Review of Blue Valentine (2010) by Huseyn B — 19 Oct 2012

Ryan Gosling, who by all apportionments should get for her role in "Blue Valentine" in the Oscar nomination, in half the scenes artificially old, and Michelle Williams, it seems, on the contrary, rejuvenated for the second half, while the rest of the death of Heath Ledger is perfect match line with "swollen blonde.".

Like the "5x2" Ozone, grafted from "irreversible" Noah, "Blue Valentine" Derek Sianfransa - a clash of two eras - before and after - one pair. In a parallel installation of one temporality moves inexorably to the wedding, the other - to the divorce. Trouble-free reception. But if the time-after all is clear, then, to also not that pervaded boundless happiness. Just Gosling - thin and shrill, carrier-idealist, and packing a shelter svozyaschy oldies. And Michelle Williams is prepared medshkolu and goes to the same shelter to her old grandmother, still pretty, but always dark and collected. In their overall time-to the main catharsis occurs when it suddenly gives way so far unsuccessful advances Gosling, relaxes and starts to dance under his strumming the ukulele and singing foolish - on the street, throwing off his backpack, awkward, uncomfortable in a dance boots. Heartbreaking moment.

This, of course, "Scenes from a family life," but in "Blue Valentine" a lot of hard psychological detail. For example, the scandals, it is static, in which both participants sticky with a pair of parrot phrases. Or notorious sex scene, because of which the film was awarded the first rating R, but then took off. They actually two: one is not a hero Gosling, Michelle Williams in the second with clenched teeth work out marital duties in response to the phrase: "I was there with you, dear, you can not refuse me.".

In the era before the heroine-Williams asks his grandmother: "How do you know that it is that person? That's how you get it? '. And receives the answer: "My husband was not considered me as a person." The father of the heroine for a family dinner, oblivious to just say a prayer, throws food mother, "You want us to eat this garbage? '. In the era of post-Williams already own, sleepy, the alienated, hastily concocts "wrong" oatmeal daughter and automatically collects it in the garden, while Gosling all embedded in communication with, as it turns out, for a step-child. But then comes the infamous tantrum and happy in her work.

In fact, the order is important, and the plot can cancel plot. The "5x2", and especially in the "irreversibility" of the final scene - the most powerful point of potentiality, in which the most different outcomes - the future (the plural of "the future"). And unwinding back her story only strengthens, canceling itself a traumatic event: the end we seem to forget what it's actually over. The "Blue Valentine" is not reversible, and the parallel installation. Each line is moving to its own climax, but the culmination of one cancels the other. The past is locked irreversibly destroying any germ of potentiality. "Blue Valentine" - a very sad movie.