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When I recently viewed Gaspar Noe’s film “Irreversible,” I noticed with interest a scene at the beginning of the movie where an elderly man waxes philosophic about the various problems in his life to another terrible soul while both men sit in a filthy, petite room. I chuckled inwardly about Noe’s in joke since anyone who has seen “I Stand Alone” recognizes the elderly gent with a awful attitude as none other than the suicidal butcher, the main character in this consuming film about the psychological free drop of a man with nothing left to lose in life. If I had to compare “Irreversible” with “I Stand Alone,” I would definitely take “Irreversible” as the better of the two in nearly every aspect of filmmaking, but “I Stand Alone” is a memorable experience nonetheless. If you plan watching Monica Bellucci suffer indignity after indignity was awful, you should see the last twenty minutes of “I Stand Alone” for a whole knew outlook on what constitutes “disturbing.” Gaspar Noe is rapid turning into my common “foreign” film director. I can’t wait to observe what he comes up with next.
The spot of “I Stand Alone” is frighteningly simple. The main character is an unemployed butcher, middle former, whose life is one long series of disappointments. We learn he is the son of a French communist executed by the Nazis who eventually married, had a child, and lost his business after he killed a man he mistakenly assumed had brutalized his daughter. The incident sent his young child over the edge mentally, requiring her to check in for a lengthy end at the local mental motel. The butcher, now on the ropes emotionally and recently released from prison, leaves his child late to assume up with an heinous woman and her overbearing mother because of a vague promise made by said woman to space our hero up in the meat business again. Sadly, this woman becomes pregnant and begins to berate the butcher about his taciturn nature, using the excuse of being with child to collect what she wants from the relationship. The constant pressures of unemployment and the nagging from his woman causes the butcher to snap; he beats the pregnant woman viciously, and then flees when he worries that he has killed his unborn child and could again destroy up in prison for his actions.
Heading benefit to Paris and points north, the butcher wanders through the blasted landscapes of a France never seen in move brochures. As he roams around with a diminishing supply of money and no job prospects, meeting extinct friends that refuse to relieve him and sleeping in pay by the day rat holes, the butcher engages the audience through a largely internal monologue that wallows in misogyny, racism, nihilism, and general misanthropy. This guy hates everyone and everything; he feels that the whole world is out to dump on him and seeks to pay relieve all of his enemies in the most vicious of ways. When he procures a gun with a few bullets in it, he begins formulating interpret plans for bloody revenge. He’ll destroy the smug jerk that refused to give him a job, the man at the bar who gave him some concern over the tab, and anyone else that gets in his design. The butcher finally decides to pay a visit to his daughter since he hasn’t seen her in ages, and it is during this visit that “I Stand Alone” enters its final, most horrific stage. Nothing will prepare you for the dreadful final moments of Noe’s movie. It’s deeply disturbing, sick, morally reprehensible, and objective dreary irascible. Arrive to reflect of it, the whole movie is an utilize in depravity virtually distinct to give most mainstream viewers conniption fits.
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The best elements of “I Stand Alone” have small to do with the lengthy dialogue of the aroused butcher or his rambling journeys through Paris. After awhile you fetch customary to the race down buildings, the litter clogged streets, and the redundant blatherings of the butcher. You probably won’t feel too distinguished pity for the guy after awhile anyway, seeing as how he’s such a sick, hateful soul rotund of loathing for his fellow man (and women, especially women) . What does strike a chord is how Noe portrays this poor chap. Noe rubs your nose in this guy’s misery to such an extent that you shudder to reflect there are people like the butcher around us every day, adrift in their frustrated lives and ready to explode at any miniature. In an disaster to bring home the gut wrenching stresses in the butcher’s existence, the director employs an current but very effective uncouth focus camera technique–accompanied by a dramatic thudding sound–at definite distinguished points throughout the film. There’s even a flashing label towards the extinguish warning the viewer the movie is about to recall an low turn fair in case you wish to switch the whole thing off. Bright!
A few caveats are significant with “I Stand Alone.” The conclusion of the film, with its graphic violence and whirlwind dialogue, will upset viewers unaccustomed to such things. Moreover, at one point in the movie the butcher sits in an adult movie theater to be alone with his frustration. That’s not too unpleasant in and of itself since we already know the understanding processes of the butcher, but we fetch an eyeful of the definitely XXX rated movie playing on the mask. If pornography really bothers you, recall a pass on “I Stand Alone.” I, however, understanding Noe’s a film a lustrous allotment of cinema exploring the shaded recesses of a man on the verge of a suicidal breakdown. If that sounds spicy to you, certainly give this one a view. Then glimpse “Irreversible.”
In a device, the fact that I was very offended by this film is a testament to its power. On the other, this is the first time I’ve found it hard to let the filmmaker off the hook on honest grounds.
The rude, outrageous violence of this film is truly nauseating. And I say this as one who’s studied cinematic violence of all sorts — from Henry: Portrait of a Serial Killer to The Re-Animator, from The Killer to Salo: The 120 Days of Sodom, from Robocop to Maniac. But I dare say none of them evoked the incredibly negative response that I Stand Alone did. The body count is uncouth, but the acts of violence are so extended, and so gruesome in their immorality, that they hit you like sledgehammer blows. This is the kind of film that would immediately gain banned as a video gross in the UK, and possibly pick up its director mobbed.
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Henry: Portrait of a Serial Killer is the closest comparison I can plan. Man Bites Dog isn’t nearly as bleak; Taxi Driver isn’t as brutal or cold-blooded; and Maniac doesn’t have one per cent of the brains. What I feel is a feature-length ode to hatred, to blind, inarticulate hatred for all things alive and dumb, and ultimately to self. At the same time that I marvel at its ability to strike body blows and report a reality (psychological and physical) this gruesome, I can’t say I really like this film. At times, the film lingers so long on the suffering of its characters and assimilates the viewpoint of its reprehensible protagonist so thoroughly that it becomes hard whether it’s the character that’s violent and depraved, or the film that so closely resembles him.
If you like interesting cinema, it’s definitely worth a glimpse. But if you’ve ever cried or become sick because of a movie, reflect twice before you delve into this one.
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