The Skylab. Evocative memories and big feelings.
Movie The Skylab
Movie: The Skylab.
Original title: Him Skylab.
Direction and script: Julie Delpy.
Country: France. Year: 2011.
Duration: 113 min. Genre: Comedy.
Interpretation: Julie Delpy (Anna), Lou Alvarez (Albertine), Eric Elmosnino (Jean), Aure Atika (Linette), Noémie Lvovsky (Monique), Bernadette Lafont (Mamie), Emmanuelle Riva (Mémé), Marc Ruchmann (uncle Loulou), Vincent Lacoste (Christian), Sophie Quinton (Clémentine), Valérie Bonneton (Micheline), Karin Viard (adult Albertine).
Production: Michael Gentile.
It photographs: Lubomir Bakchev. Assembly: Isabelle Devinck. Artistic direction: Yves Fournier. Wardrobe: Pierre-Yves Gayraud.
Distributor: Alta Classics.
I release in France: On October 5, 2011. I release in Spain: On July 27, 2012.
Qualification for ages: Not recommended for 7-year-old minors.
Skylab was the first American space station. At the end of its existence it had to do an unforeseen landing in the Earth and it was not sure very much where the space station was going to fall down. This was happening in July, 1979. In these moments of suspense, Albertine, a ten-year-old girl, comes with its family, in a trip in train, to the familiar meeting at its grandmother's to celebrate its birthday. There, in the French Brittany there will come brothers, cousins, brothers-in-law and children about a good table to share not only the meal but the sorrow, happy moments and up to the doubt where from there will fall down the Skylab and the consequences that it will have.
Fresh French comedy that comes to our screens just now almost thirty three years after the main event that puts title to this movie of the director (and also interpreter in this tape) Julie Delpy and that took the special Award of the Jury in the past festival of San Sebastian.
Albertine starts the movie, at present, in a train of high speed where, that frieze the cuarentaypico, it tries to sit down along with its family. But on not having requested four together seats, he has to travel some behind others. This allows him to relax and it is as well as Albertine begins its ensoñación (by means of the flashback) that transports it to its infancy, when scarcely it was counting with ten years and was going of trip to celebrate the birthday of its paternal grandmother, in the house that its aunt Suzette has in the Brittany. From this moment they parade the screen a series of memories which union connection is the end of the decade of the 70s. There it fits of everything: To speak about sex and the sexual customs of everyone; the dirty jokes of the children (and its staging before the biggest); the flat nudist (with this exhorbitant pubic hair, and that one «vámonos dad, already»); the tight clothes and living colors (what short and exact the sport pants were!) ; the role identical with the walls of the rooms; the first love; the first rule; the memories of the May, 68; the distant echoes of the wars of the Vietnam and of Algeria (it is suitable to remember that France had under its protectorate Algeria freeing a battle from 1954 until 1962 year in which it obtained its independence). Ah, and the music dialed. Three or four songs super conocidísimas will put a note of color and happiness for the most nostalgic between which insurance is found by those that lack the stingy dances (that also are present in the tape). It is not that I am between nostalgically that they lack it dialed it, but yes that my youth turned about these years. Esthetics that has put itself on the table with the series Tell me, how it happened. Namely that we are great that we can go to see The Skylab and, of a way or other one, feel painted the portrait.
Because of that there goes The Skylab, of the portrait of a family of middle class that is quoted, of annual form, to celebrate the birthday of the matriarch. A big banquet is the perfect excuse for the meeting. The wine will do its work and they all will begin releasing the language. The women will speak about its husbands and up to someone it will boast of its excessive sexual meetings («but: and does not the coño hurt you?» - brilliant-), and they of his (not only they will speak about soccer, but they will take it to the practice). Also the adolescents and infantes will have its table and its conversations. Some of its members protesting for sitting there and not in that of the biggest. And she will be only Albertine the one that proves to be worried about knowing where it will fall down the Skylab (which last news was auguring that it would fall down in the west of France, in the Brittany).
Albertine's parents are of left, actors, that they fought in the May, 68 to obtain the freedom that now he enjoys and they try to inculcate into its children the same values. Nevertheless, its uncles are of right (even of more mellow that he longs for the war and the outrages that are committed in its name) and this supposes a conflict point at the moment when each one wants to make to cost its ideals opposite to others. Who has not lived through a situation as this one? We all will put our faces and names to each of the members in these periodic and repetitive appointments which subject-matter the dimes are and diretes without being necessary in any more details without being that the thing finishes in row. Insurance that in more than one house one says that one about «here one does not speak about politics» as it happens in this singular family.
The threat of the disaster glides on the family. The conflict is on the point of exploding as the Skylab is on the point of falling down on them. But alone Albertine, its protagonist, is the one that more seems to realize the threat, perhaps because it realizes the great thing that would lose after there are destroyed its infancy, its family, its incipient love, its first experiences in the flirting.
The sum of all this gives like final result a fresh movie, with certain grade of comicalness, but that in many moments lacks a major deepening in such and such topic and which does not go to bush jump. This is very possible that it obeys in that in the reality, in the families, in these situations of coexistence, precisely they are characterized that's why, for an absence of established script and that is begun in a thing and finishes in other one. Perhaps this that constitutes its main criticism is one of its virtues: the spontaneity.
The story runs in charge of Albertine (Lou Alvarez), its innocent look (that eats the screen) and from how he lives through all these new experiences that for her are its beginning to the adult life. Big performance, with tenderness and innocence to equal parts. The rest of the mixed personages is outlined by a simple stroke (sometimes it can look like a topicazo) but of effective form. Like that we have the bloodthirsty uncle who does not find its place after having practised killing civil in different conflicts (only this way, descerebrado, we can go so far as to understand an incomprehensible attitude that it has with one of its sisters-in-law, like the answer of its brother); the uncle Hubert (the proper father of the director, Julie Delpy) is "sowed" by its brilliant performance of being hung by the medication and giving the sensation of not finding out about anything; or the lads together with the adolescents, especially, the cousin chop, beach philanderer and king of the track.
And speaking of I dial, along The Skylab three/four songs sound in abundance known by most of the spectators and that bring to us memories of other days in which we were provided with more march desire and a few years less. Patrick Hernandez with its Born to Be Alive, or Gilbert O'Sullivan with its evocative Alone Again or one of the darlings of the director Ni trop tôt, not trop tard, of Jeanne Moreau.
It seems that the topic of the family is a lode for the scriptwriters. I throw the sight behind and see that we have already commented in Magazine Atticus En familie of the Danish Pernille Fischer Christensen, with a brutal end that appeared in the SEMINCI of 2010. Or another titled Finn occurs to me Brothers (Veljekset) that it turned out to be big a satirical portrait of the reunion of three brothers with its father. Finally that there are great the movies that it takes to the family as a conductive thread. The Delpy merit, on having tackled «its particular family» as director takes root in being able to transmit, on the one hand, the ambience of an epoch to us; for other, the human relations with its nobilities and its miseries; and for a third side, the suspense (making use of the fall of the Skylab) of its young protagonist in its preadolescence. Finally it gives us the sensation that he knows about what he speaks, I do not know if for proper experience but yes that it is possible to say, that first hand. In its against está having wanted to treat too many topics and not study in depth almost any (it notices very much how it has put, almost with shoehorn, two or three cartoon stories, of popular court, as story inside the history).
In summed up words: The Skylab is a made movie of evocative memories and of big feelings which result is a kind, fresh and entertaining movie that can constitute a good election for one summer evening / night.
Filed file: Movies
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