Thursday, 11 July 2019

Джон Патрик Шэнли - Сомнение/ Doubt (2008)

Джон Патрик Шэнли (John Patrick Shanley) написал пьесу «Сомнение» (2004). В 2008 году сам ее экранизировал. В 2013 году появилась одноименная опера, либретто написал всё тот же Шэнли. Сюжет явно не отпускал...
Режиссер фильма не без самоиронии признавался, что «был напуган – сможет ли подобный фильм собрать зрителей? Люди ведь не ходят в кино, чтобы, поедая попкорн, слушать бесконечные препирательства монахинь со священниками».

Как часто бывает, открыла для себя этот фильм случайно, наткнувшись (не с начала) по телеканалу. Увидела Мерил Стрип, услышала её диалоги с Филиппом Хоффманом – о, это завораживает, захватывает покрепче любого боевика. Какие актёры!
Потом, как тоже всегда бывает у меня с англоязычным кино, добавила фильм в домашнюю коллекцию – язык оригинала + англ. субтитры. И посмотрела еще не раз.

Потрясающе снято и сыграно: Мерил Стрип против Филиппа Сеймура Хоффмана в замкнутом пространстве психологически-религиозной драмы.
Пьеса «Сомнение», удостоенная Пулитцеровской награды и премии «Тони» (2005), повествует о церковной школе Святого Николая в Бронксе. 1964 год. Недавно назначенный сюда, энергичный отец Флинн стремится покончить со строгими школьными порядками. Однако на страже – сестра Алоизия, суровая директриса и непреклонная сторонница монашеских традиций.
Политический климат в стране меняется, школа недавно приняла своего первого темнокожего ученика, Дональда Миллера. Когда юная сестра Джеймс делится с сестрой Алоизией своими подозрениями по поводу усиленного внимания отца Флинна к новичку-Дональду, директриса, опыт которой подсказывает, что «нет дыма без огня», начинает «психологическую битву» против «греховного» отца Флинна...
Прямых доказательств его вины нет, свидетелей – нет, есть лишь подозрения и сомнения. Причем и у персонажей, и у зрителей, которые вольны трактовать происходящее в соответствии с собственными взглядами и опытом.

Я наслаждаюсь игрой Мерил Стрип – она и комична, и сурова, и безапелляционна, и старомодна, и трогательна одновременно.
Запомнился контраст быта монахинь и священников: у первых строгость и самоограничение («Сахар?! Никогда!»), у мужчин – скользкие побасенки, выпивка, мясные явства...

Неудивительно, что аскетичную сестру Алоизию коробит «сластёна» Флинн со своими длинными ногтями...

Отец Флинн тоже далеко не однозначный персонаж; прекрасная роль Ф.С.Хоффмана.
Режиссер фильма Джон Патрик Шэнли вспоминал, что на съемках Хоффман казался настолько глубоко погруженным в себя, что страшно было обратиться к нему с вопросом. Но когда работа была позади, актер говорил, что она доставила ему огромное наслаждение. «А ведь посмотреть на тебя — ты словно в аду был». «В аду? — переспросил Филип. — А я в нем и живу».

* * *
Trivia:

• Philip Seymour Hoffman lobbied for Amy Adams to be a part of the movie even threatening to leave the project if she wasn't cast.

• Viola Davis, who was nominated for an Academy Award for her role as Mrs. Miller, only appears in two scenes. The first is an extended dialogue with Meryl Streep's character, Sister Aloysius. In the second, she appears only for about 10 seconds and does not speak.

• Some of the conversations between Sister Aloysius, Father Flynn, Sister James and Mrs. Miller run to 10-15 minutes.

• During the scene in the office, in which Sister Aloysius first accuses Father Flynn, Philip Seymour Hoffman had a terrible cold.

• Just as he did with the play, John Patrick Shanley only told the actor who played Father Flynn whether or not Flynn was guilty. None of the other actors knew.

