In this war drama blurring the lines between documentary and fiction, the working class and the bourgeoisie of 19th century Paris are interviewed and covered on television, before and during a tragic workers' class revolt.
Made with a cast of 192 non-professional actors, Evening Land continues to explore the form of fictional documentary intervening polemically into a period of intense debates about the media... See full summary »
Kai Schøning Andersen,
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a 274-minute documentary portrait of the life of playwright August Strindberg. The topic of the movie is inextricable from its method of production: for two years, beginning in 1992, Watkins created the film in a communal collaboration.
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A war drama film who merger between documentary and reportage and fiction which turned over common sense, a unique where people in the 19th century was interviewed and covered on television, many of them are working class but the bourgeoisie had not escaped from camera's observation, each recorded their speech and gestures even the revolt that led to extreme and radical and heartbreaking for the working class. One of the most important French film at 21st century.Written by
Egi David Perdana
In December 2002 Peter Watkins started the editing of an abridged theatrical version. In a prologue he expresses his views on discovering that the production company, 13 Production, has financial links with the Lagardère Group (which sells Military Weapons through Matra), then he warns the audience about how much of the sequence shots and live debates from the original full-length movie have been lost in the process of reducing the running time by more than 2 hours to 3 hrs 1/2. See more »
Take a period in history where its all about collective points of view. In other words, select a time where the movies chosen by groups clash. Its better if it a time before movies and in a place that believes they know something about movies.
Introduce it as a movie, with interviews first with actors and then with characters. Then, action (with characters glancing at the camera), but wait.
Soon we see that inside the movie, we will see reporting by a TeeVee news crew. This is displayed in two forms within the film.. We see the news broadcast and the Parisans watching it.
They are of course biased in favor of the royalist government. So just as the rabble revolt against the government, we have an alternative TeeVee crew enlisted, who also go around interviewing the crowd as well, all obviously amateur actors, not starving, not sick, toothless and in pain.
We are introduced to characters who introduce themselves as fictional characters. We see the two TeeVee reporters take on the character of the events we see, and get blamed for the whole thing, history writing itself. It is the only example I know of this particular type of fold, where our notion of history as retrospective watching is folded into on-screen watchers.
But at so many hours, its a long slog because there is some conflating of French history with French film history, and its just not as profound as they suppose.
Ted's Evaluation -- 2 of 3: Has some interesting elements.
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