http://theeveningclass.blogspot.com/2008/10/fcn-christmas-tale-un-conte-de-nol-q.html
Thank you very much for posting a lot of useful information about A CHRISTMAS TALE. I love the quote from Nietzsche . I saw this film in late September, but I forgot this quote. Maybe there are too many things happening in this film. Reading your post helps me remember this wonderful thing.
Another thing that I like very much in the film is the scene in which Junon (Deneuve) disappears from a department store without apparent reasons, leaving Faunia (Emmanuelle Devos) alone. It surprises both Faunia and the audience. I had thought that these two women were friendly towards each other, but when Junon suddenly leaves, it makes her character more complex, more interesting, possibly as unreasonable as a real human being.
Before I read your post, I had thought that Desplechin intended from the start to cast Chiara. I thought that due to the fact that Chiara and Deneuve look a bit similar in some points or in some angles, the filmmaker might want to show that Ivan has Oedipus complex or something like that, so he has a wife who looks a bit similar to his own beloved mother.
The reference to Theseus in the film is very interesting. It reminds me of the main character in MY SEX LIFE..OR HOW I GOT INTO AN ARGUMENT, because that character’s name is Dedalus (played by Amalric).
The fact that Desplechin himself doesn’t understand what is written on the blackboard makes me laugh. I also don’t understand the math calculation in that scene. At first, I thought it is because I am slow-witted in math. Now I know that even the director doesn’t understand it, too.
The complicated math calculation in this film also reminds me of “21” (2008, Robert Luketic). There are some scenes in 21 which try to explain some math calculations, but I can’t understand them, either.
In conclusion, what I like very much in MY SEX LIFE and A CHRISTMAS TALE is the feeling that the films seem to be uncalculated, or very natural (opposite to some films by Francois Ozon which seem to be very calculated, though they are good films). It seems as if these films by Desplechin are the trees of which the owner let them grow any which way they want to. Reading your post here makes me think that this quality may be the result of Desplechin’s being open to changing things while making films. Apart from Desplechin’s films, I also find these wonderful “uncalculated” feelings from the films of Benoit Jacquot, Valeria Bruni-Tedeschi and Noemie Lvovsky.
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This is the quote from GENEALOGY OF MORALS, written by Nietzsche, that I like very much. This quote comes from the link below and is translated by Ian Johnston.
http://records.viu.ca/~Johnstoi/Nietzsche/genealogypreface.htm
"We don’t know ourselves, we knowledgeable people — we are personally ignorant about ourselves. And there’s good reason for that. We’ve never tried to find out who we are — how could it happen that one day we’d discover ourselves? With justice it’s been said, “Where your treasure is, there shall your heart be also.” Our treasure lies where the beehives of our knowledge stand. We are always busy with our knowledge, as born winged creatures and collectors of spiritual honey. In our hearts we are basically concerned with only one thing — to “bring something home.” As far as the rest of life is concerned, what people call “experience,” — which of us is serious enough for that? Or has enough time? In these matters, I fear, we’ve been “missing the point.” Our hearts have simply not been engaged with that — nor, for that matter, have our ears!
We’ve been much more like someone divinely distracted and self-absorbed into whose ear the clock has just pealed the twelve strokes of noon with all its force and who all at once wakes up and asks himself “What exactly did that clock strike?” — so now and then we rub our ears afterwards and ask, totally surprised and completely embarrassed “What have we really just experienced?” And more: “Who are we really?” Then, as I’ve mentioned, we count — after the fact — all the twelve trembling strokes of the clock of our experience, of our lives, of our being — alas! in the process we keep losing the count . . . So we remain simply and necessarily strangers to ourselves, we do not understand ourselves, we must be confused about ourselves. For us this law holds for all eternity: “Each man is furthest from himself” — where we ourselves are concerned, we are not “knowledgeable people” . . ."
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This is my comment in Screenout Webboard:
http://zaa.xq28.org/viewtopic.php?f=5&t=79&st=0&sk=t&sd=a&start=375
ตอบน้องเป้
ดีใจมากจ้ะที่น้องเป้กลับมาเยี่ยมเยือนเว็บบอร์ดนี้อีกครั้ง พร้อมกับนำของดีๆมาฝากทุกคนด้วย
ตอบน้อง Matt
ดีใจมากจ้ะที่น้องอยากจะรับบทนำในตอนที่ 10 ของหนังเรื่องนี้ รับรองว่าการแสดงในหนังเรื่องนี้จะทำให้น้องโด่งดังไม่แพ้นางเอกหนังอย่าง “คนเริงเมือง”, “ทองประกายแสด” หรือ “ความรักไม่มีชื่อ” (1990, Ml. Bandevanop Devakul) อย่างแน่นอน
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