Saturday, 20 June 2009

Petulia
(1968)

80%

Here is represented a soulless, emotional repressed world where people simply cannot relate to one another effectively. Sex obsession, casual racism, alienation, boredom, topless waitresses, the generation gap and physical abuse are just some of the issues touched upon in a movie with an uncommon narrative style. The story starts at both ends and works its way slowly to the middle.

White, Western culture is shown as being in psychological meltdown, yet the underlying causes for this are never clearly stated – only implied. No solutions are ever offered for this as people talk about their emotions rather than genuinely experiencing them. It is as if they were talking about someone else's life along the lines of "This friend of mine has this problem…" They thus never learn from their experiences, learn not to repeat their mistakes and, so, to actually grow up. They behave as though emotions were a nasty rash that should be smothered in ointment and hidden from view. All of these inter and intra personal conflicts are set against the background of the much greater conflict in Vietnam; symbolic of the West's tendency to export its unresolved issues overseas.

Despite the often-confusing plot structure, this is an engaging and superbly acted movie about what can go wrong with our most intimate selves. George C SCOTT is particularly good as the character we most identify with yet is completely at a loss as to how to feel. There is a lot of desperation and need on show here but precious little love. The sole mistake the film makes is in trying to evade the very issues it raises by showing how alienating the built environment in the West can be, as if that were the sole reason for widespread anomie displayed.

A brilliantly depicted rendering of a particular social setting that does not get beyond the surface details as much as it should, could or might have done. Yet, this is a more accessible version of an Ingmar BERGMAN movie where the visuals tell the story more effectively than the dialogue. Where the emotional violence is as palpable as the actual bloodletting is visible.


Copyright © 2009 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

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Science:



No science is immune to the infection of politics and the corruption of power.



Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).


Sleep of Reason:



The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.



Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.


Humans & Aliens:



I am human and let nothing human be alien to me.



Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


Führerprinzip:



One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.