Innocence Movie Streaming
Mercredi, septembre 15th, 2010 |
Innocence Movie Streaming.
Movie Title: Innocence Innocence is available for streaming or downloading. |
German expressionist writer Frank Wedekind’s symbolist novella “Mini-Haha: The Corporal Education of Young Girls” (1888) is the basis for this film, directed by Lucile Hadzihalilovic. It takes place in a girls’ school for affluent students, who arrive in a coffin, one by one, and who are not allowed to leave. (Anyone who tries to leave has to stay there forever, and become one of the old women who are servants to the current girls.) Marion Cotillard plays one of the two teachers, Eva, a ballet teacher; she is often moved to tears. The other teacher is a science teacher, who has a limp. The girls are always dressed in white. Is this beginning to sound like a dream sequence to you? The girls wear colored ribbons to denote their seniority; some of the older girls are eventually taken by train to a city, presumably (but never guess outcome in a dream) to attend another school. The film is admirably discussed on the DVD in two interviews with the director, who declines to “explain” what is happening here. Suffice it to say that this film does not respect chronology or explanation. Like other of Wedekind’s works, it exists, and was created, to be absorbed rather than “understood,” much as looking at a great painting is assisted by the viewer’s openhearted acceptance of the effort. Not for everyone, but an interesting look at Cotillard’s choices in her early career — how the girls’ freedom is always tinged with the oppressiveness of their days. Cotillard has a great line: “Obedience is the only path to happiness.” Perhaps Wedekind was remarking on the way children were raised in his day. Perhaps the director is remembering her days growing up in an oppressive country in the l960s. It’s all up to the viewer.
Like the very best gothic fairy tales, the film submerges us in an innovative, surreal aesthetic that evokes coming of age. The startling imagery (watery expanses alternately placid and violent, blood-bright ribbons and whitest uniforms) and cryptic but highly suggestive narrative hover between beauty and menace, embroidering a delicate, deadly spiderweb ambience. The shimmering magic and terrors of childhood and pubescence, which coil just beneath consciousness, are given phantasmatic form in sequences that suggest the permeability of boundaries we’d prefer to think staunch. Safety and danger, innocence and perversion, bodily resilience and fragility, nature’s loveliness and destructiveness all bleed into each other. Is the girls’ school a nurturing haven or site of sinister machinations? Will the “outside” proffer the escape into liberty or unnameable new horrors? How can we understand “birth” and “death”, is the coffin from which new arrivals spring also a sort of womb, are new life stages necessarily also a deathly adieu to what came before, a rite initiated in blood? For what are the best girls “chosen,” and is that good or bad? The unforgettable sequence in which the preteen butterflies are ushered through an enormous grandfather clock to dance for an audience that we gradually discern comprises older male figures is appalling in the most subtle of ways, staging the dangers and vulnerable joys that beat, intertwined, at the heart of female pubescence. Reverberations of Angela Carter, Brothers Quay, Peter Weir, Brothers Grimm, Lewis Carroll, yes, but there’s an idiosyncratic, chilling yet oddly uplifting magic all its own here.
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