• Meryl Streep hand knitted the shawl she wears in this movie.
• Jimmy Hurley’s character [a boy with the ball on the pic above] is based on John Patrick Shanley. Everything that he does at the beginning of the movie are the same things Shanley did as a boy. The street scenes of the church and school were shot in the Bronx, NY, in front of St. Anthony's church and school, which John Patrick Shanley reportedly attended. The school closed in June 2013.

• The movie was dedicated to Sister Margaret McEntee, formerly known as Sister James, John Patrick Shanley's first grade teacher.

* * *
Quotes:

Father Flynn’s sermon: Last year, when President Kennedy was assassinated, who among us did not experience the most profound disorientation? Despair? “Which way? What now?” It was a time of people sitting together, bound together by a common feeling of hopelessness.
But think of that: it was a public experience. It was awful, but we were in it together. How much worse is it then for the lone man, the lone woman, stricken by a private calamity? "No one knows I'm sick." "No one knows I've lost my last real friend." "No one knows I've done something wrong." Imagine the isolation. Now you see the world as through a window. On one side of the glass: happy, untroubled people, and on the other side: you.
…Doubt can be a bond as powerful and sustaining as certainty. When you are lost, you are not alone.

Sister Aloysius [Angrily referring to cough drops]: Candy!
Sister James: Cough drops.
Sister Aloysius: Candy by another name!

Sister James: [Referring to her students] I don't allow them ballpoint pens.
Sister Aloysius: [Picking one off the floor] And yet here one is. Penmanship is dying all across this country!

Sister Aloysius: You should frame something. Put it up on the blackboard. Put the Pope up.
Sister James: That's the wrong Pope. He's deceased.
Sister Aloysius: I don't care what Pope it is. Use the glass to see behind you. The children should think you have eyes in the back of your head.
Sister James: Wouldn't that be a little frightening?
Sister Aloysius: Only to the ones who are up to no good.

Sister Aloysius: [to Sister James] What have you seen?
Sister James: It is unsettling to look at people with suspicion. I feel less close to God.
Sister Aloysius: When you take a step to address wrongdoing, you are taking a step away from God, but in his service. What have you seen?
Sister James: I don't think Father Flynn did anything wrong.
Sister Aloysius: Then why do you look like you've seen the devil?

Father Flynn: Is there sugar?
Sister Aloysius: Sugar? Yes. It's somewhere here. I put it in the drawer for Lent last year and never remembered to take it out.
Father Flynn: Ah, it mustn't have been much to give up then.

The Sugar? - Yes. - One? - Three.

Sister Aloysius: What happened in the rectory?
Father Flynn: Happened? Nothing happened. I had a talk with a boy.
Sister Aloysius: About what?
Father Flynn: Private matter.
Sister Aloysius: He's twelve years old, what could be "private"?

Sister James: What a relief! He cleared it all up.
Sister Aloysius: You believe him? Isn't it that it's easier to believe him?
Sister James: Well, I'm convinced!
Sister Aloysius: You're not. You just want things to be resolved so you can have simplicity back.
Sister James: How can you be so sure that he is lying?
Sister Aloysius: Experience.
Sister James: You just don't like him! You don't like it that he uses a ballpoint pen. You don't like it that he takes 3 lumps of sugar in his tea. You don't like it that he likes Frosty the Snowman and you are letting that convince you? Of something that's terrible... Just terrible... [Exasperated] Well, I like Frosty the Snowman!
Sister Aloysius: Look at that. You've blown out my light. In ancient Sparta, important matters were decided by who shouted loudest. Fortunately, we are not in ancient Sparta.

Sister James: They [pupils] are all uniformly terrified of you.
Sister Aloysius: Yes, that's how it works.

