Film O G R a Fia Henry

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Film O G R a Fia Henry 1984 Dealers in Death 1985 Henry – Retrato de um Assassino (Henry – Portrait of a Serial Killer) 1991 Sex, Drugs, Rock & Roll Ameaça do Espaço (The Borrower) apresenta 1993 Homicide: Lofe on the Street (série de TV) Uma Mulher para Dois (Mad Dog and Glory) 1994 Nas Teias da Traição (Girls in Prison) (TV) 1996 Fronteiras do Crime (Normal Life) 1998 Garotas Selvagens (Wild Things) 1999 Lansky – A Mente do Crime (Lansky) (TV) 2000 Condo Painting 2001 Falando de Sexo (Speaking of Sex) 2002 Push, Nevada (série de TV) 7 de Abril de 2004 – Ano II – Edição nº 46 A Without a Trace (série de TV) ) I 2004 Redliners - 0 F 5 9 A 1 ( n R o t h G g u a O N c M M L n I h o F J SESSÃO CINECLUBE PRÓXIMO FILME Mediação do Debate: 14/abr O Prisioneiro da Grade de Ferro HENRY - RETRATO DE UM ASSASSINO Eduardo Valente e Ruy Gardnier. de Paulo Sacramento de John McNaughtont Programação e Produção: Grupo Estação e Contracampo. Henry é um rapaz que vive com seu ex-colega de prisão e Henry – Portrait of a Serial Killer – EUA, sofre de um distúrbio que o leva a matar pessoas de formas 1986, cor, 83' bárbaras . Quando o colega e sua irmã, que também sofrem Direção: John McNaughton Roteiro: Richard de perturbações psicológicas, descobrem seus feitos, são Fire e John McNaughton Fotografia: Charlie Liebermen Montagem: Elena Maganini atraídos pela violência, mas ao mesmo tempo se tornam A Trilha Sonora: Ken Hale, Steven A. Jones e vítimas em potencial. Baseado em caso real. C realização colaboração I Robert McNaughton, com canções de Mic N Fabus Produção: Lisa Dedmond, Steven A. C É E Jones e John McNaughton Elenco: Michael T S Rooker (Henry), Tracy Arnold (Becky), Tom P A Towles (Otis). O H N C I I F S www.estacaovirtual.com www.contracampo.com.br Chicago, EUA provocante golpe de vista: Henry, afinal, se revela a última etapa das transformações do loner – o arquetípico Henry – Retrato de um Assassino se abre prestando homenagem a herói americano, individualista radical, introspectivo, Hitchcock: plano fechado numa face imóvel e inexpressiva, a câmera solitário. O recua lentamente em espiral para revelar por inteiro o corpo nu de uma mulher morta. Corta para uma mão apagando um cigarro no cinzeiro. Parte significativa do filme é dedicada à relação entre Henry e Otis, uma espécie de introdução à filosofia da N Um recurso simples, extremamente eficaz: entrecortando curtos arte – uma arte cujo objeto, tema e instrumento é a morte I fragmentos do cotidiano de Henry (Michael Rooker), o matador em série, (Henry é o autor das "instalações" do início do filme, com imagens congeladas no tempo de suas vítimas, reveladas com S muito semelhantes às fotografias de "Mad Dog"/Robert estudados movimentos de câmera e sons distorcidos reminiscentes do DeNiro em Uma Mulher para Dois). Otis encontra na S momento dos assassinatos, o diretor John McNaughton demonstra apatia de Henry uma instância libertadora; nos algumas qualidades raras já nos primeiros minutos de sua estréia. A A assassinatos praticados pela dupla, a frustração sexual de técnica pode ser banal, mas seu emprego, que é o que interessa sempre, Otis é resolvida em rituais adolescentes de vingança S é magistral: a atmosfera doentia da narrativa é estabelecida de pronto contra a ordem, puras celebrações de destruição da enquanto nos é apresentada a personagem – esta construção elíptica, em ordem social. Otis mata porque é marginalizado, ele se S pleno acordo com a natureza evasiva do protagonista, serve como uma vinga contra o sonho americano da família e do passagem só de ida, sem direito a escalas, rumo à sua grotesca paisagem A consumo, do qual sempre foi excluído; em Henry, por mental; um labirinto sem saída