Saturday, December 3, 2016

Forbidden Games

That face.

This is acting before being told what acting is. Brigitte Fossey's innocence is so real that everyone around her stops pretending and starts responding to this little girl's wonderment and are as much in awe of her as the audience. That goes doubly for her rescuer, Michel. She wants a fairyland pet resting place? So be it. Her wish is his command, because she only knows sincerity and Michel is acutely aware of it. Nothing will stop him from protecting and preserving what innocence he can. Protecting innocence. That is a tall order, but how can we turn our backs on it? The ways this movie begins and ends are so difficult, that I know it's affecting me and will continue to do so--just the way the director, René Clément, would have it.


The idea of exploring morbidity, in the face of it, sounds like the best kind of therapy possible. I remember an old, beautiful cemetery that my friend and I would visit on the way home from grade school. We'd read the headstones and think about the people's lives, as we cleared away the overgrown plants and grass. Little did I know I was creating my own therapy. My favorite moment in the film is the panning shot of Paulette and Michel's healing creation.

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