Une vraie jeune fille / Настоящая девчонка / A Real Young Girl / A Real Young Lady / A Real Young Lady / Ein Mädchen / L'adolescente / Ilk sevisme (1976) DVDRip |
 Catherine Breillat’s first film is a provocative portrayal of a teenage girl’s sexual awakening, daringly explicit, in a way which most viewers will find distinctly unpalatable. It is a twisted version of Lewis Carroll’s Alice in Wonderland, in which the naive and rebellious heroine Alice foresakes her childhood and enters the disturbing world of adult desire. Since making this film, Breillat has earned a reputation as one of France’s most controversial filmmakers, winning condemnation and praise in roughly equal measure for her uncompromisingly face-on explorations of female sexuality...
Почти весь фильм девушка лет 16-ти, приехавшая на побывку из школы к сельским родителям, снимает трусики и настойчиво пытается засунуть себе между ног любой подвернувшийся предмет или тварь - вплоть до дождевых червей. Много крупных планов. В остальное время она старается соблазнить сексапильного мачо с лесопилки, но дать ему никак не решается. Это не порно. Это серьезное кино - феминистское, скандальное, запрещенное... August, 1963; Alice, 14, an only child, and physically well developed, is home for vacation. She's moody, silent, keeps a diary, and explores tactile sensations with broken eggs, candle wax, ear wax, vomit, urine, blood, and, perhaps, if the summer goes in one very possible direction, semen. Without her underpants, she walks about, rides her bike, and sits on the shore as the tide comes in. She drifts to her father's sawmill and makes eyes at Jim, a 20-something hand with a lean body and a model's face. What will Jim do, and does Alice want to do more than stare and fantasize? Meanwhile, pop music fills the air and the TV screen, and Alice's parents have their own drama...
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"Настоящая девчонка" пролежала на полке четверть века, и не где-нибудь в коммунистическом СССР или Китае, а во Франции со всеми ее рю Сен-Дени, пляс Пигаль и маркизами де Cадами. Автор фильма Катрин Брейя устроила свой первый дебош в конце 60-х. В 17 лет она опубликовала роман, который было запрещено читать детям до 18-ти. После такого казуса цензоры просто не могли не заломать "Настоящую девчонку", с которой Брейя дебютировала в кино. Но времена меняются. Брейя теперь режиссер с европейским именем. Два года назад, выпустив хулиганский фильм "Романс" (ставший модным и в России), она добилась того, что ему во Франции присвоили обычную прокатную категорию (вместо порнокатегории Х). Тут-то и "Настоящую девчонку" удалось вызволить из плена. Самое неожиданное, что эта картина на фирменную тему Брейя (женская сексуальность и неудовлетворенность) выглядит светлой и лирической: картина о первых желаниях. Правда, для осуществления этих желаний, в соответствии с примитивной природой и идиотской традицией, девушки вынуждены переться куда-то в сторону лесопилок, поближе к потным мужчинам. Брейя это раздражает. Она усматривает в этом род неволи. Это феминистский фильм, снятый, когда никакого феминизма в кино не было и в помине. Значит, его можно считать истинно революционным...
 C'est le premier film de Catherine Breillat, Une vraie jeune fille (1976). Dans la première scène, la jeune fille, Alice, s'enfonce une petite cuiller dans la chatte pendant le repas familial. Elle commence à écrire son journal après avoir vomi sur sa chemise de nuit qu'elle garde sur elle (c'est tiède, ça sent le fade) pendant qu'elle écrit avec le stylo reçu pour sa première communion. À 20 minutes 48, (le début est fort lent) on la voit pisser la nuit dans les toilettes de l'internat et s'allumer une clope. La surveillante est répressive, la meilleure amie frustrée de n'avoir pas été invitée. À 24 minutes, elle nourrit les poules en petite culotte et brise un œuf pendant que sa mère dit cot cot. À 27 minutes, elle rêve d'embrasser un garçon sur la plage. À 30, on voit son chien qui renifle sa culotte quand elle est nue devant sa glace. Elle se met un peu d'encre rouge sur les tétons avant de vaporiser de l'anti moustique dans la chambre. A 38, elle a peur d'être trop jeune pour le bel ouvrier de la scierie. Vers 40, elle rêve d'être attachée nue et qu'il lui pose des vers de terre sur la toison. On arrive à la moitié du film. Au bal, elle voit le bel ouvrier embrasser une autre fille. À 50 minutes, elle dépose sa culotte sur la carcasse d'un chien mort et s'assied dans la mer. Puis elle rêve qu'elle danse et flirte avec un homme d'âge mûr. À 53, elle se maquille et se rend à la fête foraine. À 54, elle traite de salaud le type qui lui montre son sexe dans un manège. À 56, elle caresse son père de manière ambiguë. À 58, elle se branle sur les rails du chemin de fer. Puis égorge un poulet avec sa mère. Elles le plument. Comparaison du gluant du sexe avec celui des entrailles du poulet. Une heure pile : à la suite d'une réflexion de l'épicière, le papa interdit les promenades et dit à sa fille qu'il aurait dû l'enfermer depuis qu'elle a ses règles. Deux minutes plus tard, en train de bronzer, elle s'encule avec la bouteille de vinaigre mais, dit-elle, cela ne lui fait rien. Elle retourne à la scierie, voit de dos le bel ouvrier pisser, s'assied et en fait autant pour lui, qui passe son chemin. Elle rêve qu'elle marche devant lui à quatre pattes avec des plumes d'oiseaux dans le pet. Il enlève une plume avec les dents, elle l'embrasse. Il lui offre quelques fleurs des champs. Ils se branlent l'un à côté de l'autre. Il essuie sa main sur sa robe. 1 h 09 : elle compare son sexe à un poisson mort et lui dit va-t-en ! 