Rus News Journal

destruction under logic laws

Michael Trofimenkov about “ Huarese “ William Diterle
Precisely under impression from “ trophy “ William Diterle, Joseph Brodsky`s film has written: “ In a night garden under a cluster of a ripening mango/ Maksimiljan dances that becomes a tango./ the shade comes back we will line a boomerang,/ temperature, as under the arm, thirty six “. However, in a film Maksimilian Habsburg (Bryan Ahern), the puppet emperor of Mexico erected to a throne by the French invaders, broken by patriots led by president Benito Huaresom (Mooney`s Floor) and shot on June, 19th, 1867, the tango does not dance, but before execution asks to execute for it a song about the pigeon. As a matter of fact, resolutely not clearly, why the film is called “ Huares “. The kamennoliky Indian - the infrequent visitor on the screen, it not so much hero, how many function, idolishche: The rare occurence when Mooney does not grimace, probably, is afraid to damage a difficult make-up. Fearlessly striding through the area, a breast on guns of the soldiers who have changed to it - in the American cinema 1930 - h years, as well as in Soviet, the necessarily operated “ wreckers “ and “ trotskisty “ - it is similar not to the person, and on a battleship “ Potyomkin “ as it is lonely and it is proud approaching on the whole imperial squadron. On crowd scenes in general it is felt that Diterle studied on Soviet istoriko - revolutionary cinema. In general, a role of Huaresa summarise Brodsky`s one and a half stanza: “ In the silence of the night in the shadow of a virgin forest/ Huarets, operating as the progress engine,/ forgotten absolutely as two peso look,/ peonam new rifles gives out./ shutters klatsajut; in lined on cages/ Huarets of the sheet does marks “. Original heroes of a film - Maksimilian and his wife Karlotta (Bett Devis), gone mad that all want it to kill after Europe has thrown her husband on a history arbitrariness, and telepaticheski learning about  destruction of Maksi: the refined, raised, noblest couple. It is rational not to explain such tenderness of Hollywood to Maksimilianu: just Huares embodied concept expensive to States “ Americas for Americans “. To cause spectator sympathy for the usurper signing on the screen the decree about execution on a place of any Mexican, seized with the weapon, script writers resort to absolutely Jesuit logic. Maksimilian agrees to become the emperor as him have deceived, have told that Mexicans on a referendum have unanimously desired a monarchy. Having learnt that the referendum is forged, it is infinitely revolted and strongly angered, but cannot renounce, as then he will deceive the kind citizens: the head around goes from this logic. As a result in the ending authors should justify lips of Maksimiliana of Huaresa that that, despite world community protests, has shot such the lassie. The explanation to these strangenesses is simple and is implanted in the logician of Hollywood. “ factory of dreams “ long since and up to our days - it is enough to remember “ Titanic “ James Cameron - sincerely admires all old European, all to what the history has bypassed States: the aristocratic manners scented by small beards, family silver, titles, genealogical. Admires just because - according to logic, more severe, than Marxist, - all it should be lost, and be lost as beautifully as was well, in the face of spectators. “ Titanic “ is obliged to sink under orchestra sounds, and Maksimilian, same “ Titanic “ From the policy, run into an iceberg of the stranger for it continent, - kartinno to fall at rasstrelnoj walls to the accompaniment of a song about the pigeon.

“ Huares “ (Juarez, 1939)