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The survivors of a destroyed, post-apocalyptic Paris in the aftermath of the Third World War live underground in the Palais de Chaillot galleries. They research time travel, hoping to send test subjects to different time periods "to call past and future to the rescue of the present". They have difficulty finding subjects who can mentally withstand the shock of time travel, but eventually settle upon a male prisoner whose vague but obsessive childhood memory of witnessing a woman (Hélène Chatelain) during a violent incident on the boarding platform ("The Jetty") at Orly Airport is the key to his journey back in time.
He is thrown back to the past again and again to a time before the war, when he had been a child. He repeatedly meets and speaks to the woman from his memory, who was present at the terminal. After his successful passages to the past, the experimenters attempt to send him into the far future. In a brief meeting with the technologically advanced people of the future, he is given a power unit sufficient to regenerate his own destroyed society. Upon his return, with his mission accomplished, he discerns that he is to be executed by his jailers. He is contacted by the people of the future, who offer to help him escape to their time, but he asks to be instead returned to the pre-war time of his childhood, hoping to again find the woman. He is returned and does find her, but an agent of his jailers has followed. The man finds that the violent incident he partially witnessed as a child was his own death as an adult at the hands of the agent.
This story has the part which was created by referencing Wikipedia, so the licence of GFDL is applied to this story.
|Information about this title|
Trevor Duncan Jean Chiabaut Jean Ravel
Etienne Becker Ligia Borowczyk Jacques Branchu Hélène Chatelain Germano Faccetti
This description has the part which was created by referencing Wikipedia, so the licence of GFDL is applied to this description.
|Outside Japan :Released:1962/02/16|
- Sorted by:Newness
2010/06/07 Best(+3 pnt) [Original Japanese review]
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The basic of the movie is a very unique work that should have been "moving picture" but rejected it.
Just make up the 29 minutes showtimes with monochrome still pictures and cover it with narration. Since all the explanation of the situation is done with narration, there is no even a dialogue between the characters in this movie. However, it is amazing that such expression restrictions do not limit the content of the movie at all. Also, each piece of photograph is artistic and beautiful. It sounds like a poem. Since it is a monochrome steel shot, "light" is an important element to make it more effective. In addition, "shadow" is also important. The underground world (now) uses black and shadows heavily, the future world (the future) clearly defines the gradation of white and black, Paris of the boys period (past) uses white and light a lot, each "world Time) ", and I am making it conscious of us. Also, even in the same scene, there are subtle shading differences every cut, and since they are used very effectively, they sometimes forget that they are still images.
In addition, movies.The first thing to do is to take "moving pictures" at the camera, making it a stop motion in the editing stage. Pictures and pictures may be connected by cuts, or they may overlap smoothly on the next picture. There are scenes in which the paper burning is reshaped and the same effect as the camera panning is produced. Creating a work is simple at first glance, but it seems that it looks stiff as if you look at this way.
There are scenes in which movies are inserted only in one place while being composed only of that still picture. It is only that the woman who sleeps in bed opens her eyes and blinks, but I was made to be honest. The world composed solely of steel photographs, so to speak, the so-called scenery, is truly momentary and starts to move lively. "Omission abbreviation" between steel and steel will make you feel "movement" more than ordinary movies. When it reaches the last scene, it will show off until work that produces cut back and slow motion effects only with still photographs. I was surprised at this.
Although the story is a model of "12 monkeys", you can also make me think about the maturity of culture. It is innovative from that method that time travel is made by a strong obsession with the past (It was thought that existence of time machine using abundant budget and advanced technology is a promise if it says time travel ... ), A man whose leading actor who can make the waves of time come and finds comfort in a space surrounded by "no time" in the stuffed museum, and "past" is also "future" I thought that it seems to be a French movie that pushes romantic truth to the utmost, as it emphasizes the connection between the two who innocently trust and affection sprouts at that moment.
Until I watched this, I thought that "12 Monkeys" is also a great work, but it will be hazy after seeing this work. Anyway, there is no waste in the story and depiction at all, it is still beautiful, still innovative. "Do not make movies with a feeling of hesitation", it was a work that could put such silent pressure on it.