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My Son, My Son, What Have Ye Done

Werner Herzog

The masochism of the Italian distributors with respect to securities, you can always count on. But he wanted to keep the original title "My Son, My Son, What Have Ye Done" for the last (great) film by Werner Herzog knows the true tenacity in getting hurt. Not that "My son, my son, what have you done" would be a way to attract the crowds (at least in the original archaic "Ye" announces the film's reference to Greek tragedy), in the role of distributor, the writer would have invented something on the "home of the flamingos." And 'here that matures the tragedy of the film (a matricide by a dummy) and told in flashback as the police besieged the home of the flamingos is a reason that obsessive self-inform the house of mother and child, between statues , drawings, glass, ornaments, painted the garage doors, and two live animals - it's like a version of pop / kitsch of the house of "Psycho."
"My Son, My Son ..." is Herzog's return to a fictional cinema high level after the disappointing "Invincible" and "Bad Lieutenant". Produced by David Lynch, opened the castle, "David Lynch Presents" is the marriage between the aspiration to the absolute herzoghiana e la sospensione onirica lynchana. Un matrimonio singolarmente riuscito! Invero erano già lynchani ne “Il cattivo tenente” alcuni particolari, come il coccodrillo sulla strada: parente di molte ossessioni figurative herzoghiana, come le rane rosse che invadono il terreno in più di un suo film, ma fotografato in modo “splendente” alla Lynch. Però “My Son, My Son...” è molto di più; è una trasposizione di motivi narrativi e figurativi lynchani nelle vene di Herzog, come una trasfusione di sangue rivivificante. Da un lato si possono distinguere agevolmente nel film “momenti herzoghiani” e “momenti lynchani”; dall'altro essi si amalgamano in un arricchimento mutual tempted to think of the two filmmakers as co-authors.
The frozen face of Brad (Michael Shannon in monumental interpretation) gives his delusions during the epic trip to Peru a shade - note that the film is passed through by a streak of wicked humor - and when he speaks as a visionary in the background of the mountains creates yet another figure of the mad gallery Herzog. In his scene in a Peruvian market ("Because the world is looking at me? Because the mountains are looking at me?") The camera leaves him to go back to a sort of fascination with faces wrinkled old Peruvian toothless - but also to feed their reaction to being vampire movies: here is that the story has turned into a genuine piece of documentary Herzog. Brad
Back in America, her madness grows in relationship with a castrating mother (this is not a coincidence that as the mother was chosen Grace Zabriskie), which is unable to dissuade his girlfriend (Chloë Sevigny). At the end of the episode jelly - a moment of great embarrassment to three during a family dinner - there is an absolutely lynchano: on the edge of the disturbing score Music Brad's mother and girlfriend froze in a pose classically centered as human imitation of a still image, and it is both a metaphorical comment on their situation bloccata e un tableau astratto che sembra compendiare la scena congelandola nella dimensione dell'assoluto. E' purissimo Lynch la discussione fra i due poliziotti in macchina (Willem Dafoe e Michael Peña) in apertura; lo stesso si può dire della sublime inquadratura, più tardi, degli stessi due che avanzano cautamente verso il garage dove si è barricato Brad con gli “ostaggi”, mentre la mdp passa davanti a loro in un bizzarro carrello laterale.
Ma soprattutto il delirante racconto di un nano montato sul cavallo più piccolo del mondo, sconfitti entrambi da un gallo gigante più grande di loro, esprime appieno la sua natura lynchana quando si accompagna a un'inquadratura di tre personaggi immobili, another freeze frame human here centering typical Lynch has increased tenfold dall'incongrua presence of the dwarf of the story (a dwarf is a figure also herzoghiana, just remember his masterpiece "Even dwarfs started small," but here we are in true Lynch territory). However, discuss assignments ideals of a scene or the other, although interesting, is not a desire to share the spoils: why the film is a happy conjunction of authorship whose outcome is always unity.
This dip in the flashback in the madness - priceless journey ostrich farming Uncle Ted (Brad Dourif) - includes a failed attempt to Brad as an actor in amateur staging of a Greek tragedy (the director Udo Kier): This course is a pastiche by Aeschylus ("Choephori" and "Eumenides") by the killing of Clytemnestra's son Orestes. The resonance of the classic text establishes a dialogue with the strange nature of the frenzied pop and coll'ambientazione American tragedy, when the madness of Brad meets the greek myth creates a series of resonances, in addition to extending the terms diegetic framework, strengthen its drama. Rightly
the concrete act of matricide which is celebrated in the nearby chalet California is not seen on stage "but comes from the old neighbor told us, just as the event always bloody happens offstage in Greek tragedy.
Ben served as an exceptional musical score, which has important part of the mariachi music, "My Son, My Son ..." is a tragedy of madness - and a universal and widespread pain - which unfolds on the screen with hallucinatory conviction and upset, reckless originality.