Forgotten #1. “Disappearance”
Good afternoon, to the one who decided to open this blog in no way dedicated to video game themes. But do not rush to leave, because as my life experience shows, many gamers value good thrillers and horror. And this far from constant, but undoubtedly sincere, blog will try to be your guide to the world of an old or forgotten tense movie, which, believe me, will be able to play on your nerves. I will start this issue with the Franco-Niderland Psychological Thriller “The Enharges” of 1988.
What I would like to say right away: this is one of those films about which it is better not to read anything before watching, Even my blog, Even a tie. And it’s not even about spoilers, but a rather remarkably built story, very unusual for the film about the abduction. My recommendation is to go and run to look, but in no case is a remake (which, which was surprisingly shot by the same director), namely the original.
For those who consider my advice unconvincing or who have already seen, the following paragraphs will be devoted. So, the picture of the Dutchman George Slaizer “Disappearance”. The films were released in 1988, exactly four years after the release of Roman Tim Krabbe “Golden Egg”. Sleuzer was developing on the film adaptation already at the stage of when only the first chapters of the novel were ready. Work on the adaptation was serious and thorough, three scenarios were written, where Crabbe and director worked together or separately. As a result, the novel was decently converted and received … Yes, we received an awesome Hitchcock script!
On the ears, the Dutch Resus and Saskia, who are in love with each other, spend their vacation on a trip to France. They swear a little, but immediately they forget everything and continue to lead cute and a little awkward for the viewer dialogs. Saskia, in addition, talks about her dream pursuing her nightmare-earlier she saw a golden egg in space, but the last time she already sees two eggs in space, which someday collide. And the dream roams, powerful and hopeless.
But so far, Rex and Saskia are traveling around France by car. In the end, they stop at the gas station and the store in the outback. Not far from the store, under a tree they burrow two coins, Rex solemnly swallows the girl not to leave, in short-the couple is clearly happy and enjoys each other. But just before leaving the gas station, Saskia suddenly disappears.
In the first act, the https://sistersitescasino.co.uk/casinos/starspins-casino/ Sleizer and Krabbe set the model of the RECS behavior, one might even reveal it, because further for all the remaining two acts it does not change, what it was – it will remain so. Rex will prefer to die, than to know nothing.
It is better to know that your beloved is dead, than not to know her fate at all and hope that she is alive. And this idea of thirst for knowledge of the tender is impeccably developing in the course of the narrative. This idea allows you to create a very powerful thriller – people are afraid of an unknown, uncertain. The teaser for Hitchcock’s patterns to the maximum promotes this concept – the director clearly knows more than the viewer, and the viewer is uncomfortable. In the development of the third act, the teaser screws the nuts so tightly that you rather prefer not to know anything about the fate of Saskia than to find out what happened to the girl. That’s just the hero is not like that, he will find out. And, damn, the ending of the “disappearance” is a completely powerful finale in its hopelessness. On the director’s side, the film, of course, is very strong, there is only one scene of violence in it and that looks ridiculous. There are no blood drops or shots in it, nothing of the kind is at all – only the creation of the Saspens.
The story arch … The kidnapper, Raymon Lemorna still looks fresh and original. Yes, the criminal plays in the narrative no less, if not a large role than Rex. This is a completely ordinary, as it seems, man working at school, having a family. In fact, it is a prudent sociopath, striving to know evil. This knowledge is “passion” for him, he committed the heroic act – now he wants to know what it is to be a villain. Thirst again, “passion” to knowledge.
This “passion” has been trying to quench Rex, leading Saskiy’s search for three years, for three years. At the same time, he has another girl, to whom he seems to feel something, worries about her. However, all his thoughts are connected with the disappeared. A remarkable scene is associated with the new passion – who knows about the fate of Saskia appointed Rex in a cafe, he comes there with a new lady of the heart. Tired of waiting, Lineke (the same girl) leaves, Raymon sits at the next table and watches.
The scene in the cafe is very cool. Firstly, it is tense at the level of the protagonist. Will he go behind Linek, suddenly he will lose her. And secondly, because of Raymon. The viewer already knows who he did and what he did, does not know only how (namely, that Rex, that the viewer wants to know). And he sits nearby, watches, apparently afraid of an outsider, who is about to leave and he may speak with Rex then. The viewer does not know what Rex will decide on, in this way the director plays on our “passion” for knowledge.
In fact, the scene in the cafe and the entire third act is just the pressure on the viewer to the stop, and the tension, a feeling of anxiety for the hero and the very “passion” are supported throughout the film. As I said, the script does not follow Rex alone. The text by grains, one story-bit after another, progresses Raymon, from the very beginning, giving the keys to unraveling the secrets of the disappearance. And again, Saspens, it’s not just that they show us: a country house, then as Raymon specially lulls himself with sleeping pills (measuring the time at the same time), some kind of plan to lure, the refusal to give up not a lonely girl. These Chekhov rifles will certainly shoot in the third act, which for the most part will be interrupted by flashbacks in which these details will play a role and will be supplemented by a number of new. In other words, the director makes the viewer starve, and fed all the information into pieces, too small to get enough of them.
Surprisingly, Georg Seloizer after that did not shoot anything good. He had an ambitious project Dark Blood, not finished because of the death of the deceased during the filming of River Phoenix (somewhere in 2012, shows of the unfinished version took place, the reception was positive), he had a stupid remake of “disappearance”.
And this is very strange, the Dutchman could encroach on Hitchcock’s laurels. After all, “disappearance”, like a “rope” or “in the case of a murder, gain m” immediately reveals the identity of the criminal, and the sappress of all three films revolves around the questions begins with “how”? Only if Hitchcock is: “How heroes will be revealed?”Then the teaser, until the very end, seeks not to disclose how the end of Saskia ended or did not finish. From which, in my opinion, the tension is even stronger.
So, I hope that the “disappearance” 1988 will be able to interest you and you are not afraid to watch it, since the film does not look archaic. And I also hope that this blog will become regular irregular, and not just sinking in an unknown abyss.
And next time we, Maybe, We will move to the fields of the First World War.