"Three" by Tom Tykwer - movie review
The most liberal, intimate, Europeans - the French, accept the lover as a natural companion to marriage. The Dutch first legalized gay marriage. Germany, which has to defend the honor of a leading country on the continent, not only economically, it is now countering and coming out with some breasts ahead. And I'm not sure that this happens only in the field of art. Too many people are divorcing. Too few are married. And those who remain with their first marriage partner until death divides them are even less. Our time is a time of serial monogamy, panic's fear of tying and loneliness caused by the disease of modern societies - alienation. But it is also time for freedom and tolerance. And in modern society, there is an increasing need for changes in the status quo as well as for the existence of differences and acceptance. First of the very different, and then of society itself.
In "Three" Tom Tykwer tries to bring out a new formula for marital happiness (based on the classic love triangle) in which one is still the loneliest number, and two are no longer comfortable, comfortable and even less - sure. With typical German pragmatism, a dry sense of humor and self-irony, he tells the story of Hannah, Simon, and Adam by accidentally collecting them, with this coincidence that occurs with the pushing of the first block of ordered dominoes. But here, in the end, things are naturally harmonizing into one as opposed to the effect of the domino effect. While his heroes fall in love, marry, cheat, maintain their ties, and continue incessantly because, as the inscrutable German spirit of the poems of Hermann Hesse calls, Tykwer reflects with their voices on gender determination, the condemnation of a person living according to the imposed notions of society, the changing role of art, beyond the boundaries of traditional aesthetics and entering the field of science, the changing role of science that has come so far, that it needs ethics committees to regulate it the traditional theme of death as a waterslide turning the mirror to us with much greater force than any other event and helping us to dare to be more that we do not recognize or we do not yet know we are .
The action unfolds in Berlin - the modern, cosmopolitan city of the united two Germans, sheltering people from wherever they are. Such a colorful, multicultural but advanced city would probably be open enough and flexible for experiments, and that's why it's a great background for this unusual trio. I'm not sure that it is the new family formula of the future, but in any case it is a curious move forward. Tykwer's response is serious and laconic, but as stylish as the final picture of the film, it is also logical because it comes from the very good understanding and love of the characters and the sympathy for their needs by the director-writer. In this line of thought, some scenes from the movie may shock more traditional viewers, but anyone who watched the "Perfume," the cretin combinations are unlikely to be so daring. In other scenes, Tom Tykwer embraces dreams and visions, and these are the weakest and most unnecessary places in "Three," but they are in the tradition of the aesthetic literal metaphor so typical of German cinema. (Reference: Wim Wenders and Death in Palermo.) More interesting is the splitting of the screen into several windows where the action is whirling at the beginning of the movie as if to trigger the change machine for all three heroes.
And heroes, and they are curious images. It is no coincidence that one is a scientist - the sharp peak in the love triangle Adam, who is engaged in stem cell research in medicine, choreographed, trained east martial arts and has a small boat on the Baltic Sea. As a scientist, he should be the bearer of the new and the progressive, but otherwise he lives in a half-empty apartment with no book. The other, the most passionate and sensitive of the three, Simon, works in a foundation that deals with art projects. And Hannah is the vibrant, curious and active TV journalist and member of the ethics committee for science. They all are 40. And their life is just starting really, because they already know what they want from it.
Man is by nature bisexual, so there is nothing shameful in the story told from the mouth of Tom Tykwer. Still, in its provocative statement, the cinema is afraid of being bold, only partially exposing the philosophy of the unconventional triumvirate, otherwise preferring the search for ways that will make each of its participants understand that freedom of morals must prevail over prejudice. Another thing is that the love triangle itself looks artificial, and it can be called a love triangle with a big stretch.
What we have? The average married couple, whose joint life has long outgrown just a convention, has cracked. If in this situation, Hannah's sexual intercourse with another man looks like a phenomenon almost natural, then Simon's passion for a one-sex lover that emerged from an empty place can hardly be attributed to his sexual dissatisfaction, it simply cannot be explained logically. Any manifestations of the feelings of each of the three main characters are reduced to animal instincts, eventually developed into universal affection. But the act of triolism is still far from an act of merging souls, and thinking stereotypically does not mean wrong.
If Tom Tykwer wanted to prove the opposite, he simply could not do it. About what he would not say, he speaks with a smile. Ironic color gets even the most serious things, which inevitably leads to the thought "maybe a film with a film - no more than a witty joke?" After all, for such a bold statement about the need to step over and forget about biological determinism, as a remnant of the past, the director did not have enough arguments. But if you consider the "3" as an intellectual farce, it becomes clear that with a sense of humor, Tom Tykwer is in perfect order and the film is nothing but a real comedy of morals.
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