Babarobot | Colta.ru

“Thanks to you, I feel like the girl that you first awakened fifty years ago when we just started this journey.” The person pronouncing these words is far from fifty. Moreover, he is a man: red -haired mustache, glasses in a horny frame, frowned, as if he constantly doubts, eyebrows - a new film by Jounie “She” begins with a close -up of the protagonist. Theodore of your Your Fenix ​​(Joaquin Phoenix) lives in Los Angeles not so distant the future and earns a living by writing personal people for other people, not even intimate letters. It constructs, in other words, other people's relations - asking them a plot, logic, dramatic pathos, cleansing them of routine, of which any real novels consist of 95 percent. Directs them, if you like, giving the form of a clear, meaningful journey as a formless 50 years of life together.

The trouble of Theodore, as we soon find out, is that real inter -human communications never have only one director. When that evening during virtual sex with a stranger, attracting him to touching recognition alone (and Theodore is very, very lonely), at the time of the climax he will indulge: “Begin me with a dead cat!” - Our hero is predictably confused. Apparently, the same problem has destroyed the marriage of Theodore - in the decay of which he could not believe for a year and therefore will not sign the documents about the divorce.

The Theodore, however, is about to dawn the hope of a true understanding. As you already know, the main trick of the film “She” is a man’s novel with an ultra -modern operating system, calling himself Samantha and speaks voice Scarlett Johansson. Samantha will combine functions A psychotherapist and corrector, disassemble the blockage of unread letters in the mail and laugh at Theo jokes - in other words, will become what no real girl is able to become (and even find a way to compensate for the impossibility of physical proximity). However, such a seemingly convenient, maximum controlled novel is doomed sooner or later to go beyond the ideal script, can deceive expectations, offend, injure.

Until this moment, the Theodore of Thyodor and his operating system, Spike Johunie, removes the history of the Theodore, without any discounts on the bizarre of one of its subjects, the melodrama - with the charm of a gradually awakening love, the bliss of recognition of himself in another, pain of the first notes of jealousy and the first disappointment. But as soon as the theodore’s novel and Samantha begins to go to naught, Jounie suddenly changes intonation-from the melodrama “She” almost becomes a horror (in which another great film about love for the computer program was rolling-“Electric Dreams” of 1984), which revived the possibility of a controlled, harmless love almost turned by an nightmare of his failure. Almost - because in the final, Johnie will once again change the register, fixing, among other things, the impossibility of a sincere conversation about love within the framework of genre canons.

The greatness of the film Jounzi is just not in the statement of the sad fact that people (and Samantha, of course, is also a person, in any case, as a living person belongs to a theodore) sooner or later grow from any relationship, on whatever powerful and reliable foundation they were built. No-the unpredictable, brilliant finale of the film implies that not a single relationship really ends, no matter how we want to think of them in the categories of the plot-with a tie, climax and an inevitable ending. Accustomed to represent life and love as a script, as “the journey that we started 50 years ago,” Theodore will be alone with the need to take himself beyond this script. But the actual gift awaits the viewer-an understanding that although true love will never fit into the stories that have been stated by the melodrama with a happy end and marketing stamps, this does not mean that it is impossible. On the contrary, everything that is beyond the framework of standard “romantic” schemes is it.