Gay Themed Movies » 2000 » Gouttes d’eau sur pierres brûlantes (2000) Aka Water Drops on Burning Rocks


Gouttes d’eau sur pierres brûlantes (2000) Aka Water Drops on Burning Rocks

Director: François Ozon
Scenario: Rainer Werner Fassbinder, François Ozon
Genre: Drama
Country: France
Year: 2000
Duration: 82 min (video version)
Rating: 7.5/10

 

Actors: Bernard Giraudeau, Malik Zidi, Ludivine Sagnier, Anna Levine

 


 

 


Description:
Moj bivši komšija je stariji čovijek, razveden i ima dvije udate ćerke! Svi u mojoj zgradi su ga voljeli, pa tako i ja! Obožavao sam sa njim da idem na ribanje ili da ujutro trčimo kroz obližnju šumu! Vazda je govorio trčanje održava ne samo tijelo nego i um!
Jednom je došao kod nas doma i reko mi da navijem sat, rano izjutra idemo da vadimo parangale koje je bio ostavio predhodni dan!
Sa razočarenjem sam to jutro vadio parangale, ništa na njima, kao da ih je stavio u kadu, a ne u more. Al dešava se i to!

 

Kako je kasnije ugrijalo otišli smo na obližnje izletište i tu popili nekoliko piva. Kasnije opet u baraku pa na more. Nakon što smo se okupali ležali smo i liješkarili. Gledao sam ga krišom i divio se kako se čovijek dobro drži. Zategnutog mišićavog tijela izgledao mije privlačnije od mojih vršnjaka! Godine su mu odavale jedino ruke i bore oko očiju! U jednom trenutku se okrenuo na leđa i primjetio sam da mu se kurac digao pa sam se nasmijao! Mrtav ladan ga je uzeo u ruku i pitao me je koliko često ga drkam! rekao sam mu najmanje dva puta na dan! Da ne mogu da zaspem ako ga ne izdrkam! Nasmijao sei rekao kada dodješ u moje godine biće ti dovoljno jednom dnevno!
I sada se nesmijem kada se toga sjetim! Nakon toa smo se ućutali i uživali na suncu. On je i dalje povremeno Mučio svoj onako podeblji kurac ali ja sam se trudio da se pravim da to ne primjećujem!
Prekinuo je tišinu pitajući me jesam li ikada imao seks sa nekim mojim vršnjakom? ja se malo zbunih al mu rekoh da nisam. On reče kada sam bio mlađi često sam sa jednim drugom imao seks! Ja kao zaprepašten rekoh kako bih i ja volio ali da nebih volio da neko pomisli da sam peder!
Ustao je, prišao mi i bez reči me uhvatio za kitu, prvo sledeće što je uradio je da mi je gurnuo kitu u usta! Taman sam počeo da uživam u pušenju, a on me prekine i reče: Ovo ćemo nastaviti neki drugi put! Nikad neznaš kada neko može da naiđe i vidi nas!
Danima sam drkao maštajući da imam seks sa njim, ali mi se nikada više nije ukazala ta prilika! Nedugo zatim je dobio infarkt i više vremena je provodio kod ćerke nego doma! Posjećivao sam ga redovno, a onda sam otišao na fakultet.

Odnos između starijeg muškarca i mlađih ljudi zaista može da bude nešto posebno. Iako najčešće takav odnos ne uključuje seks, vjerujem da ako se to i desi da je to zaista nešto jako, emotivno i strastveno!

Odnos između mladića i sredovječnog muškarca je opisao i Francois Ozon u Water Drops on Burning Rocks 2000. godine. Očito da je i Francois Ozon na neki način pripadnik Fassbinderove škole, ako ni počemu drugome ono po kontroverznosti svojih filmova! Ovaj film je adaptacija Fassbinderovog rukopisa koji je prvenstveno bio namjenjen za pozorišne predstave .

Iako nam film priča o odnosu između mladog i starijeg muškarca, u cjelu priču se ubacuju i dvije žene, takođe znatne generacijske razlike.
Zanimljivo je mi je bilo gledati dijaloge medju njima i vidjti koliko godine i iskustvo utiču na ponašanje ljudi i omogučavaju kompletnu kontrolu nad sopstvenim emocijama! POnekad i nad tuđim!

