movie scenes I. .. people like me ... Part 1A: Tenderness-On the trail of the killer. Russell Crowe - Det Cristofuoro. Director: John Polson, USA, 2008-09 
Source & Copyright: Lions Gate Entertainment. Hotlinking is a copyright infringement
Intro: 
The scene
Very close closed eyes in profile, . Cheeks, nose, mouths, face to face. Two men kissing, two very young people. A boy and a girl.
section
Very close to the lines of a notebook, section of a page, a pen draws contours. After a while we see the entire page. The outlines repeat the kiss. Cheeks, nose, mouths, face to face . One hand on drawing ...
section.
Again we see the two faces, the pierced ear of the girl, the thumb of the boy on her cheek ...
.. and now the tracing.
The screen is dark.
A word appears.
TENDERNESS.
In the darkness we hear the warm, soft and dark voice of a man in his mid forties.
My wife likes to say, there are two kinds of people . My wife likes to say, there are two types of people.
section.
a supermarket. million of packs, racks, shelves racks. The whole picture: a fine-grained colorful puzzle packs. The camera, on a slightly elevated position like a surveillance camera slowly moves from the colorful mass of banal everyday goods along. Large signs on the goods mountains. Regal 5th All for 99 cents - or more "" Regal 6 Everything for 99 cents - or more ... "We hear
friendly guitar sounds high, ethereal, the harmonics.
The deep voice continued:
Those chasing pleasure - The one chasing after the pleasure -
section.
A desk, the camera moves slowly along it, a man about thirty, comes into the picture
And those running from pain. And the others are moved by the pain .
The man seems to suffer. We see him from the side, he acts like a fever weakened, his eyes half closed, his head moving slightly in a peculiar rhythm. He throws the head back.
section.
reverse shot. We look to it, where the man sees. A blond girl in blue jeans and the vest of the supermarket employee in front of him leaning on a sideboard.
you her yellow sweater is pulled up over her breasts, we see her bra and her na c kt s belly. It presents itself. Bored.
waiting for you. Look somewhere. Behind her filing, TV, radio. On the wall, the leaflets of the market. Next to her a wall clock. It's ten to six-thirty.
Votes:
Lorelei Cranston is running. Lorelei Cranston is on the run.
section He sits at the man leaning back in his chair, sunk deep in a seemingly incomprehensible pain. Only his rocking movements tell us that he feels no physical pain. He breathes heavily.
Again the voice
Running from all kinds of everything . The Fugitive possible above all.
cut on Lorelei. It lurks with a glance at the man When he is finally finished. Then she looks back into nothingness. Section.
... Probably has been her life whole. probably her whole life.
Lorelei in the supermarket. She grabs - almost as a reward for their service - a music CD and puts it in her pocket. The supermarket manager sees her through the observation window to pass. He is finally ready. His shirt collar is open, he sweats, he looks unhappy, tormented.
section. Except of. Lorelei middle of the green, it runs on foot. It is a seemingly forgotten area, old rusty garden chairs, a discarded shopping trolleys, factory buildings, a railway track, rusty.
The voice in voice over:
You ask me: nobody gets to escape their pain. If you ask me - no one can escape his pain.
The music comes to a close, loving, bright, peaceful, calm.
The camera moves ahead of Lorelei, we look at an old post with protruding cable ends by on the screen of a drive-in cinemas. Abandoned, forgotten, out of order.
Our Voice in off:
It's there when you brush your teeth at night. He is there when you brush your teeth at night,
We see approaching Lorelei.
It's there before breakfast. and the morning before breakfast.
We just see this as further running, she comes here a little closer.
Votes:
It'll come up fierce and sharp - biting game and he is due to
'll lay into you, blunt and heavy. and is a hard to digest.
section. We walk close beside Lorelei. hearing you. Mp3 and keeps a notebook in his hand. Later we learn: her diary. Behind her, the railroad tracks, old houses, parked cars. The train arrives. An S-Bahn. She honks races, past Lorelei.
section. We stay behind and see her and the train to. It is evening. Two factory chimneys project into the Rosenrot the hour between day and night.
Our Voice in off:
Most you can hope for is one good day. At best you can hope for a good day.
