Reading “Amour”, part four

The next movement is a furious gallop toward the bottom of despair.  The pressure on both of them is palpable.  We even see Georges inner horror illustrated.  Strange, but reads well and is probably very effective on the screen.  She voices the horror straight out.  He explodes when there is no other way and when the self-control fails him.  

And then comes the moment of his action.  As I am reading it the quietness of it is very creepy.  Is it what I am suspecting it is?  Soon it turns out that it was not what I thought it was.  Eve enters the bedroom and sees Anne.  Except five pages later Georges does his very action that the earlier beat suggested (at least to me).  That which was earlier was clearly foreshadowing, indicating something that was brewing inside his psyche.  

Turns out the second half of the script is constructed differently than the first one.  In the second half we have unreal scenery as the representation of the inner space, we have a pigeon which is a poetic opening of the real and explainable into the mysterious and the impossible to put into worlds, we have the usual and almost mandatory in such stories psychic connection or a wishful thinking on somebody’s part.  (That somebody could be Georges, or us, or a narrator).  Finally there is the daughter in the empty apartment, a moment which rather than to explain, further complicates the most basic (what happened) and the most profound (how to handle the drama) questions of the story. 

The purposely unclear and vaguely symbolic elements of the second half do not appear in the first part of the story, which is told in a more straightforward, “you get what you see” fashion.  

The combination of these two approaches invalidates normal, “Hollywood paradigm” analysis of the written script.  The story indicated on the page can’t be reduced to worlds and the arrangement of written events.  It is a non reductionist script writing. 

I am a big fan of Haneke, There are only two movies I can think of that recently have managed to melt the screen for me: one was the original “Funny games” (I haven’t see the remake) and the second was a documentary “Po-lin”.  There is an entry - "The melted screen" - about it on this blog).  

Having read the script I am really curious how Haneke directed it.  Did he go for unity or for jarring?  For poetry or realism?  Combination?  Other ways?  

I suspect (also because of its fame and accolades) that the movie exudes coherence.  The coherence despite the “weird” elements is possible probably because of the otherwise tight  unity of space and limitation of the world depicted to just a few characters.  

Meaning: vagueness works only if has solid grounds or directly addresses some primal mystery, which by default can’t be reduced to an answer.   

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