PLOT 1942. Estate. After the invasion by the troops of Hitler's Germany the Jews were first forced to wear the Star of David on clothes, and then were gradually ousted from their jobs and prevented access to schools and public places. But now Hitler has decided to mass murder and wants the Vichy collaborationist government based in the Paris alone gives that at least 20,000 of the 25,000 Jewish residents. These will first be carried out in camps in France and then, once completed the work for crematoriums in concentration camps, started to die. Marshal Petain adheres readily to the request and on the night of July 16th (the Germans had asked the 14 dimenticando la festa nazionale) la retata si svolge. Tredicimila uomini, donne e bambini ebrei vengono prelevati dalle loro abitazioni e portati nel Vélodromo d’Hiver, prima tappa del loro calvario.
Il punto di vista che il film assume è quello di alcuni bambini che vivono nel quartiere di Montmartre e, in particolare quello del decenne Joseph. Vogliamo concentrarci sull’invito a vedere il film superando l’atteggiamento che è stato purtroppo fatto proprio da alcuni di quelli a cui il produttore Ilan Goldman (forte del successo si La vie en rose) si è rivolto perché partecipassero all’impresa. “È storia antica”, “Non importa a nessuno”. Non è storia antica e la regista Rose Bosch has succeeded in being perceived as unfortunately present. Mind you, everything is consistent with the philological era in which they happened. Without that French cinema had never dealt with such force, if not precise and documented in a television documentary and now re-emerging as a remembrance of the past but also as a warning on this.
Bosch is working on a tripartite narrative. On the one hand Hitler in his Berghof retreat of the other Pétain, Laval and their acolytes and, in the middle, the educated Jewish families in their daily lives inside of which were inoculated with art (thanks to the media more widely to 'era, the radio) the seeds of more irrazionale ma efficace disprezzo per l’altro. Alimentandolo con la ripetizione delle menzogne in modo da assuefare le menti all’idea della ‘normalità’ dell’emarginazione. Il film non accusa ‘i francesi’ tout court e anzi sottolinea il fatto che se dei 25.000 ebrei 12.000 sono sfuggiti alla retata lo si deve a parigini che li hanno aiutati mettendo a repentaglio la propria esistenza. Ma resta comunque impressa nelle retine la gestione dell’intera operazione da parte di uomini che non indossano le divise delle SS o della Wehrmacht ma quelle delle forze dell’ordine e militari francesi. Allora per quegli sguardi infantili diventa ancor più difficile anche solo tentare di darsi una spiegazione di quanto accade. Così when we witness the scenes of thousands of human beings with very little care or water stored in the Velodrome can not fail to mind the image of the stadium in Santiago, Chile after Pinochet's coup.
But there is a moment where you feel the gap that has been established between reality and injury. When Dr. Sheinbaum (played by Jean Reno in a physical and moral strength of which form a whole) before the umpteenth shouting abuse: "I do not have the right" is the decency, humanity is won but not folded , and reason with him crying. But at that moment the viewer 'feel' that this is an appeal inadmissible who is the other side. A part for which the right word has lost any value, any possibility of confrontation in which she returns to find a way that is very common.
ask ourselves whether this depletion of fundamental significance can not be found even in our contemporary society more concrete. Chiediamocelo reflecting on the response we have set ourselves and thank this film for suggesting the application.
TRAILER
DOWNLOAD LINK
Part 1 Part2 Part3
Parte4
Parte5
password: conte23
0 comments:
Post a Comment