1h 10, La mère s'emporte : elle ira toute nue sur la place du village pour faire scandale. 1h12 : le père baise sa maîtresse dans les dunes. 1h14 : la mère dit au père : tu m'as toujours trompée. Alice fait une tache d'encre sur sa chemise de nuit et goûte de la cire de bougie. Le bel ouvrier arrive dans une petite voiture rose pour discuter avec le père. Alice fouille la boîte à gants. Il l'emmène. Il l'embrasse. Elle dit non non. À 1h 21, elle exige qu'il aille en Suisse lui acheter la pilule. À 1h23, elle fait des câlins à son chien puis fait la lessive avec sa mère qui se plaint de trouver partout le sperme de son mari. 1h24 : l'ouvrier lui a acheté la pilule. Ils s'embrassent. Elle lui donne rendez-vous. À 1h26, elle entend la détonation. L'ouvrier est tombé dans le piège à sanglier installé par le père dans le chemin des maïs. 1h27 : Alice prépare sa valise pour retourner à l'internat. Les vacances sont finies.
1976 donc. Qu'est-ce qui, de la révolution sexuelle et du féminisme, vient là déjà s'échouer ? Je pense à Duras. Même époque. L'organique emprisonne le corps qui ne devient jamais libre. Un corps définitivement sans joie et sans esprit.
A bolder, racier debut film is difficult to imagine. Une vraie jeune fille is an adaptation of Breillat’s novel Le soupirail, about a tumescent adolescent home for summer break and quelling her countryside ennui with the exploration of her maturing body. Shelved for twenty-five years due to its transgressive views on sexuality and to its balking producers, the film featured newcomer Charlotte Alexandra (future star of soft-core porn Emmanuelle 3) in a fearless performance as the sullen, long-lashed, doll-faced Alice Bonnard, whose teenage juices start flowing when she sets eyes on Jim (Hiram Keller from Fellini Satyricon), a quiet hunk with ripped abs and pillow lips, working on her father’s struggling sawmill. Silent, shirtless and sweaty, Jim induces Alice into wild, secretion-filled fantasies, which include her philandering father, chicken feathers wedged in her fanny and, in one indelible instance, a squiggly worm. As if conjured directly from a fourteen-year-old girl’s unbridled imagination, Une vraie jeune fille is a surrealist fantasy, replete with puke, penises and pop songs written by Breillat and Mort Schuman especially for the film. Shot in the gorgeous blue-sky, tall-grass Landes region in southern France, the film exudes summertime fun, with enough naughty to make just about anyone blush. “Crude, unpolished, yet curiously dreamy . . . It attempts to fuse the realism of Colette with the visionary filth of Georges Bataille” (A.O. Scott, The New York Times). “A hymn of adolescent liberation” (J. Hoberman). –Tiff Cinémateque
 Alice is a French teenager who goes back to her home for summer vacation after being at boarding school. It is the early 1960s. She is horrified and intrigued by her budding sexuality and the effect she has on the men of her farming community. She flirts with leather-jacket boys in a soda shop, but her heart (or at least her out-of-control lust) belongs to a skinny, semi-creepy guy who works at the local lumber mill who she names “Jim” in her head. He avoids her come-ons because she’s too young. This doesn’t stop Alice, our heroine, from a rich fantasy life where she and Jim enjoy passionate interludes at the beach, in the woods, at the lumber mill, and in his car.
 Alice is incredibly curious and as she’s an only child, she spends her time walking around her parents’ farmland and riding her bike into the small town. She watches TV with her parents and has an incredible crush on pop singers of both genders. She also sees how the cute, female singer captures mens’ attention. Alice isn’t sure how to use her power. She also finds a way to pull her panties down wherever she happens to be. She sits in the surf at the beach, she flashes a passing high-speed train, she touches herself on the tracks, and she makes sure that when she rides her bicycle, everyone gets a quick glimpse of her panties.
 The men in the town stare, while the women remember when they used to be the subject of such attention and scorn her forwardness. Alice spills out of her too-revealing bikini, but sleeps in a little-girl nightgown. She “enjoys” the scornful looks her mother gives her when she sits on her father’s lap for just a moment too long.
