"Come Come" (C'mon C'mon); A documentary about the secret of immortality in the context of family drama
The important question of talking films has always been what to do with the soundtrack, and few filmmakers have taken any initiative in this regard. . In most cases, the recording was done without any initiative, and the films became something like filmed plays. Even many of the greatest films embrace this revelation, focusing on the dialogue of external action instead of the uninterrupted flow of the characters 'inner monologues.
Mike Mills in his new film, Come Come (C' mon C'mon) uses an innovative and deeply effective way to display the many thoughts and memories of his characters. He complicates the soundtrack of the film - and the emotional life - by wrapping the drama in form. "Come Come" is a delicate and turbulent melodrama that expands its power with a documentary narrative. The result is a film that is both solid and crazy, both thoughtful and busy, from the heart of the emotional and highly controversial, very intimate and very universal, with an accurate and at the same time impromptu account. In addition, it brings not only its characters, but also its actors into the cinematic vortex of inner life, and as a result portrays their art in an extraordinary way. Is based in New York. The film begins with him in Detroit, where he is working on a long-term project that includes interviewing children and teens about their lives and expectations for the future. (The film begins with the voices of these children.) Johnny records the interviews himself, travels with a large, old audio device, and at the end of the day, locks himself in his hotel room, listens to the sounds he has recorded, and then Using the same device, like a voice notebook, he speaks into a microphone and records his own voice to record his notes and ideas for how to arrange and present interviews.
The story begins with a phone call. . From the privacy of his hotel room, Johnny calls his sister Wave (Gabby Hoffman), a writer and university professor in Los Angeles, on the occasion of the first anniversary of their mother's death. It is clear that this is the first time since the death of the mother that siblings have talked to each other. Apparently, because of what happened in the last days of the mother's life, there is sugar in the middle of them. But now Vivo tells his brother another news: His wife, Paul (Scott McNairy), who works in the world of classical music, is working in San Francisco. He has moved to Auckland but is going through a period of mental illness and needs Vivo to come and care for him in his current place of residence. Johnny undoubtedly volunteers to give up everything and come to his sister's aid. She flies to Los Angeles to spend a few days at Wave's house to care for her nine-year-old son Jesse (Woody Norman), whom she does not know well. But Paul's condition worsens and Vivo is forced to stay longer in Auckland. Johnny has to return to New York for a few pre-arranged interviews, so he takes Jesse with him, and when Vivo is forced to extend his stay in Auckland again, he takes Johnny with him on a road trip to New Orleans for further interviews. , Which both challenges the relationship between the uncle and the niece and deepens their bond. It both covers and reveals the unspoken. (For example, before going to bed, he has a regular ritual in which he pretends to be an orphan and his mother Vivo - or now his uncle Johnny - is a mother or father whose child has died and Jesse is about to take his place.) Jesse is eager to learn, and Even more, it is the emotion bomb that manifests itself in its instinctive and unpredictable emotional sense. Sometimes this is done in the usual (but bold and unabashedly real) way by a child's emotional imagination and moodiness; Sometimes he prefers poetic verbal attacks of curiosity or outspoken questions about the lives of the adults around him. His many needs are enigmatic and terrifying to him. He resolutely seeks enlightenment, or at least consolation, by asking for an explanation. He has not received any training for them. (Johnny's childlessness is the key to this relationship) Vivo, for his part - who has long been bothered by dealing with smart and outspoken children while trying to get things done - with genuine love and care and sarcastic sympathy In this process, he constantly talks to Johnny and guides him. When Jesse asks Johnny why he and his mother did not talk for a long time, the film goes to a flashback, to a hospital room, where Vivo, joking about the condition of their forgetful and dying mother (Debra Strong), An upset Johnny talks about his long-repressed family frustrations, which are in line with his personality, and analyzes family relationships in general. This is a short but deeply revealing scene. Apart from the sharp insights and the many short sentences that fill the audio margin of "Come Come", there is a kind of philosophical interpretation in the fabric of the drama that corresponds to the lives of the characters, but seems to be difficult with wisdom over time. The result is that they are looking at the past, it has nothing to do with them. To record sounds or even send or read a text message, his experiences - his life with language - create countless sounds and sounds within the sound, which Mills captures with flashbacks and flashbacks on the flashback on the screen. It places the same film in an architectural framework of glorious dramatic intricacies, depicting complex relationships and troubling memories, old grudges and unspoken dreams, character details that are generally rooted in the offensive and pervasive power of the world. (Editor Jennifer Vaccarlo skillfully understands these multilayered complexities with dramatic logic.) The film is filmed in black and white, which, far from evoking nostalgia or neoclassicism, gives abstract elements to the film and gives a partial effort. Which does not fall in front of the camera and combines them with the ideas that the characters express and embody.
The documentary aspect of the film in scenes of Johnny and Jesse wandering in outer space, whether walking The beach can be seen in Los Angeles or on the streets of New York and New Orleans. Jesse - who refuses to interview Johnny but likes to play with his recorder - carries the device and, with Johnny's large headphones covering his messy head and hair, holds the microphone in space to mute the sounds of the world. New to hear. Much of the film takes place in outer space, between the high and uncontrollable energy of urban life. In a shop in Chinatown, where Johnny lives, trying to buy a toothbrush becomes a terrifying scene, and in another scene, the horror doubles in a crowded street and on a bus in the same neighborhood. In the same way, both the center and the periphery of a parade in New Orleans marked an important and dramatic critical moment. Mills occasionally interrupts the story with another documentary: the content of Johnny's studies (whose titles are introduced in the picture), which includes the books he finds in Vivo's house, as well as studies of his work at home. Among them is an article by director and cinematographer Kristen Johnson entitled "An Incomplete List of What the Camera Makes Possible," which adds Johnson's views on the power and risk of making a documentary to Come Come.
The bond between Jesse and Johnny takes its three-dimensional form from real-life interviews with Johnny and his co-workers. The young people they talk to - Mills collaborated with Kari Pitkin, a radio journalist, and psychologist Laurie Tipton to make these interviews - are often only briefly in front of the camera (the only drawback of the film, I think, is that these kids could do a little more. The length of the film can be seen and Johnny's connection with them could be revealed a little more), but we hear their voices many times in the film. They talk about their lives, their families, the world they know, their dreams and predictions - and their thoughts are recorded and disseminated throughout the wider world and in the history of their time. (The only color image of the film appears in the final credits, which is a heartbreaking transcript that dedicates the film to Dovante Bryant, a New Orleans kid who lost his life in a shooting last year.) The film, in the abstract, highlights the broader and longer-term relationship between Johnny and Jesse, which is memory. It is not only young people who carry the memories of their elders with them into the future; These are the adults, who focus on their sense of wonder, their sincere curiosity, their duty and their love, the living treasures of their childhood, and the film rightly ends with Jesse promising to remind Jesse of their common days.
"Come Come" It is a tribute to the vast and vital power of memory, the continuity that family bonds give us, and the fundamental nature of cinema in collecting and conveying the issues of life, beginning with the bond between Phoenix and Norman. Although the drama has a precise script and structure, the film largely looks like a documentary about the strong bond between the two actors. The whole film is a passionate embodiment of a great idea that Johnny shares a secret with Jesse somewhere in the film: the magnificent power of the recorder to "immortalize worldly things."
Source: newyorkerTags: "come, come", (c'mon, c'mon);, documentary, about, secret, immortality, context, family, drama