Guillaume Et Les Garãƒâ§ons Ãâ Table Movie Review

rosalie210[SuperCinephil]

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has seen the pic in a theater on the 12/29/2013 Rating :

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Considering he looks neither like his father nor his brothers, virile and able-bodied, footling Guillaume identifies with his female parent who fascinates him and whom he manages to embody in a way and then perfect that everyone gets defenseless up in it. But in this little game, Guillaume ends up getting lost ... He finds himself imprisoned in his mother's desires (or what he believes to be his desires, these being not formulated conspicuously) and even his body is captivated past that of his progenitor (Guillaume playing both roles).
The effeminate behavior of picayune Guillaume sends a disturbing image to his family. So she prefers to label him as a homosexual from an early age and keep him as far away from the house every bit possible. The most total defoliation reigns in the head of Guillaume, object of all the fantasies and all the bullying.
Despite all these balls, Guillaume survives, grows, advances, cahin-caha, and lilliputian by little, manages to build and assert his own choices, in total rupture with those of those who "had chosen for him." He can and then finally affirm himself in front of his female parent who finally ceases to be "him" (or he to be "her"). In all respects, he becomes an actor.

Les Garçons et Guillaume à tabular array is an incredibly rich motion picture. Like a millefeuille or an artichoke, information technology contains multiple levels of reading, summoning a very varied panel of emotions and reflections.
Some ideas for reflection around key scenes:

-The scene of the bedchamber, the toilet and the bathroom.
What is this little male child doing in his mother's room? Why is the mother'south bed so ubiquitous (to the betoken of being the just ornamentation in the play)? Why practice nosotros never see the father at that place? A bed where the mother basks herself in majesty and around which Guillaume gravitates (when he is not trying to sit on it or enter it). This mother who doesn't close the door when she goes to the bathroom and this begetter who doesn't shut the bath door when he walks around with his buttocks upwardly.
Consequences: Confusion reigns. Confusion of roles: the mother invades the identify of the child and the child is deprived of identity, a elementary mirror of his mother's narcissism. Confusion of genres. Guillaume, who is genetically a male child, is completely vampirized by his mother to the point of losing all male identity.

- The scene of the villain. Guillaume is sent on a linguistic trip to Kingdom of spain. Living with a certain Paqui, he learns from his contact to dance the sévilane with the perfectionism that characterizes him. Only what he doesn't know is that Paqui taught him the female person version of the trip the light fantastic toe which makes the audience hilarious. When Guillaume learns about it, he is very happy to give this souvenir to his mother who co-ordinate to him always wanted him to be a girl.
Paqui is clearly a double for Guillaume's mother. By teaching him to trip the light fantastic toe like a girl, she suggests that she considers him as such, which is exactly the attitude of Guillaume'southward female parent when she throws "my darling" or "parked". §Ons et Guillaume à table "to his son.
NB: the reference to Almodovar is evident throughout this sequence, as well as that of Billy Wilder's Some Similar It Hot tango.

-Sissi. His begetter finds him wearing a quilt around his waist (for the crinoline) and a sweater over his head (for the hair). Guillaume claims he is cold at night which prompts his father to turn up the heat.Convinced that he is a girl disguised as a boy, Guillaume imagines himself in the pare of Sissi and his mother in that of the Archduchess Sophie.
In this scene, the father appears as the intruder who breaks the fusional female parent-son duo and interrupts Guillaume's "movie". Nonetheless, this father is far too distant from his son and confuses himself to play his role properly. Specially since he too does not consider Guillaume as a real boy.