 Because Catherine Breillat is at the helm, we get all manner of fluids. This one has vomit, blood (a chicken is decapitated in close-up), semen (and its female equivalent), suntan oil, urine, soap, water, a crushed egg, milk, fly paper glue, dripping candlewax, tree sap, and somehow, even earwax. Breillat never met a visceral liquid she couldn’t use as symbol. When Alice first arrives home, we linger on flies trapped on flypaper, a dream sequence has Alice tied up with barbed wire. She wants to blossom, but is forced to conform. Her parents’ relationship isn’t what she first thought. She begins to see her parents as sexual beings, she sits next to a flasher on a carnival ride, she sees how men look at her and can’t decide if she’s flattered or mortified.
This film is a shockingly honest (and explicit) story about the awkward and incomprehensible age when a girl changes into a woman. The body blossoms well before the mind can catch up. The scenes she concocts whereby she makes out on a beach with a pop star she’s seen on TV, includes a lot of rolling around and giggling, but no actual sexual contact. It’s as if she’s trying to learn how actual adults embrace and make love. She has seen some beach blanket films, but isn’t sure what happens after a couple finishes rolling around in the sand. In her most explicit dreams with Jim, no penetration occurs. Alice isn’t sure about the mechanics of lovemaking–she’s going on her teenage instincts which those of us well-past our teen years recognize were probably wrong more often than they were right. Try to remember what you thought sex was back when you were ten or eleven years old. Oops. 
Is it good? I’m not sure. I always like a film where young people are allowed to be the sexual beings they’re going to become without some big punishment or morality tale. In slasher films, we see naked bodies just before those naked bodies are killed. This is a frank depiction of a young woman trying to make sense of her feelings about her body and her urges. I feel like it should be championed on that basis. I wasn’t bored, but neither was I riveted. The girl/woman who plays Alice, Charlotte Alexandra, was interesting enough. She had to be an innocent and a lolita in equal measure. She appears to have only made three films after this one, each about a temptress. Typecasting or is this the only role she can competently play?
I’ve read various pieces on this film and I’ve seen Alice’s age listed as young as 14, but I distinctly remember a line where her mother says that she’s going back for her final year of high school. I believe her to be 17 or so. But more important than the numerical age is the process that she’s going through. She admits to being disgusted with her budding body, but then decides to ride her bike down a country road bare-assed.
John Petrakis of the Chicago Tribune wrote something very insightful: “Breillat has long been fascinated with the idea that women are not allowed to go through puberty in private but instead seem to be on display for all to watch, a situation that has no parallel with boys.” Is Catherine Breillat the single voice for young female sexuality in the movies? Perhaps. This film was completed in 1976, but not released until 2001 due to its content and difficult genre identity. Too artsy and well-acted to be porn. Too explicit to be part of the late 70s golden age of film. Too weird to be embraced by large audiences. What sets A REAL YOUNG GIRL apart is that the writer and director actually went through the urges and body-changes depicted in the film. She has felt the changes in her emotions and body, she hasn’t just read about them or guessed at them like a male director must. This is a very important difference and why I’ve decided to do an informal Catherine Breillat film festival. Spike Lee can direct a more honest MALCOLM X than Oliver Stone could have, John Woo does better Hong Kong than Quentin Tarantino, and Breillat can honestly depict the experiences of females (especially their sexuality) better than a man could. 
Someone named Lauren Kaminsky has written a fantastic piece on this film here. Yes, Lauren is female, and yes, she sees things in A REAL YOUNG GIRL that males can’t. “At its best, A Real Young Girl deals honestly with the uncertainties of an awkward transition, when girls are thrust into womanhood without knowing quite how to handle it. Breillat gets inside Alexandra’s head almost too well, viewing the world outside of it with a juvenile’s listlessness and contempt.” — Scott Tobias.
Description / Информация о фильме: Cast / В ролях: Charlotte Alexandra, Hiram Keller, Rita Maiden, Bruno Balp, Georges Guéret, Shirley Stoler, Thierry Roland, Marie-Hélène Breillat, Alexandra Gouveia, Carmelo Petix, Georges Pompidou, Christian Valentin...
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Country / Выпущено: Франция / France
Company / Производство: Artédis Duration / Продолжительность: 01:29:28 / 01:29:32 Language / Язык: French / Russian Russian translation / Русский перевод: любительский одноголосый Sub-title / Субтитры: English hard sub DVDRip
Format: AVI 1.0 (VFW 1.1) Video Stream: XviD build 9, 592x336 (1.76:1), 24.975 fps, 944 kbps avg, 0.19 bit/pixel Audio Stream #1: MPEG Layer 3, 48 kHz, 2 ch, 128.00 kbps avg, French Audio Stream #2: AC3 Dolby Digital, 48 kHz, 3/2 (L,C,R,l,r) + LFE ch, 384.00 kbps avg, Russian Size: 693.25 Mb (726 925 312 bytes) Download: Une vraie jeune fille / Настоящая девчонка (1976) DVDRip Внимание! У вас нет прав для просмотра ссылок. Зарегистрируйтесь. |
| 30 сентября 2010, Views: 6151 |
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