Lai cik daudz šogad runāts, domāts, smīkņāts par hipsteriem, tomēr jāatzīst, ka tas ir šīs sezonas trends, un varbūt ne kā subkultūra, bet kā fenomens (stila) tie noteikti tiks ierakstīti vēstures lappusēs. Hipsteru stils pārņēmis arī Kino, un citējot kādu latviešu dziedātāju „Hipsteri ir cilvēki, kas paņem lietas no citiem laikiem un remiksē tās savā dzīvesstilā,” (ņemts no www.whimsicalagnesiga.com bloga) tad Xavier Dolan ar savu filmu „Les amours imaginaires” (Iedomātas mīlestības, 2011) tam ir spilgts piemērs, pārņemot 50to gadu filmu veidošanas manieri gan tādu paņēmienu kā slow-motion, gan arī vispārējā stila un izjūtas ziņā, līdz pat filmā izmantotajai mūzikai, ņemot vēra, ka Dalida „Bang Bang” jau var saukt par klasiku.
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Despite all the talk, thoughts and laughs about hipsters this year I must admit that they have become the trend of the season, maybe not so much as a subculture, but more as a phenomena (of style) and will therefore be written in history. The hipster style has also taken over the world of cinema and if the quotation of a Latvian singer is true, that “A hipster is a person taking things from past and remixing them in his/her current lifestyle,” (taken from the blog www.whimsicalagnesiga.com) than Xavier Dolan and his film “Les amours imaginaries” (2011) is the best example of that. Not only has he adopted the film techniques of the 1950s (like slow-motion), but he has created also the style and feel of that time, as well as the music, taking into account that Dalida “Bang Bang” is already considered a classic.
No vienas puses, šo filmu varētu saukt par manifestu hipsterismam, tomēr, no otras puses, tā arī satur lielu devu sarkasma, kas veltīts visiem vintage puišiem un meitenēm. Vislabāk tas atspoguļojas abu tēlu vēlmē līdzināties kādam citam (skat. James Dean un Audrey Hepburn), kas īstenībā atbilst postmodernās identitātes konstruēšanas fenomenam – svarīgāka par būtību un personību ir čaula, maska, vai kā nu tu gribi to saukt. Kaut gan visa kulminācija, manuprāt, filmā ir aktrises Monia Chokri tēlotās Marie vintage stila vēstules rakstīšanas maniere – šī epizode sevī vienā aptver visu hipsteru kustības domu (sak, ja gribu kļūt par hipsteru, lūk, kādam jābūt manam dzīves stilam).
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No vienas puses, šo filmu varētu saukt par manifestu hipsterismam, tomēr, no otras puses, tā arī satur lielu devu sarkasma, kas veltīts visiem vintage puišiem un meitenēm. Vislabāk tas atspoguļojas abu tēlu vēlmē līdzināties kādam citam (skat. James Dean un Audrey Hepburn), kas īstenībā atbilst postmodernās identitātes konstruēšanas fenomenam – svarīgāka par būtību un personību ir čaula, maska, vai kā nu tu gribi to saukt. Kaut gan visa kulminācija, manuprāt, filmā ir aktrises Monia Chokri tēlotās Marie vintage stila vēstules rakstīšanas maniere – šī epizode sevī vienā aptver visu hipsteru kustības domu (sak, ja gribu kļūt par hipsteru, lūk, kādam jābūt manam dzīves stilam).
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On the one hand, this film can be seen as the manifestation of hipsterism, however, on the other hand, it still contains a considerable part of sarcasm towards all the vintage boys and girls. The most obvious example would be both of the main characters and their desire to be someone else (see James Dean & Audrey Hepburn) and as a matter of fact it actually conform with the phenomena of the construction of a postmodern identity – that more important than personality or essence is the shell, the mask, or whatever you want to call it. The highest peak of this, however, is when Marie (played by Monia Chokri) is writing a vintage love letter – it’s the episode which incorporates the essence of the hipster movement (say, if I want to be a hipster, this is what my lifestyle should be like).
