After October 7, at the age of 77, Terence Davis left behind himself and wrote a series of feature films. He is an important figure in British cinema.
It all starts at school. Once you see the premiere, you will soon discover black and white plans: are you ready for crime or are you happy with prison? Des petites brutes s’en prennent au plus frêle de leurs camarades: «C’est qui la Tapette Alors ?“Titling apparatus”: “Children” Realized by Terence Davies “Prime Meter Overture”, which will end early Terence Davies trilogy on the Côte Madonna and Child (1980) and others. Death and Transfiguration (1983).
Youth in Liverpool
This is the origin of these images, memories of trauma. The most fascinating part of Davies’s cinema was the autobiographical one, perhaps about a young man who passed through the original Liverpool milieu. Violence from cameras, authoritative professors or unstable people… the movie does not shy away from creating an impossible way to express the individual feelings of a child who is gradually understanding homosexuality. Leaving school at 16, Davis became the next six-year pupil; he puts these years on stage, even if it’s the night scenes in public toilets or gay bars in the second part of the trilogy.
Touching memory
The precision of this social milieu may well bring to mind another great British cinematographer, most notably Davies, Ken Loach. More than in Davis, the widespread lyricism becomes clearer than the images of a certain melancholy. There is a raw naturalism here, if it turns out to be “objective”, Davis’s films follow the course of subjective memories. Toute la violence et la douleur se régulièrement ponctué de curtes échappées Lyrics, le temps d’un plan, qui porte avec lui le souvenir of a sensual epiphany.
This poetic work is reminiscent of the literary style of James Joyce: fragments of memories are recalled by others and again, notes and choices indicate both the vividness of the souvenir and its brand. What is it about trilogies or those Distant voices, still lifes (1988) and others. Long day here (1992), Terence Davies sows à mêler les temporalités: il rejoue son enfance et met en abyme les mécanismes de la mémoire dans une mise en scène inventive.
If two prime ministers have long films, they will gain access to international intelligence: Distant voices brings the Golden Leopard to Locarno, as well as the International Critics’ Award at the Directors’ Fortnight festival. Long day here This is exactly how much he presented in competition at the Cannes Film Festival. This autobiographical part of the work is available in 2008 with documentation. About time and citydedicated to the city of Liverpool.
““Être dans le passé me ressure”
Après Long day here, le cinéaste s’écarte toutefois du autobiographical genre. Yes Neon Bible and etc. Chez les heureux du monde, adapted respectively from the novels of John Kennedy Toole and Edith Wharton, were found in all two in the past, but are no longer found at Davies’ birthplace in Liverpool. This prize for distance towards their son seems to be accompanied by a kind of disinvestment, and his films are decidedly more academic.
s’attelle à explorer ce worlde du passé dans Deep blue Sea (2012) with Rachel Weisz et al. Sunset Song (2016), released before the premiere of World War II, is just a biographical film dedicated to the poetess Emily Dickinson and presented at the Berlinale, Emily Dickinson, “A Quiet Passion” (2016). The implementer doesn’t want me to be delighted The keeper in 2022: “I used to convince myself that I understood the world” If Terence Davies has achieved great public success, then it seems that the benefit of being a fine intelligence critic and figure is the great British cinema of the 20th century.