Entfernte Stimmen - Stilleben

This film caught me 14 years ago when I first saw it.. and yesterday I was really touched by it again. A registration of 'forgotten' times somewhere during....the first half of the 20th century in Britain...a Totally Overwhelming sense of melancholy filmed in an extraordinary way by Terence Davies.A true work of art. The excellent idea of calling up emotions by letting the characters sing the sing-along songs of the era.... Then there is the photography of this film...seldom have i seen a modern day movie that brings up past times as this piece of wonder.... very , very tastefully done...the coloring and costume designs , the decorations...everything works to give you the idea that you'r staring into a timemaschine...wow.. amazing ! Heartbraking story of 'normal lives , by normal people , who are all gone and 'forgotten'... Still one of the most amazing pieces of cinema around !

Pete posthlewaite hits a performance that is so unique it is frightening. so true was the passion there where times in the movie when I wished he would die! The episodic and random nature of the flashbacks made it seem like memories from one's own childhood which reinforced the naturalistic acting and indeed made it almost voyeuristic! The true beauty of the film lies in the realism of the scenes and in the accurate depiction of life as it really is in all it's ugliness! Above all the movie said to me that out of "brutallity" can come "compassion and humanity". One scene really hits home is the Christmas scene where the camera pans up an idyllic British street where the Christmas lights are shining and by nature our faces are starting to smile and then dissolves into the living room where the family are sitting in expectation. You can feel the tension as you see the first shot and when he pulls the tablecloth off the table and shouts "CLEAN THIS UP",I remember jumping up!!! MASTERPIECE In my eyes yes! 10 OUT OF 10

Terrance Davies' two-part nostalgia exercise is, depending on your tolerance for unembellished honesty, either a sentimental trip down memory lane or a cold-eyed wallow in drab English monotony. The British writer director went to great lengths to re-create a facsimile of working class family life circa 1940-1950, and his meticulous attention to detail sets an almost too perfect mood: the film is both painfully realistic and totally depressing. Using a fragmented, hopscotch style approximating the actual process of memory itself, Davies mixes bits and pieces of autobiographical detail to show how cultural traditions have a way of repeating themselves for a typical Liverpool family, held together by stifling blue collar conditions and a good deal of recreational singing (38 period songs are featured on the soundtrack). The snapshot style doesn't allow for any dramatic momentum, but the film is constructed more as a sampling of brief, transient moments, and is extremely well crafted and emotional despite the often oppressive melancholy.

In an interview, Terence Davis has stated that he had to tone down the reality of the story because as depressing as the film is, the "real thing" would be unendurable for audiences. We have all seen rage on the screen. Brando, De Niro, and Pesci, have had their moments, but the two actors who truly frightened me, and left me literally trembling, were Temuera Morrison, as the Maori father in "Once Were Warriors", a film from New Zealand, and Peter Postlethwaite, as the father in "Distant Voices". These actors hit something visceral in me, that my therapists never even guessed at. Fear of the father? Living with a man (my dad, so consumed with anger at a world that never had a truly happy day for him) who could only vent his rage at his family? Who knows, and at the age of 68, who the hell cares. Besides, Postlethwaites (I'm sure this name kept him out of the "bigtime" for many years, a little shobiz humor folks) acting honors go to the mother, Freda Dowie. She's on Masterpiece Theatre a lot and she's either mentally ill, or like this woman, a battered housewife trying to keep her kids and herself alive. Happiness or even a nice day is not on her agenda. Just trying to get through poverty, and not having her jaw broken by her husband is a happy day to her. If you like exploding autos, and thong draped anorexic Barbie dolls, this movie is not for you. But if you want to see a work of art carved out of Davis' agony, see this movie. Oh yes, I remember he said in an interview on NPR, that he couldn't remember his father ever touching him, or saying a kind word to him.

I'm not the sentimental type, I don't know what it was in this movie, the rain, the singing or the sadness of live, but I just got all warm inside. It was such a beautiful film, and it had just the right length too. Very nice.