Garth Jennings "Son of Rambow" Does not find the most raging cinema experiences in the Arthouse, but Sylvester Stallone
The name of a production company has nothing to look for in a movie criticism. But it’s about a movie like this here, and the company is also called "Celluloid Dreams", then that fits just too well to remain unhessed. "Son of Rambow" Is that exactly that – a celluloid dream, a movie not so much about movies, but rather about the affection for this medium.
It is only logical that "Son of Rambow" In a cinema begins, in a presentation of "First Blood", the first Rambo movie, and that he ends in the cinema – this time in an idea of "Yentl", What the religious emancipation drama of the film summarizes and commented largically – is just as follows. It’s about the ten-year-old Will Proudfoot, son of a family who is the fundamentalist religious "Plymouth brotherhood" resort. "Son of Rambow" Also act from the slow emancipation of this community: the prere that the sect expandes the proudfoots growth, and collides more and more Will’s desire for free development and above all: childhood.
Right at the beginning we see a boy with a movie camera sitting in the cinema and "First Blood" Film – a Fruhe "Pirated", Romantized to the harmless Lausbub. Lee Carter He is called, and he will be spattering with Will, and ultimately initiate his childhood first. Together they turn a movie, and wants – which, of course, never was allowed to watch TV – did not really like him, as he happens to him. Until he "Rambo" sees, from the copy coated in the cinema.
Cinema, this is always a symbol of progress in Jennings Film, or. of the non-standstill: the sect, who wants to find mother, has made it to the iron rule that during prayer hours all wristwatches are collected. Your religious ritual is spinctured to progress, frozen in an anachronistic standstill. "Rambo" On the other hand, as a cinema but also as a action movie, the opposite is taught, and the breathless of the fields of the fields wants the scheduling contrast to the emphasized peace and prudence of the religious community. Jennings movie never represents the authentic surroundings of his protagonist a cosmopolitan alternative, but clothes this metaphor in an allegory he finds in action cinema.
"Son of Rambow" is structured like the development history of a film, but also like a small evolution of cinema. Scott McCloud speaks in his book "Understanding comics" from comics as "sequential art", and at the beginning we want to use this concept intuitively applied to a medium – movie unknown to him. He draws, static – on his block, on the arms of the school toilet, even in the sides of his bible, and always tell the pictures a story, are sequentially to read, comics maybe. Coarse sketches while changing with detailed drawings, sometimes with speech bubbles, Obter but with comments provided. Rather so: storyboards. Will’s religious imagination manifests itself in these secret pictures, and it requires initial coverage "Rambo", To delimit them. With a stick in the hand and his tie as a headband around the head of the head runs now over a field, pushes on an imagined attacker, deviates from invisible shot.
The script in Will’s head became pictures, which then moved. Lee becomes the director and Colonel Trautman, and wants to "Son of Rambo" (For the time being without ‘W’), who has to free his father from the claws of boses scarecrow. Escapism into a dream world, and engages "Son of Rambow" a discourse, which has played a purchase in the paid time of the 80s a flat role as today. The guys imagine no healing fantasyy like "Narnia" or "Pans Labyrinth". They play war, but only play him. Garth Jennings does not formulate here only a sweet clarification to the cinema in general, but specifically to guys cinema. Also, war games get their innocence back, the accusation of violent glorification appears absurd. Lee and wants to play war, but not, because they keep him harmless, but because the war of the Rambo is a cinema war, in which hero experienced adventure – far from realitat and personal affection. "Son of Rambow" postulates the innocence of the action kinos, which had to plug in so much bubble in the 80s because of its violence representations.
It is already noteworthy to explain a representative of this directed cinema to initial cover positively drawn childish fantasy. Cinema, we are back with the "Celluloid Dreams" The bias, according to Garth Jennings has always been such a thing – "Son of Rambow" is equally love of love to the medium as well as departure of any categorization and distinction in qualitine cinema and entertainment. The development history of the cinema continues when the small film shoot, which the two friends project is slowly emancipated by the idealistic and childlike – dreaming as well as wants from the dominant religious community of his mother. There is this French exchange shoulder, whose first occurrence already provided for screeching girls and reverent-respectful amazement amazement among the boys: the born star. And he hardly hates from the film project of the two outdoor manneors, he wants to be just that, the star of the movie. The result: "Son of Rambo" is commercialized, half the school participates in it, from the Renegade film becomes a rough production – only that all functions of children and adolescents are supposed. Of course, the germinning friendship of Will and Lee must suffer from the betrayal of their own idea, they almost becomes a dangerous. The conflict, the "Son of Rambow" negotiates, is as old as the cinema itself.
Here is also criticizing: Jennings movie is teeming in good hands – and nevertheless creates it never to pick up in the staging of exactly that qualitine cinema, whose existence as its own genus denies his film so vehemently. "Son of Rambow" is ultimately – a movie for exactly those critics of actionkinos, for that audience, which can no longer find in films with musculoses of heroes and coarse cannons than at best infantile riot cinema and poorly questionable violence. "Son of Rambow" is a smoother and more colorous "Crowd Pleaser", cheesy and romantic in his asthetics and his plot. He goes off the unbelievability of cited (and obviously beloved) role models, and applied to his plot, Jennings film does not seem to make the last step of commercialized gross production to make the core of the idea he lit his protagonists fully fleet.
Will turn the movie just ends alone, after the (flower) break with his friend Lee. In the "premiere", an advance as a pre-film before said "Yentl", If Lee is present, and sees the common work – in the meantime decreased by all the bombast, which brought the short-term excursion into the coarse production and the Stardom of the French exchange goulder. What remains is the pure idea and the childish joy of show and try. The approximation of the (real) cinema film and the children’s amateur film (-im movie) manifests: in the credits of the movie IM movie (written down on a rolled-down toilet paper role) is now the new title of Wills movie, the "Son of Rambo (W)" Has got by a typing error ‘W’. The parallelitat with the framing movie of Jennings is only alleged: this has never sucked the emancipation from the cheap vaporability to the idealistic pramisse.