The two artistic creations we are about to discuss may not have much in common at first sight, not only because of one masterwork being a movie, the other one a short novel, but simply because both works are so intensely and uniquely specific in their poetics and conveying of messages. He is bluntly putting forward the idea that he will always be happy in a place where he is not. As it is the case in Kieslowskia€™s later, frantically, yet deservingly so, famous trilogy Three Colours (Blue, White, and Red), the powerful musical score (by Zbigniew Preisner) underlines almost all the scenes in the movie The Double Life of Veronique, and enhances their supernatural kind of flavor that in fact saturates the movie in its entirety. Weronika (Irene Jacob) in Krakow, Poland in Kieslowskia€™s tender and spellbinding masterpiece from 1991, by accident (which, naturally, is not a real strike of chance, but a mysterious, evanescent sleight of fate) catches a glimpse of her French double, Veronique (also Irene Jacob), who is boarding a tourist bus and taking pictures; not knowingly she gets the Polish self into her focus. When Weronika suddenly dies of a heart attack on stage, while performing (singing) for the first time with the Krakow Philharmonic, at that very same moment the French Veronique senses an indefinable and inexplicable sense of loss and vagueness of existence. Daniel Quinn in City of Glass (1985) is a writer of detective stories who gets involved into an intricately woven bizarre sequence of events that were, so he thinks, initially intended for a man interestingly named Paul Auster, but a phone call (this being the turning point in Quinna€™s life and the beginning of his decline) originally addressed to a Paul Auster (supposedly a well known detective) gets directed to Quinn (the phone lines got mixed up, or did they?).
When Quinn is at Grand Central and in his stooped position eagerly waiting for Stillman to get off a train from Poughkeepsie so his private eye hunt can start, two identical Stillmans disembark the train, one looking like a bum, the other one, the spitting image of the first, except for the fact that he looks like a distinguished gentleman in brand new clothes and carrying an expensive leather bag.
Now all of a sudden we are faced with a quadruple doubling, not only a simple case of Weronika vs. The inscrutable Professor Stillman in his dissertation years ago talked about the doom of the Tower of Babel and the scattered, chaotic world that resulted from the Fall. He, in his insanity (or perhaps the world around him is insane for not seeing the truth, the real collapse of order and utter chaos that is destroying our lives?), is picking up trash from the grounds of Manhattan, creating with his daily walks shapes or routes shaped like the letters that form (or so Quinn tentatively concludes) the phrase a€?Tower of Babela€?.
Like Stillman, Veronique too feels a crack, a rupture in the completeness of, mostly her own, inner world; the crack opens up in the instant of Weronikaa€™s death (the destruction of Babel). The Gate seems to seal for Veronique when Weronika dies; Quinn gets lost in the labyrinth (confusion) (Babel meaning confusion in Hebrew) of unresolved stories, tips, and clues that all seem to lead to a dead end, a closed door for him as well.
Just as New York in City of Glass is presented as a multi-layered, frenzied society, a world of fractured, shattered identities, so does Paris become a chaotic maze of constant wondering and searching for something lost and, at the same time, something terribly imminent to Veronique.
There is, both in Auster as well as in Kieslowski, an unresolved, ghostly kind of air that permeates the atmospheres of the Sin City, New York, and dreamy, melancholic Paris. Both narratives are surrealistic, hard to pinpoint or dissect, with Austera€™s book being a real postmodernistic mystery story. Veronique continues to live, but it looks like she will leave Alexandre, for he had completed the puzzle, showed her the insight of her dual existence, he resurrected the Tower of Babel and brought back reason and understanding of seemingly incomprehensible matters. At the end of Austera€™s story Quinn vanishes, implying that characters in fiction are dependent on the story for their very existence, and when the story comes to an end, they die. We just need to keep on moving through the maze of the mysteries of life, or as Auster writes in the book, describing Quinna€™s daily routine: a€?Motion was of the essence, the act of putting one foot in front of the other and allowing himself to follow the drift of his own bodya€¦On his best walks, he was able to feel that he was nowhere. With the destruction of the Tower of Babel, the multiplicity of languages and truths briskly and irreversibly swamped the world. The Secret Life of Marilyn Monroe est une nouvelle miniserie de quatre episodes qui a ete diffusee les 30 et 31 juin sur les ondes de Lifetime aux Etats-Unis et au Canada.
L’action se deroule a Los Angeles durant l’ete de 1962 alors qu’un nouveau psychiatre, Alan DeShields (Jack Noseworthy) est envoye chez l’actrice Marilyn Monroe (Kelli Garner) alors que la star est au plus bas. On comprend que relater autant d’annees de vie en quatre heures n’est pas chose aisee et il faut d’abord mentionner le tres bon travail de Kelli Garner qui avec sa demarche, le timbre de voix qu’elle adopte et ses mimiques nous font bel et bien tomber dans le panneau et sans une actrice aussi convaincante, on aurait pu s’interroger sur l’interet de poursuivre la serie jusqu’a la fin.