em que, mal percebemos, já nos sua vez, não há nenhum sinal de motivação semelhante, encontramos encurralados. mas o cumprimento de uma determinação de ordem McNaughton é um cineasta direto, nada afeito a firulas ou papagaiadas. existencial: ele mata porque faz parte de sua natureza. M O que não significa que não tem estilo, pelo contrário: Henry é Sua visão do mundo, em que todos são vítimas e mesurado, elegante, econômico, seco, cortante; não busca o choque a predadores em potencial (sintetizado numa frase dita a U qualquer custo, e McNaughton trabalha o excesso com um senso Otis – "it's either them or us"), serve aos dois propósitos. agudíssimo de observação e introspecção. O diretor quase sempre parte E Quando, no fim, Otis pratica um ato de traição contra de materiais e temas de exploitation, mas sua abordagem recusa o seu pai simbólico, ele tem os olhos vazados, num sensacionalismo ou o mero fascínio pela degradação empregando um desfecho que repete em parte a tragédia clássica. O D alto grau de reflexão – que se deixa notar na utilização da metalinguagem assassinato espetacular de Otis tem ares de um manifesto em Henry, seja na sequência em que a dupla de assassinos assiste – e este é o clímax, o ponto de inflexão central de toda a repetidamente ao massacre de uma família suburbana ou naquela outra história. Neste momento algo parece mudar: o ato de O em que eles filmam mendigos se matando por um pedaço de pão. Henry obedece a uma determinação de ordem moral, o T A trama tem início quando Becky (Tracy Arnold) desembarca em Chicago serial-killer deixa entrever uma ética até então insuspeita para morar com seu irmão Otis (Tom Towles), e recomeçar a vida depois – ele encontra uma motivação. A de um casamento fracassado. Acontece que Otis divide seu apartamento Acompanhamos o desfecho com a respiração presa, num com Henry, o ex-colega de penitenciária que, sabemos, é o tal serial- R estado de suspensão; uma sequência de diálogos killer de quem se propõe traçar um retrato. McNaughton não pede precisos cadenciados por silêncios expressivos revela a T licença para filmar suas personagens: vemos Becky pela primeira vez genialidade da mise-en-scéne de McNaughton. O espaço num plano fechado em seu rosto, a câmera encarando de frente, sem dó E urbano soturno de Chicago é deixado para trás enquanto nem piedade. Henry tenta convencer Becky a ouvir música no carro, R Nenhum cineasta trabalhando atualmente no cinema norte-americano, seguindo viagem no espaço mítico da estrada, locus da independente ou não, rebelde ou domesticado, é tão livre de transformação e da entrega a um destino incerto. - paternalismos ou de quaisquer válvulas de escape quando se trata de Um quarto barato de motel abriga o último golpe de t filmar a ponta menos favorecida do tecido social americano. Em tempos n vista, uma última e impressionante elipse. No fim, a o Y t de intenso e até certo ponto acalorado debate sobre a representação da h civilização termina numa mala manchada de sangue g parcela excluída da lógica do capitalismo e do lumpen, o olhar livre de R u abandonada na beira da estrada, enquanto o matador a McNaughton é um antídoto contra as simplificações grosseiras: não há segue viagem. O pior dos horrores nasce desta N c moralismo, não há gratuidade; qualquer explicação reconfortante para a constatação: Henry acabou de cruzar a última fronteira, N M conduta do matador é descartada. A psicologia esbarra na expressão de e adentrou definitivamente o terreno do mito. n E Michael Rooker, opaca, única. Henry pode até ser um monstro h o J socialmente produzido, mas McNaughton, cineasta da subversão como Fernando Veríssimo e Fuller, não corrobora esta visão sem lançar mão antes de um derradeiro e H d.
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