The camera slowly rises, hovers higher above the rusty tracks, abandoned buildings, the factory chimneys and the little man in blue jeans, blue and yellow sweater that goes against the sunset.
Votes:
As on a good day, you get to tell yourself: On a good day they say to themselves:
section. Lorelei has arrived at home, we wait for them at the door. The house is elevated with views of a power transformer station on red brick walls, urban Nutzgrün in the distance. Barred windows, lightweight, fire escapes. Apartment building, old and narrow.
Votes:
"I can fix this."
"I back the war." "Today can be different." "Today you can run it differently."
Lorelei reached the front door.
The Voice ". Today -
something might change" "Now - could change something."
2006-2008 Russell Crowe (aged of 44) - voice in the off / Detective Cristofuoro, Sophie Traub - Lorelei Cranston.
But only in the analysis we note that it is built perfectly, the selected image-narrative sequences, the contents of the text, the way he is spoken (English original version), the innocent mood of the music, the perfection, are intertwined with the music and text.
The precision of the choreography, the movements Cristofuoros (Russell Crowe) and the text, and the climax is reached at. "People like me"
The Satz_sentence hits us like a blow.
We are quickly passed so close to the protagonist that we can hear his heart beat almost abruptly.
The composition, framing in the film that is yes, is interesting.
Source & Copyright: Lions Gate Entertainment. Hotlinking is a copyright infringement fullness and emptiness are opposite in every image. The wealth is where the film character, is at an image side, beside and behind her fills the picture a quiet, empty space. The framing tells us an important part of the story. The empty space can introduce us to the topic of loneliness.
The framing also highlights the life of its own and the broadcasting of events, objects, furniture, rooms, cityscapes, everything looks like "from behind" seen.
Source & Copyright: Lions Gate Entertainment. Hotlinking is a copyright infringement
Not the gloss frontal beauty is presented, but the offside, the abandoned, Vernächlässigte, Dusty, the spaces between the rooms, the back side of things.
costume. Cristofuoro we watch as he puts his clothes ready. Soon we realize that it bears no apparent reason at this time work clothes. Soon we will know he is retired early.
The correct full of his clothes, vest, shirt, tie, Undershirts with a matching V-neck, trousers instead of training pants (!) jacket with the insignia of his professional identity, even the service weapon, almost blazes a path of self-discipline through everyday personal fragmentation.
symbolism
Source & Copyright: Lions Gate Entertainment. Hotlinking is a copyright infringement
the top of the image sequence that keeps us. Cristofuoro in imagining the home, makes a close-up of a glass menagerie on the windowsill. For American audiences, the collection of glass animals includes, of course immediately Important subtext:
Tennessee Williams: The Glass Menagerie
.
(Tennessee Williams is also the author of "A Streetcar Named Desire" -. Named Desire , the film that the young Marlon Brando the breakthrough) in play and in this film, "
Tenderness " it is about sick and failed family relationships that bring pain to the death wish. The idee fixe that runs through the subtext of Tenderness is: longing.
- -
Intro text accessible:
My wife likes to say: there are two types of people.
Some hunt for pleasure afterwards -
And the others are moved by the pain.
Lorelei Cranston is on the run.
The Fugitive possible above all.
probably her whole life.
If you ask me - no one can escape his pain.
He is there when you brush your teeth at night, and
morning before breakfast.
biting game and he is due to
and is a seriously in the stomach.
At best one can hope for a good day.
On a good day they say to themselves: I
toward the war. Today you can run it differently.
Today -
could change something.
(scene mother and daughter omission.)
Some people live for their pain.
He is all they have.
cherish it,
are afraid he might disappear.
They are people like me.
My wife likes to say, there are two kinds of people.
Those chasing pleasure -
And those running from pain.
Lorelei Cranston is running.
Running from all kinds of everything.
... Probably has been her life whole.
You ask me: nobody gets to escape their pain.
It's there when you brush your teeth at night
It's there before breakfast.
It'll come up fierce and sharp -
'll lay into you, blunt and heavy.
Most you can hope for is one good day.
As on a good day, you get to tell yourself:
“I can fix this.”
“Today can be different.”
„Today, something might change.”
(Mutter – Tochter – Auslassung)
Some people live for their pain.
It´s all they´ve got.
They stay up with it, -
afraid, it might slip away.
People like me.