Que ce soit au cinema francais avec les deux films sur Yves Saint-Laurent ou sur Lifetime elle-meme, avec Liz & Dick (sur Elizabeth Taylor) et Whtiney (Houston), on a a chaque fois et a divers degres elimine le cote « hommage » dans les biopics de ces celebrites pour s’interesser uniquement a leur descente aux enfers.
Cependant, avec The Secret Life of Marilyn Monroe, Lifetime a tente une approche differente en mettant l’emphase sur la relation entre Gladys et sa fille. La premiere partie de The Secret Life of Marilyn Monroe a attire 2,13 millions de telespectatrices qui sont pour la plupart restees fideles a la conclusion diffusee le lendemain (2,05 millions).

Ayant etudie en cinema et en communications, depuis longtemps je suis habitue a l'evaluation, a l'analyse et a la critique de films.
Depuis quelques mois, je me suis mis a ecrire des critiques, tout en travaillant dans les medias a temps plein. En esperant pouvoir partager avec les lecteurs mes appreciations, decouvertes et deceptions du petit ecran et surtout echanger avec ceux-ci. The messages that the two masterpieces communicate to the audiences sometimes appear to be somewhat secreted, hiding underneath the obvious surface, and might, consequently, if not regarded closely enough, speak against our embarking on this attempt of drawing parallels between a detective story and a hypnotic cinematic tale of love and mysteries of life that dwell in an undefined area between factual reality and the misty world of dreams.
A constant tendency to move, to transgress the existing borders of being and living, the feeling that the life one leads is not real enough, a notion of a parallel world or even universe where one exists as well, in the flesh, and weaves a multifaceted net of (seemingly) random choices and decisions, unconnected with the ones being simultaneously created elsewhere, all of these colorings are meticulously brushed into the works of Paul Auster and Krysztof Kieslowski. Had Austera€™s novel been transformed into a movie, the soundtrack would have undoubtedly been as revealing of the storya€™s baffling and sinister atmosphere and at the same time as effect-boosting as it is Preisnera€™s music in Kieslowski.
Kieslowski magnificently touches the area of the metaphysical and makes us believe that there is undoubtedly our double treading the Earth somewhere.
He is now still (again) on a mission to collect the scattered bits and pieces of things as well as words and from that discarded a€?debrisa€? form a new world and a new language that will again unite the hollow peoples of the world and generate the birth of a new Paradise.
This is the moment when Veronique watches a puppet show in which the princess dies, but turns into a butterfly and flies over the stage into the light.
The bits and pieces of her life do get (at least partially) re-collected, as apposed to Quinna€™s, with the help of a puppeteer Alexandre Fabbri (Philippe Volter). Kieslowski is not that far away from a mystery narrative himself, just that in his story no crimes have been committed.
Yet his beloved woman does not want the completion, for the time and space we invade in a way demands mysteries to continue and bits and pieces of reality to remain scattered.
Auster and Kieslowski are puppeteers that freely operate their characters, they brilliantly master the scene, temporal and special aspects of their narratives. No more did Kieslowski strive to reach a solid, tangible conclusion than did Auster attempt to achieve a clarification or disentanglement of the labyrinth of paths and stories he interweaves. Paresse scenaristique, il doit la diagnostiquer correctement et lui demande en somme de lui raconter toute son existence; de sa naissance a aujourd’hui. Nee d’une mere maniaco-depressive qui effectue sans cesse des allers-retours entre la maison et l’hopital et d’un pere inconnu, la jeune fille a vecu dans divers orphelinats avant d’etre recueillie par sa tante Grace (Emily Watson) qui bientot doit aussi l’abandonner puisque son mari s’est trouve un emploi sur la cote est. C’est que justement, 53 ans apres sa mort, un nombre incalculable de biographies ont ete publiees, sans compter la representation de sa vie au petit et grand ecran, si bien qu’il n’y a plus grand-chose de « prive » sur la vie de la star.
A la longue, le schema en six actes est redondant : innocence et desir de celebrite, montee en puissance, la difficulte de se maintenir au sommet, stress occasionnant la prise de medicaments, stupefiants, problemes de c?ur et pour les moins chanceux, la mort d’une overdose. Ce point de vue etait prometteur d’autant plus que c’est Susan Sarandon qui herita du role de la matriarche.
Performance pas tout a fait satisfaisante lorsqu’on pense que Liz & Dick en 2012 avait rassemble une audience de 3,5 millions et qu’on en comptait 4,5 millions pour Withney a l’automne 2014. Chacun de ces deux genres nous offrent un portrait de la societe, son evolution et parfois sa regression. So what precisely do this once Jewish middle class kid from Newark, New Jersey, now a renowned writer, poet, translator, and editor, and a Polish cinematic genius, originally from Warsaw, truly have in common, when it comes to the two works mentioned in this writinga€™s title?