Inače slatko sam se nasmijao gledajući jednu scenu kada stari jebe jednu tek stasalu ribicu i ispituje je kako je, voli li svoj posao, kako se snalazi u njeu i slično. Ona jaše na njega i odgovara mu na pitanja.
Podsjetilo me na jednog isto starijeg lika koji me ispitivao šta ću da radim za vikend? kako mi je brat i kada ću da idemkod njega i slično, pri čemu nije prestajao da me jebe, sve dok u jednom momentu nisam više mogao izgovoriti ništa više od nekoliko samoglasnika!

By DAVID STRATTON

A Fidelite Prods./Les Films Alain Sarde production, in association with Euro Sage. (International sales: Roissy Films-Celluloid Dreams, Paris.) Produced by Marc Missonier. Co-producer, Kenzo Horikoshi. Directed, written by Francois Ozon, based on the play “Tropfen auf heisse Steine” by Rainer Werner Fassbinder.

 

Leopold ….. Bernard Giraudeau
Franz ….. Malick Zidi
Anna ….. Ludivine Sagnier
Vera ….. Anna Thompson

With his third feature, after “Sitcom” (1998) and “Criminal Lovers” (1999), Francois Ozon enters fascinating territory. This adaptation of a play written by German auteur Rainer Werner Fassbinder when he was 19 years old, never performed in his lifetime and never filmed till now, represents a haunting return to the themes and concerns of one of the most influential film and theater directors of the ’70s. Specialized theatrical distribution is likely for this perverse study in sexual game-playing, with plenty of ancillary action as well.

Fassbinder fans will especially be delighted with Ozon’s tribute to the director (who died in 1982); “Water Drops on Burning Rocks” is directed much like a middle-period Fassbinder film, with the action confined to the apartment of the central character (not a single exterior shot) and the camera unblinkingly recording the action head-on. The deadpan humor, also typical of Fassbinder, has been faithfully reproduced here, the only minor incongruity being the casting of French actors as these quintessential German characters.

The scene-setting opening credits are printed over delightfully cheesy, garishly colored picture postcard images of German cities in the early ’70s. Ozon has kept to a theatrical structure, dividing the film into four acts, the first of which begins with the arrival of Leopold (Bernard Giraudeau), a 50-ish insurance salesman, and his pickup, 20-year-old Franz (Malick Zidi) at Leopold’s apartment. Franz, who is naive but not that naive, was on his way to meet his fiancee, Anna, when he allowed himself to be picked up by the older man. The getting-to-know-you scene that follows is beautifully written and acted, and ends with Leopold instructing the young man to disrobe and wait for him in the bedroom.

Act two takes up the story six months later, with Franz now completely at home in his lover’s apartment, where he’s lived ever since their meeting. But the sensitive young man, who is interested in literature and other arts, is increasingly at odds with the mercurial, demanding Leopold, who goes away on long trips and, upon return, is often irritable to the point of being impossible. Still, the relationship endures, at least for the time being.

In act three, the abandoned Anna (Ludivine Sagnier) shows up while Leopold is away; beautiful, assertive and determined, she soon has Franz in bed with her and is delighted to experience the new techniques he’s learned from Leopold. When Leopold returns unexpectedly, and then Vera (Anna Thompson), Leopold’s transsexual ex-lover, also turns up, the stage is set for some complex power-shifting and sexual game-playing — all of which is amusing for a while but which concludes tragically.

One of the most fascinating elements here is the teenage Fassbinder’s astuteness about sexual one-upmanship and the shifting of power from one partner to another. One may speculate why the play was never performed during his lifetime; perhaps the character of Franz was too close to that of the author.

It goes without saying that the material wouldn’t work without a strong cast, and here Ozon’s casting comes up trumps. Giraudeau is perfect as the jaded, urbane, fatally charming Leopold, while Zidi, in only his second film, conveys both the innocence and the tenacity of young Franz with considerable assurance. Another relative newcomer, Sagnier is a knockout as the beautiful, seemingly innocent Anna, who learns a powerful lesson about the importance of good sex. In an off-the-wall but successful piece of casting, Yank Thompson provides a strong presence in the strange role of Vera, who is the focus of attention at pic’s climax.

Ozon’s direction respects the theatrical nature of the piece but is sufficiently cinematic to lift the film from its stage origins. A highlight in the mostly funny fourth act is a scene in which all four protagonists suddenly launch into an impromptu dance ensemble. Technical credits are all first-rate.

 

Camera (color), Jeanne Lapoirie; editor, Laurence Bawedin; production designer, Arnaud de Moleron; costume designer, Pascaline Chavanne; sound (Dolby digital/DTS), Eric Devulder; assistant director , Hubert Bardin. Reviewed at Berlin Film Festival (competing), Feb. 13, 2000. Running time: 85 MIN.

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