Funny Games

Funny Games

Why don’t we bet…Again.

If you liked A Clockwork Orange or if it has shocked you in 1971, well this is of the same nature.

Whether it’s in 1997 or now, whoever has seen Funny Games, will think twice even three times before lending some eggs to a stranger.

Micheal Haneke, has returned with his remake of Funny Games “Americanized” asking for one the only condition; having Naomi Watts as the protagonist Ann. Starring as her husband Tim Roth alias George.
The film, remade scene by scene, tells the story of two young tortures, Paul and Peter perfectly dress in golf training, which by the pretest of the eggs, terrifies a Borghese family and bet that they will be dead by morning.

The tortures played by Michael Pitt and Brady Corbet, respectively Peter and Paul, take the family into hostage and reverse all their violence on the family and have no special regards for the child.

The film, though “Americanized” is still the same, with the same soundtrack that shifts from Mozart, Handel, Mascagni and John Zorn. Few changes though exist, from the cordless phone switched to a Nokia cellular phone and four minutes that focuses on the characters.

The film shows the relation of media and violence and the ability of “manipulating” the spectator and letting the spectator focused on what happens in the movie, even letting him participate, through the two young tortures reversing their attention to the spectator by saying “What do you think? Think they stand a chance?” The “risk” from this is that by being simple spectators of a movie, to voyeur, to being part of this violence.

The violence is gradual, from childish jokes and pokes, to high levels of violence. The film reveals almost nothing about the nature of the violence; it shows two young men and gives no justification for their psychological nature. When asked by George why they are doing all this, Paul’s simple answer was “Why not?”

Paul and Peter in fact seemed not at all concerned about what they are doing. They speak of good manners and always have an educate way of talking and in rare occasion they loose control.

One of the few reveling dialogs Paul and Peter has, when referring to reality and movie or imaginary is the following:

Paul: You can see it in the movie right?
Peter: Of course.
Paul: Well then she’s as real as reality because you can see it too. Right?

The violence is exists but most scene film moments of despair of the family. The scenes might seem to focus too much on something, well that’s the director’s intention to become truly aware of what’s happening, or in other words, become part of it, making you, spectator only think of one thing, that sooner or later it will end, well unfortunately it has just re(started)!

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