Quinn, who agrees to take on a detective job (assumes the name of Paul Auster, the not yet discovered detective, and the manners and wits of his own literary creation, Max Work) is supposed to follow a man Peter Stillman, a once renowned Columbia University Professor, just released from a mental institution and out there, on the streets of Manhattan, allegedly on a mission to kill his, once tortured a€“ supposedly by Stillman himself - son Peter. We have two Stillmans, Quinn is in fact Auster, at the same time Max Work, as well as a writer William Wilson, which is the pseudonym he always used.
The lyrics of the music that offers the background to the scene is taken from Dantea€™s Inferno a€?Verso il Cieloa€? (Towards the Sky, or Into the Light, if we dare to be a bit more poetic, religious even).

De ses jeunes annees passees dans un orphelinat, ses debuts en tant que mannequin puis actrice, ses trois mariages : tout y passe. Mais a 16 ans, Norma, pour vivre dans un semblant de liberte, epouse James Dougherty (Giacomo Giannoti), un marine qui est appele au combat durant la Deuxieme Guerre mondiale.
Alors machinalement, Lifetime s’efforce de revenir sur les grandes periodes de sa vie, mais probablement par manque de budget, on ne la voit quasiment jamais travailler et c’est toujours en prive qu’elle encaisse le coup de ses deceptions.
Dans leurs premieres rencontres adultes, on comprend que Gladys est en quelque sorte le miroir de sa fille. Est-ce du a l’angle de traitement ou tout simplement au fait que la notoriete de l’actrice etait deja telle que la curiosite en patit? The uncertainty of all things around and within Quinn makes the reader wonder about the credibility of the events (within the borders of the literary universe, naturally), although the writer himself, i.e. This doubling, or better even, multiplication, looks like the Devila€™s doppel(quardruple)ganger trick.
A touch of Dante is no doubt telling and may indeed speak of Kieslowskia€™s desire to evoke Biblical references, perhaps the (Sumerian) meaning of the word Babel (i.e. The film takes us completely into its world, and in doing so, it leaves us with the impression that our own world, once we return to it, is far richer and portentous than we had imagineda€?, states Hinson. Mais on explore surtout la relation trouble qu’elle a toujours eue avec sa mere Gladys (Susan Sarandon), laquelle a passe presque toute sa vie adulte dans des asiles psychiatriques. Entretemps, la jeune brunette (le blond platine, c’est pour plus tard) est photographiee dans une usine d’armement ou elle travaille et decroche ensuite quelques contrats de mannequinat peu lucratifs. Il aurait ete agreable de la voir presentee a la reine en 1956 durant le tournage du Prince et la danseuse ou de la voir interagir avec certains de ces acolytes les plus celebres de l’epoque, tels Tony Curtis, Jack Lemmon, Clark Gable, Montgomery Clift, Yves Montand, etc. On exploite a cet effet la dualite entre l’amour qu’une fille porte a sa mere (et vice-versa) et la crainte d’une folie hereditaire.
Il sera interessant de comparer cet aspect, notamment avec le biopic que prepare HBO sur la vie de l’acteur Montgomery Clift, attendu pour 2016. Avec le temps, elle comprend que ce n’est pas avec des sourires qu’elle fera avancer sa carriere et couche avec un producteur. La sequence du tournage de la bouche de metro dans 7 ans de reflexion a ete vue et racontee maintes fois et ses courtes disputes avec Darryl F. Seulement, on ne va jamais tres loin dans la psychologie et malgre tout le talent de Sarandon, les scenes ou elle apparait deviennent de plus en plus redondantes pour finalement se reveler inutiles.
Randy Taraborrelli paru en 2010, on n’apprend pas grand-chose sur la vie privee de la star que l’on ne connaissait pas deja et a en juger par les recents biopics de la chaine, on se demande ou est l’originalite. Petit a petit, la starlette se transforme en veritable icone du cinema et avec le succes viennent inevitablement les echecs : ses deux derniers mariages notamment. Malgre un casting convaincant, l’angle narratif choisi ici (la relation mere-fille) est loin d’etre exploite a son plein potentiel. D’abord avec le celebre joueur de baseball Joe DiMaggio (Jeffrey Dean Morgan) puis avec le dramaturge Arthur Miller (Stephen Bogaert) et c’est sans compter son dernier amant : le senateur Kennedy.
On y integrant davantage sa carriere, on aurait eu droit a une miniserie tres conventionnelle, certes, mais plus complete. La drogue et l’alcool ne font qu’empirer une folie latente et qui ineluctablement viendront a bout d’elle dans la nuit du 5 aout 1962 a 36 ans.

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