Father Flynn’s sermon: A woman was gossiping with her friend about a man whom they hardly knew - I know none of you have ever done this. That night, she had a dream: a great hand appeared over her and pointed down on her. She was immediately seized with an overwhelming sense of guilt. The next day she went to confession. She got the old parish priest, Father O' Rourke, and she told him the whole thing.
'Is gossiping a sin?' she asked the old man. 'Was that God All Mighty's hand pointing down at me? Should I ask for your absolution? Father, have I done something wrong?'
'Yes,' Father O' Rourke answered her. 'Yes, you ignorant, badly-brought-up female. You have blamed false witness on your neighbor. You played fast and loose with his reputation, and you should be heartily ashamed.'
So, the woman said she was sorry, and asked for forgiveness. 'Not so fast,' says O' Rourke. 'I want you to go home, take a pillow upon your roof, cut it open with a knife, and return here to me.'
So, the woman went home: took a pillow off her bed, a knife from the drawer, went up the fire escape to her roof, and stabbed the pillow. Then she went back to the old parish priest as instructed.
'Did you gut the pillow with a knife?' he says. 'Yes, Father.' 'And what were the results?' 'Feathers,' she said. 'Feathers?' he repeated. 'Feathers; everywhere, Father.' 'Now I want you to go back and gather up every last feather that flew out onto the wind,' 'Well,' she said, 'it can't be done. I don't know where they went. The wind took them all over.'
'And that,' said Father O' Rourke, 'is gossip!'

Sister James: I saw you put an undershirt in Donald Miller's locker.
Father Flynn: He left it in the sacristy.
Sister James: Why didn't you hand it to him?
Father Flynn: I'm trying to spare him further embarrassment.

Sister Aloysius: [to Mrs. Miller] Years ago I used to listen to all the news reports, because my husband was in Italy, in the war.
Mrs. Miller [Taken aback] You were a married woman?
Sister Aloysius: Yes, but then he was killed.

Mrs. Miller: Sister, you ain't going against no MAN in a ROBE and win. He's got the position.
Sister Aloysius: And he's got your son.
Mrs. Miller: Let him have him then.
Sister Aloysius: What?!
Mrs. Miller: It's just till June.
Sister Aloysius: Do you know what you're saying?
Mrs. Miller: Know more about it than you.
Sister Aloysius: I believe this man is creating or may have already brought about an improper relationship with your son.
Mrs. Miller: I don't know.
Sister Aloysius: What kind of mother are you?
Mrs. Miller: Excuse me, but you don't know enough about life to say a thing like that, Sister. You know the rules maybe, but that don't cover it.
Sister Aloysius: I know what I won't accept!
Mrs. Miller: You accept what you gotta accept and you work with it.
Sister Aloysius: This man is in my school.
Mrs. Miller: Well, he's gotta be somewhere and maybe he's doing some good, too.
Sister Aloysius: He is after the boys!
Mrs. Miller: Well, maybe some of them boys want to get caught!... That's why his father beat him. Not the wine.

Sister Aloysius: What are you telling me?
Mrs. Miller: I'm talking about the boy's nature now, not anything he's done. You can't hold a child responsible for what God gave him to be… My boy came to your school 'cause they were going to kill him in the public school. His father don't like him. He come to your school, kids don't like him. One man is good to him. This priest. Then does the man have his reasons? Everybody does. YOU have your reasons. But do I ask the man why he's good to my son? No. I don't care why. My son needs some man to care about him and to see him through the way he wants to go. I thank God, this educated man with some kindness in him wants to do just that. …It's just till June.
Sister, I don't know if you and me on the same side. I'll be standing with my son and those who are good with my son. It'd be nice to see you there.

[Father Flynn enters Sister Aloysius' room, looking very nervous]
Father Flynn: [nervously] May I come in?
Sister Aloysius: [not looking at him] A third party would be required.
Father Flynn: Look, what was Donald's mother doing here?
Sister Aloysius: [looking at him] We were having a chat.
Father Flynn: About what?
Sister Aloysius: [slowly approaches him] A third party would truly be required!
Father Flynn: [entering the room] No sister, no third party. Me and you are due for a talk, you have to stop this campaign against me!


