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The Holy Innocents (1988)

af Gilbert Adair

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269397,974 (3.37)2
Paris in the spring of 1968. The city is beginning to emerge from hibernation and an obscure spirit of social and political renewal is in the air. Yet Théo, his twin sister Isabelle and Matthew, an American student they have befriended, think only of immersing themselves in another, addictive form of hibernation: moviegoing at the Cinémathèque Française. Night after night, they take their place beside their fellow cinephiles in the very front row of the stalls and feast insatiably off the images that flicker across the vast white screen. Denied their nightly 'fix' when the French government suddenly orders the Cinémathèque's closure, Théo, Isabelle and Matthew gradually withdraw into a hermetically sealed universe of their own creation, an airless universe of obsessive private games, ordeals, humiliations and sexual jousting which finds them shedding their clothes and their inhibitions with equal abandon. A vertiginous free fall interrupted only, and tragically, when the real world outside their shuttered apartment succeeds at last in encroaching on their delirium. The study of a triangular relationship whose perverse eroticism contrives nevertheless to conserve its own bruised purity, brilliant in its narrative invention and startling in its imagery, The Dreamers (now a major film by Bernardo Bertolucci) belongs to the romantic French tradition of Les Enfants Terribles and Le Grand Meaulnes and resembles no other work in recent British fiction.… (mere)
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Matthew è un diciannovenne americano che si reca a Parigi per studiare cinema, frequentando la Cinémathèque Française conosce una coppia di gemelli diciassettenni che gli propongono di dividere la loro abitazione. In quell'appartamento i tre ragazzi si legano in un rapporto incestuoso a tre, chiudendo fuori il mondo mentre sperimentano sesso, amore e tenerezza. La primavera dei corpi coincide con la primavera che in quel momento profuma l'aria di Parigi, ma proprio quella primavera segna l'inizio dell'ultima grande esplosione rivoluzionaria del nostro tempo: il sessantotto.
Un sasso rompe un vetro dell'appartamento, dove i tre ragazzi giacciono tra le lenzuola: è scoppiata la rivolta del Maggio '68.
Versione cinematografica per il film diretto da Bertolucci, il romanzo che si fonda sull'esperienza autobiografica, nell'edizione originale del 1988 ha avuto come titolo "The Holy Innocents", in omaggio all'opera di Cocteau "Les Enfants Terribles", tradotto in inglese come "The Holy Terrors".
Adair infatti vedeva nei suoi tre protagonisti tratti comuni con i personaggi di Cocteau.
Nella versione cinematografica l'autore/sceneggiatore e il regista hanno voluto mutare il titolo in "The Dreamers, sottolineando in tal modo come il '68 abbia rappresentato per chi l'ha vissuto un sogno collettivo, e rammentando inoltre ciò che affermava Cocteau: "Il cinema è quel sogno che si sogna tutti assieme".
Gilbert Adair è stato uno scrittore e critico scozzese scomparso prematuramente nel 2011. ( )
  cometahalley | Dec 22, 2013 |
A pretty good novella about three kids watching movies, discussing (and eventually getting involved in) politics, and having sex with each other in various combinations. It suffers a little from the combination of its influences and references - most explicitly Cocteau's The Holly Terrors. It just doesn't quite add up. ( )
  kougogo | Jan 4, 2010 |
This should be an interesting novel, but the style in which it is written is quite appalling. In the afterword, Adair explains that he has rewritten the earlier version of this novel 'The Holy
Innocents' or as he says "overwritten" it. Horrendous metaphors and similes destroy the atmosphere that Adair at points builds up. To become engaged with the story then read a passage that is risible, that forces you to wince at the bad prose is not a good reading experience!
To describe an erect penis as a 'livid member' is cringeworthy.

A promising book that draws on Cocteau and McEwan but is ultimately disappointing. ( )
  cinquevalli | Dec 15, 2009 |
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Paris in the spring of 1968. The city is beginning to emerge from hibernation and an obscure spirit of social and political renewal is in the air. Yet Théo, his twin sister Isabelle and Matthew, an American student they have befriended, think only of immersing themselves in another, addictive form of hibernation: moviegoing at the Cinémathèque Française. Night after night, they take their place beside their fellow cinephiles in the very front row of the stalls and feast insatiably off the images that flicker across the vast white screen. Denied their nightly 'fix' when the French government suddenly orders the Cinémathèque's closure, Théo, Isabelle and Matthew gradually withdraw into a hermetically sealed universe of their own creation, an airless universe of obsessive private games, ordeals, humiliations and sexual jousting which finds them shedding their clothes and their inhibitions with equal abandon. A vertiginous free fall interrupted only, and tragically, when the real world outside their shuttered apartment succeeds at last in encroaching on their delirium. The study of a triangular relationship whose perverse eroticism contrives nevertheless to conserve its own bruised purity, brilliant in its narrative invention and startling in its imagery, The Dreamers (now a major film by Bernardo Bertolucci) belongs to the romantic French tradition of Les Enfants Terribles and Le Grand Meaulnes and resembles no other work in recent British fiction.

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