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Irréversible (2002) - Gaspar Noé
Related: Gaspar Noé - French film
Irreversible [Soundtrack] [Amazon.com] [FR] [DE] [UK]
Irréversible (2002) - Gaspar Noé [Amazon.com] [FR] [DE] [UK]
Irréversible (2002) - Gaspar Noé
Irréversible (2002, France) is a film written, directed, edited, and photographed by Gaspar Noé. It is considered to be one of the most disturbing and controversial films of 2002, due to its explicit on-camera depiction of rape and murder. The film has also been compared to Memento and Peppermint Candy, since both films use a reverse chronology; they are told backwards. --http://en.wikipedia.org/wiki/Irr%E9versible [Mar 2005]
Two men, Marcus (played by Vincent Cassel) and Pierre (played by Albert Dupontel), are led out of a gay sex club, "Rectum", by police. Earlier that evening, they arrived at the club in a frantic search for a pimp nicknamed Le Tenia (literally: the tapeworm). Marcus picked a fight with a man, believing him to be Le Tenia. When Marcus had his arm broken in the fight, his friend Pierre rescued him by bludgeoning his attacker to death using a fire extinguisher. This killing is depicted graphically on camera, and is one of two controversial sequences in the film.
In a succession of scenes, we learn that Marcus and Pierre went in search of Le Tenia after questioning several prostitutes. They were aided in their search by two men who promised to exchange information about Le Tenia for money, so that the two could exact revenge. It is further disclosed that Le Tenia raped and beat up Marcus's girlfriend Alex (played by Monica Bellucci), who is also the ex-girlfriend of Pierre. The rape takes place when Alex encounters Le Tenia beating a prostitute in a pedestrian underpass. The rape itself, the film's other controversial scene, is shown in a single unbroken take lasting nine minutes. After the rape scene, it also becomes clear that Pierre and Marcus attacked the wrong man: Le Tenia was standing right next to the man who was killed.
The film then delves into the actions that preceded the event. We see Alex, Marcus and Pierre at a party. Alex and Marcus are apparently divided over Marcus's uninhibited use of cocaine and alcohol. Earlier scenes reveal the real divisions between Marcus and Pierre: Alex left Pierre, a staid and sexually reserved philosophy professor, for the more footloose and sexually uninhibited Marcus. The last scene of the film shows Marcus and Alex rising from bed to prepare for the party, with Alex discovering she is pregnant whilst Marcus is out buying wine.
The film ends with a shot of Alex reading in a park surrounded by children (accompanied by Beethoven's 7th Symphony), giving way to a strobe effect and a roaring sound that is reminiscent of the film running out of the projector gate. A final title card reads: LE TEMPS DETRUIT TOUT (Time Destroys Everything).
Much controversy has circulated over the film's intentions and methods. While few critics believe the film is a sanction of either rape or revenge, they did openly question whether or not it was exploiting the subject(s) by being so graphic and frank. Film critic Roger Ebert has argued that the film's structure makes it inherently moral — that by presenting vengeance before the acts that inspire it, we are forced to process the vengeance first, and therefore think more deeply about its implications.
Others have pointed out how the film's reverse chronology is used to several other ends aside from examining the moral implications of revenge. For instance, by dispelling any tension generated from the more commonly exploited plot device of whether or not the heroes will be successful in their quest for revenge.
The rape scene has been widely criticised for its extreme and prolonged mixture of sex and violence. It is worthy of comment, though, that Noé deliberately chose to keep the camera static throughout the scene, to avoid the charge of having "eroticised" the attack. More cynical observers have argued that such criticism was just what the filmmakers wanted; providing valuable free publicity for the film.
Audience reaction, to both the very lengthy violent sexual attack and a disquietingly brutal murder, has ranged from shocked outrage, abhorrence, to leaving the theater in disgust. Many viewers turn away at times during the film. Yet, fans of the movie state the violence as pictured is essential to the story and give the film credibility. Newsweek magazine stated that this was the "most walked-out-of movie of the year."
As with many of Noé's other films, Irreversible was shot using a widescreen 16mm process. Many of the scenes were shot with multiple takes that were then invisibly edited together using digital processing. Also of note is that the scene where Pierre bludgeons a man to death was accomplished entirely using CGI. Initial footage using a conventional latex dummy proved unconvincing, so computer graphics were brought in to augment the results.
The film also uses extremely low-frequency sound during the opening twenty to thirty minutes to create a state of disorientation and unease in the audience.
Irréversible won the "Bronze Horse" award at the Stockholm Film Festival and was nominated for the Palme d'Or at the Cannes Film Festival. --http://en.wikipedia.org/wiki/Irr%E9versible [Mar 2005]
Irréversible begins with the closing credits running backwards before the film begins (or ends) with Marcus (Vincent Cassell) and Pierre (Albert Dupontel) being escorted out of a gay S&M club by the cops, Marcus with his arm broken and Pierre in handcuffs. The "story" proceeds to unwind in a series of single-take scenes that unfold Memento-style, with each scene giving more context to what we have seen previously. Each scenario depicts actions, dialogue, incident, behavior, and circumstances that the lead characters might have wished didn't happen, ranging from extreme violence through awkward social situations to mild embarrassment. The central character (and possible dreamer of this whole what-if story) emerges as Alex (Monica Bellucci), who suffers the worst in a very hard-to-watch rape sequence in an underpass. Semi-improvised, the scenes all have attack and power as themes, with later/earlier conversational sequences that suggest life isn't all sexual assaults in the dark, showing equal cinematic imagination with the horrors. Arguably, this is not a film most would subject themselves to twice, but it is something that stays in the mind for days after viewing, sparking far more ideas and emotions than most wallow-in-nastiness pictures. --Kim Newman
see also: gay - S&M - rape - poppers
Back-storyThe movies Memento and Irréversible feature the novel orientation of being told backwards in time, scene by scene, with the concluding scenes occurring first, and so in some sense they may be considered as entirely comprising back-story. --http://en.wikipedia.org/wiki/Back-story [Mar 2005]
5x2 is a 2004 French movie directed by François Ozon. The film has been compared to Memento and Irréversible, since it is shown in reverse chronology. --http://en.wikipedia.org/wiki/5x2 [Mar 2005]
One half of Daft Punk scores this original soundtrack for the motion picture that is arguably the most controversial film to be screened at the Cannes Film Festival ever. Due to the scandal atmosphere that surrounds this movie, Irreversible is by far the most awaited French film this year. Apart from the big hype around it, Irreversible truly has some artistic credibility, it was directed by Gaspard Noe & features cult actors Monica Bellucci & Vincent Cassel. Like the film itself the soundtrack is dark, but reflects a strong sense of estheticism & ...provocation. Thomas Bangalter (Daft Punk) created 9 new tracks in some kind of a minimalist cyber punk vein! To these creations he added 4 tracks from the wicked Roule EP's 'Tracks On The Rock' 1 & 2 & 'Spinal Scratch' (unreleased on CD).
1. Irreversible 2. Tempus Edax Rerum 3. G. Malher-Excerpt From Symphony No. 9 In D Major [Adagio] 4. Rectum 5. Night Beats 6. Stress 7. Paris By Night 8. Outrage 9. Outrun 10. Spinal Scratch 11. Extra Dry 12. Desaccords 13. Ventura/Into The Tunnel 14. Mon Manege A Moi 15. L.V. Beethoven-Excerpt From Symphony No. 7 In A Major Op. 92 16. End
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