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| "Anti-Faust" |
SUMMARY |
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The author's journey through the film entitled "Fatal exit" ('The Passenger') - reveals the method of analytical comparision of Goethe's and Antonioni's masterpieces - a journey of the immemorial mythical motive of relinquishing an unsuccessful biography and at the same time, craving for a new fulfilled existence.
Faust's archetype, wandering through latin civilization even before Goethe's time, according to the author, is forever penetrating more and more contemporary works - up till our present day crisis of values - exploding into a film story about the next loser's life, which though it undergoes transformation into another one, is still however a defeat.
The greatness of Goethe's design was faith in the salvation of the gambler who changes his life.
The depth of Antonioni's design, getting rid of the declarations of the 19th century original, is the atmosphere of the most intimate secrecy concerning the end of human life.
The author decodes the form of this secret, scattered throughout the film "Fatal exit" ('The Passenger'), comparing it with the secrets of the masterpieces of art and literature as well as the mystical tradition of Christianity.
Królikiewicz underlines the fact, similarily as in Goethe, the dispenser of the final purpose of our aspirations and struggles in the Instance, who this master of modern cinema conceals behind hidden symbols, outlined in the magical scene of the famous, penultimate frame of the film, which has now permanently taken its place in the history and theory of film. These are the hidden letters Alfa and Omega - which, when they are decyphered, suddenly reveal the hidden sense of the film.
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