Father Flynn: I've not touched a child.
Sister Aloysius: You have.
Father Flynn: You haven't the slightest proof of anything!
Sister Aloysius: But I have my certainty! And armed with that, I will go to your last parish, and the one before that if necessary. I'll find a parent. Trust me, Father Flynn, I will.
Father Flynn: […] You have no right to act on your own! You have taken vows, obedience being one! […] I can't say everything, you understand? There's things I can't say. Even if you can't imagine the explanation, Sister, remember there are things beyond your knowledge. Even if you feel certainty, it is an emotion, not a fact.


Sister Aloysius: You will request a transfer, and take a leave of absence until it's granted.
Father Flynn: You'd leave me nothing.
Sister Aloysius: It's Donald Miller who has nothing, and you took full advantage of that.
Father Flynn: I've done nothing wrong. I care about that boy.
Sister Aloysius: Why? 'Cause you smile at him and you sympathize with him and you talk to him as if you were the same? You are a cheat. And that warm feeling you experienced, when that boy looked at you with trust, was not the sensation of virtue. That could be got by any drunkard with his tot of rum.
Father Flynn: I can fight you.
Sister Aloysius: You will lose.
Father Flynn: Where's your compassion?
Sister Aloysius: Nowhere you can get at it… I have no sympathy for you. I know you are invulnerable to true regret. [long pause] And cut your nails.

Sister Aloysius: Sister James...
Sister James: What is it, Sister?
Sister Aloysius: [crying] I have doubts. I have such doubts.

* * *
Meryl, how did you like playing a nun?

STREEP: There was an enormous attraction. I love the idea that there are these meals we prepare this day, there are candles we light this day—all these markers. They give us comfort in the chaos of the universe. You're a part of that team—the uniform of a nun is like a team jersey—and we all like that.

SHANLEY: People have a very particular conception of what a nun is. That they're strict, and small-minded and funny.

STREEP: Not funny, they're not making jokes with you — they're comical.
SHANLEY: They're comical. They're not in on the joke. And the film starts with that kind of archetypal nun, and then gradually you realize that your preconceived notions about what a nun is are being deterred one by one, as she becomes a more and more complex character. The same is true of the priest. You have this preconceived notion either that all priests abuse children, or that the whole thing is wildly overblown and virtually all the priests were quite virtuous people. I welcome anybody coming to the story with a big precedent, which I hope to erode by making them pay attention to the very specific things about these people as individuals.

DAVIS [Mrs. Miller]: For me, Catholicism was such a sense of community and belonging and identity. I had nothing growing up. We were the first black family in our Rhode Island town. We were on the periphery. And to see all my friends in their white little first communion dresses, looking so cute and going to catechism—it was fabulous to me.

SHANLEY: I think the great attraction that Viola is feeling, to be presumptuous, is community—she needs community, and I think that that is one of the great deficits in modern life. Now the Catholic Church has its faults, but these dioceses, these church schools, these centers, provided a gravity which kept people from flying off into outer space. And we haven't really yet come up with a great substitute. The best we have is the Internet, that's the new community. I mean, Meryl, do you suffer from a lack of community yet?

STREEP: I don't know. No, I mean I guess I'm in awe of and in love with what I don't know. All the certainties that are embedded in doctrines—I understand the solace they provide, but in a way, they also, for me, form a kind of fence that divides us from each other. I am pulled toward the ineffable and I'm trying to conceive why we exist and is there a greater purpose. But I'm a mother, and I have a purpose, and I have a place, and I deeply resent the idea that if you're not a member of a church, temple, ashram, synagogue or—what else is there?—that you are somehow denying your children the meaning of life. I have a deep reverence for life. I feel I'm a deeply moral person. But often religion is a club out of which people are excluded.

- source

Подготовила Е. Кузьмина © http://cinemotions.blogspot.com/

Wednesday, 3 July 2019

Сто вещей, сто дней (2018)/ 100 Things/ 100 Dinge

Немного затянутый немецкий фильм, призывающий одуматься и перестать покупать ненужное.

