Both films have the theme at the center of their family ties. The results are suggestive that come. The family bond is treated as completely different for the two directors understand it, both for the way in which it is presented.
Fists in the Pocket is the first film Bellocchio. On Thu vain feature film debut with a very disturbing, as disturbing are the characters who animate it. This is a family that, in its stillness, is very special. The mother is old and blind. His older brother, Augusto, just want to leave home and get married: it is a character so mediocre as it is the life you want. Julia is drawn to the morbidity of sex, showing a propensity to incest. Alexander - the undisputed star of the film, played by Lou Castel evil - is totally out of control: suffering from a strange disease, let the seed of madness takes over in his head. And finally Leone: very good and quiet, the only one with an obvious mental retardation. The house in which these characters live bears the marks of the nineteenth and early twentieth century: heavy furniture, huge photographs of avi, floors and walls dark, little light. Everyone feels narrow in this situation, but Ale is what really decides to break free. And it does so in a way that conforms to the society can not exist. He has a plan to eliminate everything that stands as an obstacle to freedom rash that characterizes it: that freedom is not only in terms of thought or action, but also on the physical. The physicality of Ale is disturbing and unhealthy, devoid of any socially accepted gesture. His laughter explodes uncontrollably, his eyes terrified and impressed, and his gestures are theatrical, weird, awesome. Often they are simple, but simplicity so surreal and so terrible that a debunking one can not terrified king. The first two videos show the very freedom that I propose to every rule and every moral Ale. The last one I put, however, concerns uncontrolled physicality of the character: This is the wonderful final scene, so if you have not seen the film and want to see it in full, do not click.
Babel makes clear operation in terms of plot but on that very complex form. Iñarritu actually creates a babel of languages: first the languages \u200b\u200byou seek, English, Arabic, English, Japanese and sign language. Second is the shape of the film (and especially the editor) to be a real mess: the various episodes are not presented in linear sequence, but continue to jump and temporal logic. All the episodes are joined together by small details and you have to do is to put the viewer in order to "link". It appears that, to relate the individual stories of the film, revisited Iñarritu Onga somehow the babel of hyperlinks that we use every day. However, in this chaos, Iñarritu pursues what is a universal language and somehow silence: the love between father and son. Iñarritu insists a lot with this issue. 21 grams is enough to watch already, but also the dedicated about making her children at the end of Babel. All episodes of the film are played on the relationship between parent and child relationship that moves each event. However, only in one episode we reach a kind of peace of the family, after suffering great pain and misunderstanding: it is the Japanese episode, the one that closes the film. The father hugs his daughter naked on the roof terrace where they live, on top of a tall skyscraper. It is a modern tower of Babel. The two eventually find a point of contact: have not spoken yet communicate through a precise gesture, the rally each other. There is no superstructure here: there are no words, music, quiet, almost silent, sounds like a dirge, and there is no language, no fiction created by man. Only silence, that which occurs in the embrace. With a round back, the camera moves away from the two characters and shows up in Tokyo a silent and illuminated by individual homes. Here, Iñarritu brings up the dedication to her children, "the brightest lights in the darkest night."
The two films offer two acts contrary. Fists in the pocket part of a formal composition stifling, suffocating the composure of the Family, leading to chaos and the disintegration of the latter. Babel tosses us into the chaos of world languages \u200b\u200band a multitude of reports to arrive at total peace, on top of the world, performed by an intense and wordless embrace between father and daughter. While the final sequence of Fists in the Pocket shows the excess, given the explosion of music and the body of Ali, in the final of Babel calm and tranquility reign supreme.
Yet the problem is the same: to find what binds a person to their family origins. It is to see what is really important. No doubt the two films are strongly affected by the time they were shot. Bellocchio is located in the period in which Italy is changing everything - or so it seemed, and so they wanted to - when there is a desire to free themselves from a society based on a far too monolithic family. Iñarritu instead is to make his film in the era of new technologies and communication at all costs, globalization, terrorism and the Internet. The risk is that they all explode leaving no more real links. In Babel is not about family in the strict sense, but true that bond that survives no matter what type of family you have.
However, in both cases, it is clear that to destroy a relationship and contribute to the misunderstanding certain centrifugal impulses. For Iñarritu centrifuges are language and lack of communication preventing speak the real language of men. For Bellocchio Ale is centrifugal, when his desire to free expression detonates a family connection vacuum, because of form.
What we seek, however, the two films is their authenticity. We must get rid of some yokes of any kind, political, social, religious or moral. Getting rid of these will come out the truth: it is a family held together only by empty rules, whether the bond between father and son, blood, visceral, no frills, no rules. The only one who really takes. Iñarritu seems to say that the survival of the individual is guaranteed by the authenticity of the bond with another, if it lacks authenticity and if the individual is alone, for it is only self-destruction: the way in which it engages Ale.
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