Tomēr jokus pie malas – filma ir scenogrāfiski krāšņa (ne personāžus, ne arī apkārtējo vidi nevarētu nosaukt par pelēku), un satriecoši reālistiski ir ne tikai abi galveno lomu tēlotāji (pats Xavier Dolan un Monia Chokri), bet arī pamīšus sižetiskajai līnijai attēloto pseido - interviju kolorītie varoņi, kuras filmas sižetu nevis saskalda, bet tieši otrādi – lieliski papildina, jo galu galā visu kopā vieno kopīgā tēma – partnera meklēšana jeb kulšanās pa šo dzīvi ar vienu vienīgu mērķi – atrast to vienīgo un īsto otro pusīti, kas lielākoties beidzas ar vilšanos, jo mēs katrs mākam atrast otrā ko kritizēt vērtu, tomēr gandrīz nekad savā egoismā nemākam paskatīties paši uz savām nepilnībām, kas varbūt nešķiet īpaši pievilcīgas pretējam dzimumam. Filmas galvenie varoņi ir snobiski un egocentriski un savā virspusējībā nepamana to, ka ir pavisam vienaldzīgi arī tik pat seklajam noslēpumainajam smukulītim Nikolā, jo nevienai no abām pusēm nemaz negribas īsti ķēpāties mīlestību, gribas tikai spēlēt mīlestību (tā teikt, lai izskatās stilīgi), kā mans draugs teica: „Skumja filma.”
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All jokes aside, however, this film is scenographicaly exuberant (you couldn’t say that either the characters or the scenery are grey); the main characters (played by Monia Chokri and Xavier Dolan himself) are shockingly realistic, and so are those from the pseudo- interviews, which intervene with the plot throughout the film and supplement with it perfectly (and not disintegrate it, as you might think) – because in the end there’s only one theme behind them all and that is the search for a partner or in other words getting along somehow in this life with a sole purpose – to find the one and only one’s better half. However, most of the time he search ends in disappointment, for we all know how to look critically at the potential life partners, yet we often fail to see this imperfection in ourselves, which are as off-putting as those in others. The main characters of this film are both snobbish and egocentric and in their superficiality don’t see that they are as uninteresting to the equally shallow mysterious hottie Nicolas as other potential lovers are to them, because neither of them actually wants to get in this mess called love – all they want is just to play love (to look cool, so to say). As my boy-friend puts it: ”It’s a very sad film.”
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All jokes aside, however, this film is scenographicaly exuberant (you couldn’t say that either the characters or the scenery are grey); the main characters (played by Monia Chokri and Xavier Dolan himself) are shockingly realistic, and so are those from the pseudo- interviews, which intervene with the plot throughout the film and supplement with it perfectly (and not disintegrate it, as you might think) – because in the end there’s only one theme behind them all and that is the search for a partner or in other words getting along somehow in this life with a sole purpose – to find the one and only one’s better half. However, most of the time he search ends in disappointment, for we all know how to look critically at the potential life partners, yet we often fail to see this imperfection in ourselves, which are as off-putting as those in others. The main characters of this film are both snobbish and egocentric and in their superficiality don’t see that they are as uninteresting to the equally shallow mysterious hottie Nicolas as other potential lovers are to them, because neither of them actually wants to get in this mess called love – all they want is just to play love (to look cool, so to say). As my boy-friend puts it: ”It’s a very sad film.”
Filma ir cienījams jau par kino ģēniju nodēvētā Xavier Dolan pirmais daiļdarbs, un, kā jau minēju, vislielākais patīkamais pārsteigums man ir veiksmīgi veidotā filmas montāža, kurā sižets mijas ar intervijām, kā arī ar video klipiem cienīgiem kadriem, kā piemēram šis.
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For already a film genius called Xavier Dolan this first attempt is fairly estimable and as I already said the biggest surprise for me was the well-suited montage where the plot line is repeatedly substituted with interview extracts or with some video-clip worthy episodes, like this, for example.
Ja jūs gaidāt filmu par īsto mīlestību - būsiet pārsteigti.
Ja gaidāt filmu par nelaimīgu mīlestību - būsiet pārsteigti.
Ja gaidāt filmu ar morāli - būsiet pārsteigti.
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If you expect this film to be a romantic love story - you're in for a surprise.
If you expect this film to be a sad love story - you're in for a surprise.
If you expect this film to have a morale - you're in for a surprise.
