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January 2, 2007

Le Révélateur, 1968

revelateur.gifOne of the experimental works created from the cadre of radical, emerging artists financed under the rubric of Zanzibar films that captured the spirit of May 68 and the counter culture revolution, Philippe Garrel's silent film Le Révélateur is a fractured and elliptical, but instinctive, elemental, and haunting rumination on the process of awakening, maturation, psychological trauma, and transformation of childhood memory. As the film begins, the révélateur - the processor of the images - is embodied through the isolated, spotlighted shot of a young boy (Stanislas Robiolles) in the corner of the frame, looking on as his father (Laurent Terzieff), apparently unaware of his presence in the room, struggles to connect with his abstracted mother (Bernadette Lafont) in an act of implied intimacy through the (iconic) sharing of a cigarette before fading into the proverbial background through a doorway suffused in a halo of light. But despite the physical act of transitory connection, what is ultimately retained in the child's camera/eye is not the residual image of tenderness and affection, but rather, a pattern of codependency, manipulation, madness, isolation, and perhaps even violence - an estrangement that is prefigured in the Freudian, reverse pietà image of the child emerging from a long, dark passageway towards his kneeling mother held in (apparently) resigned captivity tied to a cross at the end of the tunnel - a sense of pervasive emotional alienation and moral bondage that is further reinforced by the austerity and desolation of a seemingly godless, post-apocalyptic landscape. Pursued by an unseen, anonymous, but ubiquitous enemy (perhaps an allusion to the faceless nature of the embedded, guerrilla warfare tactics of the Vietnam War), the young family is compelled to leave the comfort of their dysfunctional home life and embark on an interminable journey to nowhere. Reduced to a life of perpetual exile and transience, the child begins to rebel, a defiance of parental control that is manifested in an act of literal repellance through his directed, repeated triggering of an aerosol can (in an elegantly composed, superimposed traveling shot) that further underscores his willful, symbolic act of distanciation from his parents. Reinforced by the subsequent shot of his parents posed as seeming trophy heads displayed on the corners of his headboard, the macabre image serves, not only to illustrate their role as trophic figures that he is weaning away from, but also represent their figurative impotence in his inevitable process of autonomy and independence. Concluding with the child donning his makeshift armor as he heads towards the sea, the image evokes a more primal Antoine Doinel (the adolescent alterego of François Truffaut's The 400 Blows) facing an alien and inalterable horizon - a silent and quixotic defiance against the oppressive and implacable forces of a cruel and inhuman human nature.

Posted by acquarello on Jan 02, 2007 | | Filed under 2007, Philippe Garrel


i'm a huge fan of garrel and an admirer of lafont as well -- have you any idea where i can get my hands on a copy this film? it's very high on my list and i've been searching for it for YEARS...

Posted by: redtaperecorder on Jul 09, 2007 4:58 PM | Permalink

I haven't personally seen this particular DVD from Re-Voir, but I understand it's pretty great quality (the film is silent, so no subtitling needed). Re-Voir is a French outfit, so it's probably Region 2 PAL (or at least PAL). You'll need a region-free player to view it. I've ordered from Re-Voir before though, and they're reliable (shipping is approximately 3-4 weeks to east coast US). Fnac also has it (also from France), but they have an annoying habit of canceling the out of stock items from a multiple item order, so you may end up with a bunch of filler items and not get the one you really wanted.

Posted by: acquarello on Jul 09, 2007 8:00 PM | Permalink

Man, I'm convinced your the best film reviewer on the planet!

Posted by: seany on Feb 10, 2011 9:56 PM | Permalink

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