Accelerated Emt Basic Colorado

Film of the Week - March 9

Potiche - The beautiful statue of François Ozon

Synopsis

France, 1977. When Robert Pujol, tyrannical owner of an umbrella factory, and is forced to move away from the family because of disagreements with employees, his wife Suzanne, hitherto regarded as a beautiful ornament, takes the reins of the company and change the face: it will be the beginning of a new life and a new model of woman.


Potiche - The beautiful statue is a comedy that makes you laugh - and these days, with the crisis that has invaded not only the economy but the whole art, is no small thing. The signal that this is a film successful, without realizing what he had promised too pompous ambition. At the same time, Ozon's film is not only to play movies quotes and even a tribute to Catherine Deneuve , the latest star of French cinema, but clever allegory of France today, his characters policy and its vices and virtues. For better or for worse, you might say.

The interesting question on the film is the mechanism of laughter that it implements. Why, then, as today's audience, the year 2010 (the film was presented competition in the Venice Film Festival last ), we choose to laugh in the face of an operation of vintage aesthetic. The movie is indeed set in the 70s and was shot in the style of the commercial cinema of the time, with the split screen, the light music light, the bright colors of the costumes and furniture, the size of embarrassing hairstyles and unintentionally comic close-ups, zoom and stop alienating. Everything is absolutely hilarious and obvious: we laugh because of the frame kitsch and camp (a term that indicates the universe from its post-modern and flamboyant homosexual culture), you agree to the intelligent and the stupid jokes in the name of a filter recognized and accepted (that of the vintage, the distance of cynical disillusionment). Laughter, then, is not spontaneous, arising from fear and doubt that, as we are engulfed by visual stimuli, we try to deal with any image.

From the top of an iconography that is common practice (the vintage is everywhere, fashion, TV, songs, film, to be precise), François Ozon , openly gay director, brings the figure Deneuve's not even asked to play but simply to draw upon himself the effect of recognition, through its shape requires a model of maternal femininity, understanding, aggressive bourgeois that has nothing ironic.

It is no coincidence that in the second half of the film, once conquered the audience, Ozon begins to run clear references to contemporary society and its ideological distortions (if one can still speak of ideologies). The director is continuing its investigation on the fairer sex, dealing with the relationship established with the politics and power, and coming to talk about feminism, economic crisis, trade union and family with healthy and intelligent laughs and a good eye fixed on the characters of the policy today.

What was said the two main characters are inspired by Nicolas Sarkozy (hysterical in the role of husband illiberal and master of business) and Ségolène Royal (the "beautiful ornament" Deneuve) and add to the figure of the "mailman", so they call the French Communist trade unionist, here in the role of Depardieu. Although the film is hilarious, the mood is really dark and black. None of these characters is saved, each in its own way monstrous and lost, including the entrepreneur policy that eventually Deneuve can remember something (or someone) very contemporary: its political and business parable, after all, what is less significant, seen that the improvement in the fortunes of his company to think necessarily leads to improving the fate of the country. Remember nothing all that?