Elephant (2003)

Note des utilisateurs:

7.3/10   

Réalisateur:

Gus Van Sant

Scénariste (WGA):

Gus Van Sant (written by)

Release Date:

3 octobre 2003 (Italy)

Genre:

Crime | Drame

Accroche:

An ordinary high school day. Except that it's not.

Plot:

Several ordinary high school students go through their daily routine as two others prepare for something more malevolent.

Plot Keywords:

Student | High School | Cafeteria | Video Game | Columbine

Awards:

5 wins & 6 nominations

Avis des utilisateurs:

VanSant's best thus far?

Ensemble

Alex Frost	...	Alex
Eric Deulen	...	Eric
John Robinson	...	John McFarland
Elias McConnell	...	Elias
Jordan Taylor	...	Jordan
Carrie Finklea	...	Carrie
Nicole George	...	Nicole
Brittany Mountain	...	Brittany
Alicia Miles	...	Acadia
Kristen Hicks	...	Michelle
Bennie Dixon	...	Benny
Nathan Tyson	...	Nathan
Timothy Bottoms	...	Mr. McFarland
Matt Malloy	...	Mr. Luce
Ellis Williams	...	GSA Teacher (as Ellis E. Williams)

MPAA:

Rated R for disturbing violent content, language, brief sexuality and drug use - all involving teens.

Durée:

81 min

Pays:

USA

Langue:

Anglais | Allemand

Couleur:

Couleur

Aspect Ratio:

1.37 : 1

Son:

Dolby Digital

Classification:

Canada:14A (Ontario) | Switzerland:14 (canton of Zurich) | Iceland:16 | Netherlands:12 | Hungary:16 | France:-12 | Japan:R-15 | Brazil:16 | Netherlands:16 | South Africa:16LV | Argentina:16 | Australia:MA | Chile:14 | Finland:K-15 | Germany:12 | New Zealand:R16 | Portugal:M/16 | Singapore:NC-16 | South Korea:18 | UK:15 | USA:R (certificate #40167)

Emplacements De Pelliculage:

John Adams High School, 5135 NE Columbia Boulevard, Portland, Oregon, USA

Company:

HBO Films

Anecdotes:

Almost all the kids in this film are non-actors, and their real first names are used.

Goofs:

Continuity: When Nate is first shown at the GSA meeting, he is seen wearing a tan shirt, then later when he walks to the door and is shot, he is wearing a blue shirt. When you see him laying on the floor after Benny enters the classroom, he's wearing a tan shirt again.

Guillemet:

[first lines]
Mr. McFarland: What? Hey! Where are you going? Come here.
John McFarland: Oh, my God, Dad.
Mr. McFarland: Get in the car. You're gonna be late for school. Come on.
John McFarland: Mom's gonna kill you.

Movie Connections:

Featured in The 2004 IFP/West Independent Spirit Awards (2004) (TV)

Soundtrack:

Für Elise

VanSant's best thus far?

Gus VanSant's ELEPHANT isn't an unquestionable masterpiece, but it's close. I found it to be hypnotic and gripping, and in spite of knowing how things would end, I still found the ending to be devastating.

The lone flaw I can identify is originality - this film owes a tremendous debt to certain international directors (Bela Tarr and an earlier Irish ELEPHANT, along with current maverick directors like Abbas Kiarostami, Hirokazu Kore'eda and Tsai Ming-liang) in both look and perspective, and it's not the only recent American film to make effective use of poetic imagery: FAR FROM HEAVEN, LOST IN TRANSLATION, CHARLOTTE SOMETIMES, RAISING VICTOR VARGAS all took a similar approach to their subject matter, and were all just as effective.

But VanSant's style has matured - the sky scenes in ELEPHANT seem to quote DRUGSTORE COWBOY, and in both films they symbolize the passage of time, the general drift of life, and in opening with such a scene, VanSant is offering a subtle warning that ELEPHANT is poetic and interpretive, not a docudrama or realistic take on high school shootings, and shouldn't be taken as such. Characters drift through the day, knowing each other at mostly superficial levels (not moving beyond the level of stereotypes), which feels like what I remember high school to often be, and VanSant has no interest or need to move beyond that - to 'read into' these characters, or have them make grand speeches and gestures would've only made this film preposterous.

ELEPHANT isn't about the media (which is ubiquitous), homosexuality (a random genetic occurrence found in any setting), bullies (which exist everywhere as well, though for psychological or sociological reasons) or any variety of high school caste system - it's about the randomness of violence, and the first two thirds of this film - in both the gliding long shots following characters (and the audio, with conversations drifting in and out), and the fragmented timeline (shifting back and forth in time as it moves from one character to another) - is a startling portrayal of the random, anonymous nature of an average day at school. It could be noted that the school is just a location of convenience in VanSant's hands; this film (or the incidents depicted in it) could be set anywhere, which is partly the point. In much of the world, random, senseless violence is always a possibility, which is really what this film observes and (in the horror of the depiction) protests, and it's just as much of a tragedy when it occurs in a generic, random, average setting (like this school and the people in it), as when it occurs in a dramatic, unusual setting that creates martyrs and heroes.

A very challenging film, in the best of ways. For quite a while, we've seen a number of films attempt to explore similar themes (most interestingly, many of Stanley Kubrick's films), often going for the opposite approach - startling an audience with intensity and violence: the heavy-handed brutality of A CLOCKWORK ORANGE (the most brilliant example of shock tactics used effectively, though lacking the subtlety that makes other Kubrick films stronger), or Larry Clark's far more exploitative and dull KIDS (a genuinely sloppy and anticlimactic film which seems to exist mainly to give a sheltered audience a few 'shocking' cheap thrills to get off on, offering few insights that hadn't already been offered elsewhere). ELEPHANT stuns primarily by taking the opposite route - languid and poetic - which ultimately makes it all the more powerful.