Paul (voice over): These are our great-grandparents. They had 57 things. Then there was a world war... and inflation. No matter. They believed in God and a better life after death.
These are our grandparents. They had 200 things. Then they had Hitler. And then they had nothing. But no matter. They believed in the future, which promised prosperity.
These are our parents. They had 650 things. Then they had the wall... and a Stasi file. But no matter, reunification came and they believed in freedom.
And this is us. On average, we have 10,000 things. 10,000. We have prosperity. We have freedom. The future is here. And now?
Paul: It's funny. I start with the news, then Trump tweeted something, and via cat video links I end up at YouPorn. Trump, cats, YouPorn. Merkel, polar bears, YouPorn. It's a curse!


Paul: Now I look like an idiot who would buy anything he sees.
Toni: You did buy everything you saw.
Paul: I didn't... That's not... Really?
Toni: Paul, you're a genius. But you have no self-control. You're a consumer whore.

Paul: I got stuck in the Twilight Zone. I can't go online because I can't pay and I can't pay without going online. I've seen hell. This is how the world will end, in a hotline.
Toni: Come in, I'll make you some tap water.
Paul: Tell me something terrible from your life to lift my spirits. […]
I spent four hours on the phone. Four hours of my life I'll never get back. My phone is supposed to save me time.
Toni: Then put it away.
Paul: Are you crazy?

Paul: But when I buy things to make me happy, what does that say about me?
Lucy: That you're not happy.
Paul: Exactly. Why else would I keep wanting more?
Toni: That's not your decision to make. Your brain is from the Stone Age. It's always afraid to starve. That's how it's wired. Hoard and eat.
Paul: I'm not a Neanderthal, I have a free will.
Toni: Bullshit! There is no free will. Consider your phone. It is designed to appeal to your Stone Age brain. You have to become dependent. You can't fight back. It's about the promise of happiness. People have to move. Always chasing that carrot.
Paul: So that means nobody can be happy, or the business goes south?
Toni: Exactly.

Paul: What does that have to do with the suitcase?
Grandma: I don't remember. I saved it when we fled. We weren't allowed to take more.
Paul: Wait, so... All your possessions fit in there?
Grandma: There were six of us in one room. At the refugee camp. Nobody wanted us.
Paul: Kind of like today.
Grandma: Yes. People forget.
Paul [about the old photo]: Is that Grandpa?
Grandma: Show me. Does he look like Grandpa?
Paul: Then who is he?
Grandma: I made the dress out of our nice tablecloths. We didn't need them anymore.
Paul: Look at you smiling. You look super happy!
Grandma: Well... We were young. We survived. That was already a lot. What is it, Paul?
Paul: Grandma, I'm almost 37... Everything was easy for you, Grandma. You had nothing. But you were still happy. We have everything. We can eat when we want to, what we want to... Nobody shoots at us, nobody locks us up. We have no reason to be unhappy... You had the war.
Grandma: Poor boy.
Paul: Why aren't we ever happy for long?
Grandma: Happiness is like water, Paul. If you try to hold on to it, you'll go through life with clenched fists.

Paul [to his mother, about grandma]: What are you doing with her things?
Mother: I'm seeing what she can take to the home. She can't live alone anymore. We can't be there for her all the time. It's nice there. She'll have things to do.
Paul: So you're sorting out half her life, or what?
Mother: I wanted to ask you if you want anything? As a souvenir.
Paul [about an old photo]: Look. Do you know who that is?
Mother: No idea.
Paul: I think that was her true love.
Mother: A Russian soldier?
Paul: You see? We don't know anything, Mom. If even we don't know what all this means, then who will care? Without Grandma here, it's all just stuff.
Mother: It's not about her memories, but about yours. So, do you want to keep something, or not?
Trivia:
Актриса, игравшая роль бабушки (Katharina Thalbach, born 1954) на 12 лет моложе актрисы в роли матери (Hannelore Elsner, 1942–2019), которая умерла (в 76 лет) от рака через год после съемок.

Подготовила Е. Кузьмина © http://cinemotions.blogspot.com/
Related Posts Plugin for WordPress, Blogger...