Beau Travel, directed by Claire Dennis in 1999, under the supervision of screenwriter Agnieszka Goddard and approved by Dennis, has been remade as well as entering a collection of prestigious standards at a time when the world’s non-influential perspectives are still largely excluded. We’ve heard these words over and over again, but they don’t seem to be drowning out. Margin marginalized groups are presenting their images more and more as branding, their artisanship is still often enhanced by big influences and money-makers – John Boega reminded us in his recent GQ interview How far this practice goes.
“Arthouse” – or simply non-blockbuster – is relatively small, but the same problem continues in the enthusiastic world. In an interview with The New York Times for a feature on African American exclusion from the Criteria collection, President Peter Baker admits writer-director Julie Dash failed to see the value of The Daughters of the Dust’s brilliant and unforgettable film after sending him the film. In 1992 through its distributor. Reflecting on the decision, he said, “I didn’t understand what I was seeing. I didn’t understand what it was. And I wasn’t talking to the people who were going to help me.”
This embarrassing admission and the very small number of non-white directors and women generally represented in the compilation cannot be the true service of the artist, not only to the ignorance and superstition of the unemployed and others, but also to the overall failure of the major organizations. As I watch Gardard’s fantastic recovery, I remember the standard branding is the vehicle to escape the film’s brevity, but not the destination. And before the debut of Beau Travel’s Criteria, Janus Films is releasing a 4K recovery in virtual movies starting September 4th, which will make the film available for streaming in the United States.
Dennis himself did not go beyond Canon, but he noted that female directors received more than their male counterparts and noted that this often overshadowed the value of the work noted that black female directors are not even recognized to the same degree as black male directors; In fact, the only black female director in the collection of criteria is Martinique Eugene Palsi, the other seven black directors are men. What struck me about Beau Travel this time is how the film talks to us about where we end up and where we don’t end up, how we find some way out even when we’re a little out of the way and how this perseverance doesn’t work. Not necessarily ransoming or forgetting us or others, but providing clues about the future.
Beau Travel is a film that is as mysterious as concrete, it is very Danish and it is also somewhat derogatory, very French. It is easy to label it correctly and accurately saying that it addresses colonialism, imperialism, toxic masculinity, homorioism, corporal and existentialism in the military. But it’s also a fleeting film, it falls into a time frame and goes out and what it puts in is significant for what it leaves out.
Based on the posthumous Herman Melville novel Billy Bud, the sailor, the story follows a contingent of French troops led by Sergeant Gallag, always played by the exceptional and intensely exceptional Dennis Lavant, who described the figure in his diary, in his hometown of Marseille. He was in Djibouti in a mixture of mostly white French soldiers and a few black and Muslim soldiers. Many cantonments have local girlfriends, and dancing in front of a large mirror in the club opens the beginning of the photo on them. Throughout the film, small and large groups of Geziotians do what seem like vast yet useless works. These legionnaires are both dazzling and beautiful – preparing to fight, kill and suffer (exactly who and what, Galap never told us) – but you can see why the locals are dazzling and beautiful, transformed for the moment in their looks and looks.
“The apostle has a kind of untouchable beauty that comes from his physicality as much as from his behavior – he is transparent, honest, committed, kind.”
Galileo relied on one of his men, Senten, who played the confident Grago’s Colin (probably a kind of Brody French Adam driver for strangers). Senten has a kind of untouchable beauty that comes from his behavior comes from his physicality he is transparent, honest, committed, kind. He does not actually appear to belong to the French army and we later learn that he is an orphan, abandoned as a child, now found in the military service and wants to destroy Galap Senten, probably because he fell in love with her and describes his conspiracy in his diary. Galap also looks at his commander Bruno Forster (Michelle Sabor) and has a bracelet with a name on it. Forster embodies such a certain masculinity that somehow a reporter is majestic; Galap is probably in love with him, but he is happy to leave his fate in the hands of his commander, fearing and respecting him. Forster, on his part, recognizes and praises Senten’s strong character. It’s a kind of love triangle, yet we only hear it directly from a misleading party.
Galap has a Djiboutian girlfriend, Rachel (a quiet and compassionate Marta Tafes Casa), who sells beautiful carpets from village homes. There is an undeniable mix of generosity and humility in Rachel’s eyes – you wonder how you are with Galap but you also see how he has shown weakness and tenderness to her and not to anyone else. Yet, the way time works in the film does not mean that this relationship serves as a kind of softening or releasing Gallup; Instead, the middle part of his life in the village of Marseille in the Djibouti desert with his men and in the village with his black girlfriend gives a glimpse of the spiritual and moral reunion of where Senten himself is able to answer, Gallup is not, he disconnects, flees. Even his diaries cover the whole place.
There are very few speeches in the film, but when we hear from the Legionnaires in real time, it’s significant. Muslims are annoyed when they fast during the month of Ramadan, others enjoy their lunch. Gallup punished a black man for leaving his post to attend the Ou D ceremony, although Senten tried to cover up for him. When another black fighter comes to examine him during his critical work, Gallup tells him to leave: “You’re not African here,” he insisted. Both men are West Africans in East Africa (French foreign armies allow foreign recruitment), where they still stand despite the black class. Gallup’s word cascade means Africa You are not African in Africa, you are not concerned in Africa, you are not in Africa, you are a top notch.
Likewise, canonization provides us with the possibility of destroying the self without considering its larger effects. If we can just fit in, win approval, override classification, can we join it? Senten has learned that, in his own way, no kind of righteousness or dignity will encourage him to gossip, even though his honesty and actions earn the loyalty of his fellow leaders. Yet, in the end, these Jizubians are capable, whether he deserves it or not, of the way he probably spent his life searching for her, and it is somehow the ruthless elimination of Gallup that made this connection possible. “Pardu” (“Lost”), Senten shouts in his last photo line. The woman leaning towards him has no answer; He is another passenger on the bus.