5 days to go: Interiors (April, 3)

I'm in a heavenly shock.

Not in the mood for nothing too funny or light, on this day I was searching for a movie that would put me into the deep silence of human nature. I'm not sure how I ended up being so fortunate to send the arrow straight to exactly what I had a need for with Interiors. 

The silence. It is the first thing we notice among the thunderous noise of such emotions. The beautifully woven scenes are the other. Accompanied solely by the soundtrack of human feelings and their struggles (except for two jazz songs in scene in which there are people celebrating - and even so aching for something ), this Woody Allen movie from 1978 is a masterpiece. Although all the silence, there's still the shocking sound of living and dying (the black tape scene...). I was so astounded, so marvelled, so involved in those character's dynamic,  that the few moments I got out of it during the film was to thank abundantly for reaching it on this day. 

I had been surprised by Woody work before, of course. The most gratifying surprise was Manhattan, that I've reached because of Medianeras - those two people that we know are kindred spirits, crying over a movie they're watching alone at their respective cubicles of an apartment, is so overwhelmingly beautiful and sad... I immediately searched for the 1979 Woody's movie. And wow, I couldn't believe in what I was seeing. I understood what make Woody Allen what he is today. With Interiors, this idea got more solid. What an end of a decade this filmmaker had! Annie Hall in 1977; Interiors in 1978; Manhattan in 1979... An explosion, that's what it was. I assure you, I'm not exaggerating.

In a movie of so many reflexes and reflexions, I got myself staring
to its image reflect on my window...
I would deviate my eyes and watch the reflexion for
 a few seconds before turning back to the TV.

It is just the opposite, actually. I don't feel I have the words to explain what Interiors meant for me. Some scenes are an accurate painting of life, still in their silence and alive with too many emotions. The ones with Eve are so sad and stunning and out of this world, we understand her issues better. Diane Keaton is always a joy to see, and she reminded of some friends of mine in here. Sam Waterston, who I love (specially in Newsroom) is so young, I've never had see a movie with him at this age. Geraldine Page, as Eve, is, as I've already told you, something from out of this world, at the same time that she conveys all the hurt we recognize so painfully. 

I love many of the most recent works by Woody Allen. I feel, however, that he was more mature at that time, with a overwhelming view of life being pictured in such stunning takes. It was a joy to be with this movie, despite it being so accurately sad. it is heartbreaking and enchanting, as the most beautiful movies can be. The silence, the reflexes, the empty places... What a place to stay at on a Monday night. 

And Eve? I'm also very fond of white roses.

Stunning

Interiors. Directed and written by Woody Allen. Cast: Diane Keaton, Geraldine
Page, Kristin Griffith. USA, 1978, Mono, Color, 93 min.

PS: the opening credits brings Joel Schumaker as a costume designer. According to the imdb.com trivia, Interiors was his last work as such. However, there are many firsts in here: the first no comedy movie by Woody Allen, and the first in which he doesn't appear as an actor.. I bring one of the curious facts for you, one that states how peculiar it is, while presenting a trademark feature of Woody Allen even in his most hysteric comedies:

"The film's editor Ralph Rosenblum is quoted as saying of this movie in Eric Lax's book "Woody Allen: A Biography" (1991): "Even before he made a movie, he had that Bergmanesque streak. He was going to make funny movies and pull the rug at the very end. I wasn't shocked by the original end of Um Assaltante Bem Trapalhão (1969) (where Virgil is machine-gunned), but I thought it was stupid. But that's something he has carried through all his movies and he will finish his life making serious movies. He says that comedy writers sit at the children's table and he's absolutely right about that. He wants to be remembered as a serious writer, a serious filmmaker. He managed to rescue Interiors, much to his credit. He was against the wall. I think he was afraid. He was testy, he was slightly short-tempered. He was fearful. He thought he had a real bomb. But he managed to pull it out with his own work. The day the reviews came out, he said to me, 'Well, we pulled this one out by the short hairs, didn't we?'."