Reflecting the seemingly hermetic nature of the individual vignettes through the characters' isolation (reinforced by the dimmed, directional lighting that suffuses the film), Bokanowski, nevertheless, integrally links each episode to the other through modulated visual semblances and recurring images of graduated steps and staircases that bind the assorted leitmotifs together towards an implied vertical movement. At the core of the film's arrangement is a Dante Alighieri-esque (upended) evolution from darkness to light, a conceptual progression that Bokanowski describes as a physical transition through interrelated spaces: Interviews with Independent Filmmakers:
"About the overall structure of The Angel, I can say that it is very traditional. You have a staircase, you go from the cellar to the attic. Scenes start falling into place during the dark, shapeless, not very precise starting phase; and then the more the film progresses, the more precise things become, and at the end, it reveals extremely luminous areas.
In one of the earliest stages, when I was doing the scenario, I thought that when one comes to the far top of this gigantic house, to an attic room, a last character would appear, some kind of a giant with barely discernible wings, some kind of angelic figure. He would lift the arm of the phonograph, the music would stop, and one would see all the film's scenes in still frames. Very quickly, I disliked the character. He was impossible to film! So, I did not keep this sequence, but that character did give the film its title."
Price:
Inga kommentarer:
Skicka en kommentar