14 July 2008

La grande abbufata (+18)

Some scenes from Marco Ferreri's Das Große Fressen, La Grande Bouffe, La gran comilona, La grande abbuffata. I was specially impressed with the personality of "Marcelo" (played by Mastroiani) and his relationship with sex, objects and machines. Dialectics of symbols are present in this film.




Video
1 : The first appearance of Marcelo as pilot. Before he leaves, he takes a last look inside the airplane. Once out, he looks again inside... but he is not looking for somebody, he is saying "see you later" to the machine.




Video 2: Marcelo touches the car in a sensual way.




Video 3: It was perhaps his penis —the tube in Video 2. Here is clearer. He does not give a shit about the girl. The Bugatti is much more important. He manifest his masculinity through the car. The fact that it is a Bugatti and no other car is not a coincidence.




Video
4: He fucks with the car, or with the help of the car as an extension of himself. The woman's blue socks and shoes are not a coincidence, but an extension of "Mrs. Bugatti", who is actually a part of himself in the Video 3.





Video 5: Totally frustrated, he does not follow the sensual, over-saturated, decadent, over-macho sex-and-food experience in the film. He can not express himself as a man without a "psycho-container". He is totally fucked and he knows it. He tries to fix the car to fix himself.





Video 6: Freudian Marco Ferreri takes the bird as a symbol of masculinity. The animal dies, the machine wakes up. In the second scene nothing is a coincidence, Ferreri overlaps the bird in the hand with the image of the car painted on the door. Marcelo becomes a happy kid, rejuvenated, in ecstasy. The sculpture on the right side of the door is also relevant: the complete set of symbols are together.





Video 7: The car, Marcelo and the woman are secondary elements in this take. Marcelo symbolically fucks with the woman throughout the back-and -forward repeated movements. The small way is a vagina, the car is the penis, the whole scene is a symbolic coitus. Marcelo is almost in shock when the car does not start up at the beginning.





Video 8: Marcelo can not have a direct sensual relationship with a woman. He connects the sensuality of objects with the sensuality of a woman. Sensuality express through him as a living, autonomous element.





Video 9: The apotheosis. Marcelo simply can't do it. Everything falls dawn.





Video 10: Marcelo dies with the machine.



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