellectual, a poet " pioneering " which is in the outfield the dictatorship of Reason is like the doctor dissenting. There is the odd, the public enemy par excellence. And outside the scope of the verbal exchange with his fellow man, his word has no meaning. It's the same for his actions, as evidenced by the sequence in which the Muscovite Player Raguine squandered his fortune and his health unnecessary spending, the manner of a hero Dostoevsky .
And in this nde mo where humanity is defined only by its conformity to the idea of being systematic and function, the meaning is a mystery antastique f that s. theater alone is likely to reveal. Beyond the formal indistinctness of real actors and staff of the asylum, as desired by the director and co-writer Karen Shakhnazarov is the echo of tea hearth in the visual fabric of the image that is indicative of a willingness of tragic irony in Room No. 6. Worthy heirs of the Stanislavsky method, the actors give equal consideration to the said and unsaid. A expressionism and the absence, to see the transition sparence expression. The effect is most disturbing, especially during the last scenes where the faces of patients, rigid, stubborn devour before entering a strange macabre dance to celebrate Christmas, Saint Nicolas and the general who watches from afar on 'madhouse. The symmetry of the frame is then re Enco extremely striking. It can take the dual measure of control bodies and minds but also the separation of some unsustainable and has thers, men and women. Women who appear finally only as witnesses very external prostitutes or daughters of joy, mothers and daughters to the very end. Both relief and remedies as the impossible humanity insane asylum. And laughter as a mask in a kindergarten ...
Axelle Girard
| Director | KAREN Shakhnazarov |
| Writer | ALEKSANDR BORODYANSKY |
| | KAREN Shakhnazarov |
| Writer | Anton Chekhov |
| Director of Photography | ALEKSANDR KUZNETSOV |
| Editor | IRINA KOZHEMYAKINA |
