Friends 1971

Paul cannot approach his father, mired in his business, without noticing that his son requires at least a few words, thrown out instead of attention by shouting at the door, to continue the battle with loneliness, not guilty of his mother’s misbehavior, the child hanging him around his parent’s neck , never taking responsibility, forgetting about the boy in an attempt to get rid of the memory of his wife. The conditional orphanage of the Englishman Paul is akin to the complete orphanage of the French Michel, who after the death of her father, who had raised her without a deceased mother, tried to get to live with her cousin, was tied to her freaky boyfriend, annoyed by the appearance of a youngster, with whom he was inclined to play only adult games, except for a hint family silence. Guys confronts with uncomplicated fantasy director, invented to fold a pair of otchuzhdentsev union of lovers, with substitutes for themselves the lack of attention of loved ones, becoming halves of family unity, which began as a joke, and which gave a start to the faithful following of another, dictated by the feeling fortified debt and the inspired happiness that they found together, the code retired together. They missed themselves. Others were not needed. By the will of the writers, the small cottage became for them an idealistic incubator of happiness, growing from patience and warmth, revelation and forgiveness - physical and spiritual labor, emotional outbursts and rational decisions in an atmosphere of sincerity and purity of thoughts, naive in the presentation of conscience and sin. Anise Alvine and Sean Barry have no contradictions. Without being surprised at the tricks of their characters, they are floating on the waves of their love on the pure air of visual contact and bodily communication, freed from society and have not known the decomposition of social networks. Independent and self-sufficient, defiantly independent and gaining strength to insist on their own. They are not dangerous, but they are wanted, pursued by a tangible threat to separate and divide. However, it is not a hopeless venture of young romantics that seems risky, but inspiring their self-will of the creators of the picture, promoting their example as a science for viewers who listen to them, watching the provocative emancipation of adolescents who break out of the rules and regulations, giving rise to suspicion of danger, casting doubt on the emotional rise of the actors and humanistic motifs, peeking through the sounds of music (Elton John song soundtrack) and straightforwardly unassuming words. Sudden and rapidly growing maturity is subjected to the test of inexperience, loading the heroes with responsibility and duty, which their self-kin deprived them of, giving them wisdom, which is not accessible to indifferent adults who, if not able to help, could not have interfered. Is it possible to cope together, is it necessary to flee and hide - are the assumptions made by the director justified, giving the slaves freedom of their own discretion? There is something to doubt and not to believe, but it does not take much effort to imagine what has happened as the best possible, seeing the materialized dream in it, not taking on the burden of its destruction, stopping along with the director over the abyss, where he will guess about the truth everyone, but not everyone will need it.

— leonardo deapertyoon 3