-The puddle scene. Information technology is always in the skin of a girl that Guillaume goes to boarding in an English college. This more than tolerant environment allows him to flourish and fall in love with the handsome Jà © rà © my (many references here to Maurice by James Ivory). But this one has optics only for Lizzie to the dandy dismay of Guillaume who when he discovers it literally touches the lesser.
This magnificent scene tin can exist interpreted in several ways. Patently like a heartache that makes Guillaume lose his footing. But as well as a "return to the womb". Guillaume falls into a fetal position and bathes in amniotic fluid. Again, information technology is absorbed into the body (and soul) of its female parent. Even worse, when he wants to get his caput out of the water, one of his brothers throws it back as if he were preventing it from being (re) born. And to top information technology off, his mother appears to brand him understand that she does not consider him as a girl simply as a boy who loves boys (in contradiction to what yet she tells him). suggests).
Guillaume is devastated. This love of a midinette that he had for Jà © rà © my and which was in reality a asking for amore and tenderness (considering Jà © rà © my consoled him when he was being humiliated) is found again. By his female parent to take sexual activity. He who believed to be in the norm ("your girl who is attracted by a boy, information technology is one could not exist more jerky that!") Is sent back to a margin, an abnormality , a monstrosity of nature.

-The spa scenes. They are essential for understanding the sexual ambiguity in which Guillaume is struggling likewise as the ravages of the hold his mother has over his body. The succession of two spa scenes, first with the masseur and then with Ingeborg suggests ambivalence even if Guillaume seems more tickled by Ingeborg (before his muscular enema!)
But above all we have the illustration here of the agree that the mother has over her son's sexuality. Guillaume turns out to exist passive and frigid because for his mother sexuality boils down to "closing your eyes" and thinking "of England". Consequence n ° 1: Guillaume finds himself cut off from the entire front facade of his body (the active facade) and but has access to the rear facade (the rear facade). ade passive) in other words he is psychically castrated. Event n ° 2: admission to pleasance is prohibited. After a massage that looks like a torture session, he finds himself in the visitor of a savage woman who rapes him. Guillaume emerges from these scenes cleaved everywhere.

-The gay box scene: More than ever under the influence of his mother, Guillaume plunges into this milieu in theory to seek himself in reality to endeavor to achieve his desire Sir to it. Only the misunderstanding is total one time again. What he is looking for is beloved, tenderness, attending. What he is offered comes downwardly to sex and just sex. This is why the box is depicted as a murky and underground place every bit well as the flat from which Guillaume escapes at the last minute.

- The scene of the Russian rider: Guillaume who tries again to take a homosexual experience finds himself facing the prominent member of a man "mounted like a horse". And of course, he panics ("No affair how difficult I tried to think of England, I couldn't do information technology at all") and his mother interferes in his head to permit him know that this feel is doomed to failure ("Yous were always afraid of horses ... it tin can't piece of work"). Nonetheless, he becomes enlightened of his fright of virility in general and of his ain in detail.

-The horseback riding scene. Scene of plenitude, it allows Guillaume to "stand upwards vertically" (in the words of the director). By letting go and becoming ane with his mount, he tames his body ("the animal that is in him") and finally enters into communion with himself. His teacher appears every bit a benevolent father (just like one of his shrinks) who helps him attain this journey by which, past discovering his masculinity, he separates from his female parent.

-Amandine: The hr of deliverance has come. Finally in possession of all his means, sure of himself and thrilled Guillaume is ready to see dear. Who is presented in the form of a immature adult female at a dinner for girls where this saving sentence is pronounced "The girls and Guillaume at the table!" The atmosphere is the opposite of the previous scenes. The scene takes place on the rooftops at sunset. It is lyrical, luminous and sweet. You touch on the sky after having been through hell.
Guillaume falls in love with the young woman he met at this dinner. She returns her love to him and they decide to get married. He then affirms his selection in forepart of his mother for whom this heterosexuality is a real earthquake. Indeed, the agree she had on him had the unconscious aim of preventing him from having access to other women. That's when his mother changes her face up. She is no longer embodied past him simply past an actress. The son emancipated himself and finally succeeded in becoming a man, if non in his mother'due south eyes at least vis-à-vis himself.

vu au Gaumont wilson Toulouse

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Source: https://en.notrecinema.com/communaute/critique/les-garcons-et-guillaume--a-table-_295634.html

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