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Frankly, it is pretty amazing how little time Räfle’s subjects spent locked away in attics, unlike Anne Frank’s family. Instead, they largely followed a hide-in-plain-sight strategy, which seemed to work, because the National Socialists never expected such the-heck-with-it gutsiness. Of course, their involvement in resistance networks would raise the stakes even further if they were caught.
There have been previous films that combined talking-head documentary segments with dramatic representations, but usually one has been conspicuously privileged over the other. However, Räfle gives them both equal weight. Probably the strongest performance is that of Alice Dwyer as the desperate Lévy, but the late Schönhaus’s recollections are the most fascinating. Nevertheless, the entire ensemble is quite strong, and the oral history of all four survivors is profoundly valuable.
We think we know everything there is to know about the horrors of National Socialism, but “The Invisibles” will add further dimension to our understanding. Yet, all four survivors go out of their way to celebrate the righteous Germans who sheltered them. What “Invisibles” documents and dramatizes is really pretty darned incredible.
Very highly recommended, “The Invisibles” opens Jan. 25 in select theaters.When it comes to comic book creators, Grant Morrison is about as notorious and celebrated as they come. The Scottish born creator is responsible for redefining the Man of Steel in “All-Star Superman,” as well as Batman and the Joker in “Arkham Asylum.” Actually, he also radically altered the X-Men shortly after Bryan Singer strapped them all in leather for his cinematic interpretation. He’s recently launched into a reinterpretation of Hal Jordan in a new monthly series, “The Green Lantern.” If you have a character struggling to find sales, snatching Morrison onto your payroll is a decent way of resecuring relevance.
However, the obsessive/hipsterish Morrison acolytes (myself included) are always eager to point potential readers to his trippier and more obscure pieces of sequential entertainment. “Animal Man,” “Doom Patrol,” “The Invisibles.” These three titles exploded onto the market when DC Comics was looking to reach a more adult market with their Vertigo subdivision. While technically checking all the boxes of superhero comics they tended to venture into odd mentalities with characters struggling inside a crumbling society.
Morrison is not a name that rings any bells with the mainstream audience. The closest he’s come to recognition is when a few lines from his Superman run were mangled by Russell Crowe in Zack Snyder’s Man of Steel. He also worked closely with Brian Taylor in adapting his “Happy!” miniseries into the SyFy show, and while that production has not run away with the ratings, it has gained a tenacious fanbase.
The next couple of years could change all that. Doom Patrol is currently under production as part of the DC Universe streaming service, and The Hollywood Reporter recently announced that The Invisibles will be a part of a new deal with Universal Cable Productions (the same company that handles the other Morrison/Taylor adaptations of Happy! and Brave New World). The new series is not yet attached to a network, but Morrison joins a long line of creatives with prosperous shows on air: Nick Antosca (Channel Zero), Steve Blackman (The Umbrella Academy), Sam Esmail (Mr. Robot), and Liz Sarnoff (Barry).
One of the comic book creators more eccentric traits is his belief and practice of magic. Originally, The Invisibles was created as a means of effecting positive change in the world as a genuine sigil. The comic book was more than just a story of action and adventure; it was a symbol designed to infect its readers’ subconscious and push them towards an evolution of the mind. Yup. Not your average funny book.
The basic premise follows a group of weird characters of a secret organization referred to as “The Invisible College.” With names like King Mob, Lord Fanny, Ragged Robin, Boy, and Jack Frost, these were not your run-of-the-mill spandex avengers. Their superpowers ran the gamut from extraordinary strength to time travel, to mysticism, to telepathy. They don’t simply battle rogue agents and mad scientists. Their enemies are interdimensional beings that have already taken psychic control over most of the human race.
Cool, cool, cool. For the like-minded outcasts in the audience, The Invisibles could strike a serious nerve. For others, the concepts and characters might seem a little alienating. In the wrong hands, the show could get whitewashed and have its identity completely eradicated. However, if Grant Morrison is steering this ship, his Invisibles will no doubt stand out in a crowded superhero arena. Destined for cult status with the potential for growth in an environment starved for originality.
Elles exercent leur métier dans l’ombre, mènent un combat acharné mais “invisible” ; à ces travailleuses sociales “résistantes des temps modernes” Louis-Julien Petit rend hommage. Elles sont passées par la rue ont connu la violence, la prison et sont accueillies dans un centre de jour pour SDF, ces “invisibles” -celles que l’on côtoie sans “oser” les regarder- vont passer de l’ombre à la lumière.
Le sujet de ce film ? un combat collectif -celui qui unit ces deux catégories d’invisibles-. Et puisque nécessité fait loi on bafouera allègrement cette dernière. Voici des travailleuses sociales et leurs bénévoles décidées, dans l’urgence, à réinsérer coûte que coûte les femmes dont elles s’occupent : leur centre d’accueil de jour (légal) deviendra presque de facto un centre d’accueil 24h/24h (illégal)
Un sujet dramatique traité souvent de manière comique (à la façon de Roberto Benigni) tout en respectant un ton juste ; mélanger « rires » et « larmes »
C’est précisément ce qu’expliquait le réalisateur lors de l’avant-première à l’Omnia (14/12/18) en réponse aux questions sur la genèse, le casting (j’ai passé un an comme bénévole en centres d’accueil pour femmes à Grenoble et à Paris […]Je me suis inspiré du livre et du documentaire de Claire Lajeunie sur les femmes SDF paru en 2014 [….] j’ai casté plus d’une centaine de femmes et j’en ai choisi 15 […] mais pour conserver leur anonymat je leur ai fait choisir le nom qu’elles souhaitaient : on a eu ainsi Edith Piaf, Brigitte Macron, Lady Di, Simone Veil […]
Le film tourné à Anzin et Tourcoing, peut s’appréhender comme une comédie sociale. Une comédie roborative certes : rythme souvent enlevé, refus constant du misérabilisme, humour, truculence du personnage de Chantal qu’interprète Adolpha van Meerhaegue, (et comme dans le film elle a connu la prison et la rue)
Un film sur des “Femmes Courage” ; un film qui pointe du doigt (sans militantisme ni moralisme) les dysfonctionnements d’un système,