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Far From Heaven (2002) Todd Haynes

Resonance "sirkiana."

The belated premiere in our borders I'm Not There (2007), the latest film from director Todd Haynes noteamericano, is certainly the occasion to revisit his earlier work.

Far from Heaven (2002) puts it stages a melodrama set in the 50's that has as its starting point the work of Sirk Doulgas Heaven only knows (1955).

filaciones The issue of in contemporary cinema, is a major problem iergue, center of all discussions . Muchos cineastas buscan sus modelos de referencia en figuras del pasando , intentando reactualizarlas o reescribiéndolas. Olivier Assayas lo intentaba con el serial Les Vampires (1916) en Irma Vep (1998) , el japonés Nobuhiro Suwa hacía lo propio con Hiroshima mom amour (1959) de Alain Resnais en H/History (2001), Gus van Sant copiaba plano a plano el clásico de Alfred Hitchock Piscosis (1960) en 1998. A pesar de las grandes diferencias que hay entre estos cineastas y sus modelos de referencia , los tres parecían llegar a una misma conclusión , la imposibilidad del remake para recuperar las imágenes pasadas, porque toda obra está crossed for your time.

And time is what appears to recover Todd Haynes in Far from Heaven, playing style, music, and performances of the melodrama of the 50's, with the work of Douglas Sirk with reference point, a proposal that goes beyond a mere copy "retro" to which we have so used due to the permanent Hollywood creative crisis.

The history of Far from Heaven is a reenactment theme Heaven only knows (1956). Cary Scott in which she played a single woman, mature and wealthy who falls for Rock Hundson it was her handsome young gardener, and have to suffer the rejection of a selfish children who fail their romance, and criticism of a people who represented the reactionary and retrograde morality of a society in which love can only be understood by inbred reasons. In

Far From Heaven Todd Haynes introduces some changes in the plot that illuminate the limitations of the classic tale at the time. Julian Moore plays a woman perfect upper-class American family with progressive pesamientos married to the perfect husband, devoted entirely to his work, with two perfect children in their care, in a perfect residential neighborhood in a city in Connecticut. All this screeching Haynes puts perfection on stage playing the classic style of melodrama of the 50's, with colors and a picture that has clearly influenced by the paintings of Edward Hopper, especially in the use of color and design of some interiors that serve to emphasize the loneliness and bewilderment of the protagonist . This world

perfect American family falls apart when Julian Moore decides to go to give a surprise to her husband (Dennis Quaid) to work and discover it on his office kissing a man. Item on the homoxesualidad that somehow was latent in Sirk's work, due to the presence of Rock Hudson and rebuilt the cabin in the film, which had a touch effeminate. Julian Moore
find friendship and comfort in her black gardener (Denis Haysbert). An educated and cultured man with a daughter suffering from rejection and repudiation of the city because of their racial status. The friendship was established between the two will be the looks and comments from people unable to understand their relationship, because of biases that were present in American society of those years and that Douglas Sirk had also shown in Imitation of Life (1959).

cigarillos and the moral fear of rejection still weigh too much and the two will have to give up his love in an emotional farewell at the train station and Julian Moore was alone in charge of her two children after her husband to leave with her lover finally accepting his homoxesualiad.

If Douglas Sirk had revealed the artifice of the representation of classic films through a mannerist play of mirrors, just as it did with Velázquez Las Meninas , Todd Haynes' melodrama does mirror the 50 revealing its limitations. Because already said literary critic Harold Bloom the great texts are always rewriting or revisionism.