(Special Programme in collaboration with the Information Club Alicante, in the First Conference of the English Society of Criminological Research profiles held on 20 and 21 January 2011)
"What no human eye is capable of trapping, which no pen, brush or pen is able to fix your camera catches him without knowing what it is and fix it with scrupulous indifference of a machine. "
Robert Bresson,
" Notes on filmmaker, "1975.
C dogmatic on this aphorism expressed the great French filmmaker Robert Bresson, in his famous "Notes on the Cinematographer" , one of the most interesting qualities in the filmmaking process and moving image on screen, which he called simply the cinema. In Bresson pure vision of the cinema, parking the drama in favor of literal interpretation and emphasized the austerity of staging with large flat and static. On one level antagonist filmed theater, actors are simple models, devoid of emotions physical tools in the service of literary script and, therefore, to the free interpretation of the viewer emotionally.
is very clear, after watching a day Hours (2003) by Jaime Rosales, winner at Cannes FIPRESCI prize awarded by the international criticism, the more remarkable influence of the French filmmaker in his understanding of cinema. Rosales enthusiastically follows the tenets on the cinema of Bresson, especially in his debut with a film so special in the English scene.
A little film style today, and according to which, in point of inflection that is the inexorable growth of high definition technology on screen, may be primarily the scrupulous indifference film machine, as expressed in his notes Bresson; looked away, almost voyeuristic filmmaker to pure narrative, literal, without artifice, indeed, absent from natural distractions to the static view, challenging the viewer's imagination and suggestion.
High definition movies of Rosales, inherited Bresson, is outside the field, in the profiles of major and minor characters, such as self-image and staging. And this definition is the highest you can get, because there are no limits of interpretation, and is at the mercy of the willingness of the viewer.
In hours a day, witnessing the daily disappointment Abel (Alex Brendemühl) a man stuck, emotionally static, a prisoner of routine and boredom. Jaime Rosales said the idea came after reading the "Times" article on the evolution of different theories on the psychological profile of the murderers in series, which claimed the absence of a theory or main argument, with many questions thrown for many years, without response. For this reason, Rosales finally meets with his particular way of understanding cinema, an ideal scenario for the production of a film. Always, indifferent style, whose virtue is not responding to or question, but look and show, from a perspective outside the narrative, but closer in curiosity.
The range of criminological profiles shown in the history of cinema, ranging from profiles developed within the socio-cultural environments lower, past the most obvious pathological diagnosis, even some more subtle features profiles, socially affluent, attractive and social success. Some samples are M, the Vampire of Düsseldorf (M, Mörder Unter Uns, 1931) of Fritz Lang, Monsieur Verdoux (1947) of Charles Chaplin, The Night of the Hunter (The Night of the Hunter, 1955) Charles Laughton, Psycho (Psycho, 1960) Alfred Hitchcock , Peeping Tom (Peeping Tom, 1960) of Michael Powell, In Cold Blood (In Cold Blood, 1967) Richard Brooks, Henry: Portrait of a murderer (Henry, portrait of a serial killer, 1986) John McNaughton, The Silence of the Lambs (The Silence of the Lambs, 1991) Jonathan Demme, born Murderers (Natural Born Killers, 1994) of Oliver Stone, Se7en (1995) David Fincher, or American Psycho ( 2000) Mary Harron, among many others. In
hours a day, the profile of Abel and the way in which Rosales presents it, is very ambiguous features, early diagnosis is difficult, yet very believable. Abel is a young man with no motives, no projection of future rooted in their social relationships and emotional labor, which assumes as part of the boring routine and over time, but he despises deeply. Any expression of happiness, either in their family or friendly, seems to go against the principles of deep disgust in society. However, its victims are people whose profiles are evident over time, as if the more contempt for Abel was the passage of time and his greatest fear, existential reflection of himself in his victims.
The reflection of himself, one of the most remarkable film about serial murderers, with profiles self-absorbed, vain and egocentric. The first image we have of Abel in the film is reflected in the mirror shaving, as a symbol of the daily routine and looking statically a while the mirror. This presentation is a statement of principles on the basis of the profile of Abel, but not clearly dissociated access easy answers.
Why kill Abel?, Evasion to answer this question, is the centerpiece of the whole movie. Rosales, with its particular look away from the intimate surroundings of the character, explaining that they needed more than physical elements such as the actor himself, Alex Brendemühl of glances, to translate its intentions about the movie.
bressoniano The peculiar style of Rosales, austere musical devices or camera movement, interpretations dry and staging almost documentary, at any time seems to go into depth approaches to psychological or sociological issues, something to be welcomed, given the excess of fireworks on the subject in his film version. Besides Bresson, Rosales is evident in other influences such as Jean-Luc Godard in the systematic narrative and dialogue, or the recently acclaimed Michael Haneke, the latter perhaps indirectly, to converge in the film influences both both in the topics such as staging.
Jaime Rosales portrayed in "The Hours of the Day" daily routine boredom and Abel with a particular legacy of European cinema style copyright as Godard or Antonioni, and especially Bresson. General plans and fixed where players leave the field of view of a hidden camera located almost voyeuristic. A style of filmmaking as risky as necessary in the English scene.
So The hour it stands today, as well as at the date of its release in 2003 as a "fresh" on the subject, open to all sorts of debates. Atypical in the national scene, earning viewing, and provides a different view of the stereotypical movie mass murderers.
is possible that our routine, boredom and boredom in modern life lead us to destruction many times. The fear is that the routine and boredom of others, we mate.
Javier Ballesteros
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