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Fabelmans: After Aliens, Schindler and Dinosaurs, Steven Spielberg developed his own story.

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In two-time Academy Award winner Steven Spielberg’s latest film, Fabelman doesn’t miss his entire extended family, living monkey, or red lipstick directed by John Ford, who David Lynch edited in the fil comic. It’s a disinterested, honest, yet somewhat mentoring film: it actually teaches us all the time. This is surprising for Spielberg, but understandable given the autobiographical genre.

Bottom line, an interesting, albeit a bit tedious line Fabelmans, mely “how I got into the movies”, Steven Spielberg describes strictly in chronological order and with great stylistic purity; after all, he did not write the script himself, he invited the playwright Tony Kushner to cooperate, who had already prepared it for him Munich, Lincoln as well as West Side Story.

But I need them to crash!

Fabelmans they begin on a mysterious winter night in 1952, when six-year-old Sammy goes to the movies for the first time in his life with his housewife mother and father, a successful engineer. They are playing The biggest show in the worldon the screen, the train collides with a passenger car, the car flies away, Sammy is terribly afraid, and so … a director is born.

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Subsequently, Sammy receives eight electric trains as a gift, which he shoots with a small camera (“But I need them to crash!” He explains to his mother), later he wraps the sisters in toilet paper and turns them into monsters (“At first he only chased us, and then he came to the point that he could scare anyone to death with his films!” One of Spielberg’s three younger sisters, Ann, recently confirmed in an interview) and so on.

At first, the father does not understand his “hobby”, he wants him to do something “suitable for people”, but the decision is made already in the first third of the film, when Uncle Boris, a former circus performer, appears. on the stage. It is he who, one night, reveals to Sammy a mysterious metaphor: “If you want to make art, you must join the circus. Art is like the mouth of a lion: it bites the head and rips out the heart!”

There is, in fact, nothing more to decide, we are seeing some instructive scenes from the life of a young director. We see how the young Spielberg removes his famous “hand” (which, by the way, he returned to years later, working, for example, on the Oscar-winning “Schindler’s List”), we see how his famous method of working with actors begins to be born. He tells us how he and the scouts shoot their first war scene in life, on a slide. Escape to nowhere; the one, by the way, actually exists, lasts 40 minutes and was created by Spielberg when he was fifteen years old, in 1961.

The low-key tone of the film only reaches an acceptable level when Sammy Fabelman and I experience a rather harsh, but not at all origil, bullying in a California high school locker room. That’s when the film, you know, the memorable montage from the “beach behind the school” of the 1964 graduation, turns into an easy educatiol video that can reveal any falsehood and stupid intolerance. Too bad life isn’t like that.

He puts his life into his films

In this regard, Sammy’s amateur video of a family camping trip in rural Arizo is a hundred times stronger than an entire high school beach video. There, something appears on the frames that children’s eyes definitely should not see: the mother loves Benny, the best friend of the father (played by Seth Rogen). In the film, the mother leaves California (where her father got a great job), returns to Arizo to see Benny, and leaves a broken family behind. It is in this line “family that mess” that the unconditiol sincerity of the message is embodied, so characteristic of all Spielberg films.

O Fabelmans you will read that they are “partially autobiographical.” But this is not true. The film is very autobiographical; it’s close to Spielberg’s teege reality, not just because there’s a lot of space devoted to both parents, Mitzi’s mother with a big dose of tragicomic rainbows, and the good, hard-working Bert.

Sammy is looking for his mother. After the mother with all her neuroses, unrequited love and emotiol immaturity. She is played by Michelle Williams, who shines with her energy all over the screen, but after a while becomes annoying in her eterl squalor. After the mother, who should always be the center of attention. After a mother who could have been an excellent pianist but only occasiolly plays on Arizo regiol television. A mother who wants to make a living from art, but stands at the stove and cooks for four children, and a husband, Bert, who “kills her with his kindness.” By the way, the actor Paul Dano perfectly, very subtly and emotiolly played the role of the withdrawn Bert.

Who saw the 147 minute documentary Spielberg based on fifteen two-hour interviews with director/producer Susan Lacey and Spielberg around the world, 2017 from the HBO workshop knows that it’s all true. In it, Lacey spoke to all three of the Spielberg sisters and caught up with both parents, which is very valuable. In the documentary, she introduced us to her bohemian mother, concert pianist Leah, later, by the way, the owner of the famous kosher restaurant The Milky Way in Los Angeles (she died in 2017 at the age of 97), and father Arnold, who worked hard all his life computer electrical engineer. Interestingly, years after their divorce (which actually happened when Spielberg was a teeger), they got back together and remarried at an advanced age. “That’s how I got the girl back,” Arnold’s father boasts in the HBO documentary; he passed away in 2020 at the age of 103.

In his podcast interview, documentary filmmaker Lacey repeatedly makes an important point about Spielberg, who, by the way, is the only director nomited for an Oscar in six different decades: “He puts his life into all of his films. He is a very autobiographical artist.”

Childhood for an Oscar

Whatever Fabelmans they will certainly get a big response from the public, as evidenced by this year’s world premiere at the Toronto Film Festival. Namely, the local audience award, which is said to be a harbinger of an Oscar nomition.

After all, only in the last few years she accidentally scored on the Oscar. Roma (2018) on the formative influence of director and screenwriter Alfonso Cuarón; he filmed the film in the place where he grew up, in the eponymous district of the capital of Mexico. In March of this year, he received an Oscar for screenplay. Belfast (2021) by Kenneth Bragh, where the director had a dream of himself, a nine-year-old boy med Buddy in shorts, in the midst of The Troubles, riots between Protestants and Catholics in Northern Ireland. On Netlix right now you can find a “lite” version of the return to childhood, mely animated Apollo 10 ½: Space Age Child (2022) by American director Richard Linklater (Oscar-nomited for his ground-breaking coming-of-age stop-motion opus) adolescence) who grew up in Houston in the 1970s in the shadow of the Soviet-American space race.

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Source: Blesk

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