The Great Acting Blog: “Thomas Doret In The Kid With The Bike”
05.12.2012
, The Great Acting Blog
Doret plays Cyril, a 12 year old who has been dumped into foster care by his father, who, unbeknownst to the boy, doesn’t give a damn about him, and just wants rid of him. Doret runs away from the foster home to his dad’s apartment. When the caretakers find him, Doret flees to a nearby doctor’s surgery where he grabs hold of a woman, Samantha, so that they won’t take him away. To calm Doret down, they take him back to his dad’s apartment, and show him that it is empty and deserted, confirming that his father has left. With Samantha, Doret finally finds his father, who is however, none too pleased when the boy shows up, and tells him he never wants to see him again. Samantha in turn, takes the heartbroken Doret under her wing. However, falling under the spell of a local drug dealer, Doret robs a shopkeeper, beating the owner and his son with a baseball bat. Fearing Doret has been indentified in the robbery, the drug dealer abandons Doret and forces him to keep the stolen money. Doret gets caught by the police, but the matter is dealt with through a mediation with the shop owner, who accepts Doret’s apology. Some time later, the son of the shop owner sees Doret by chance on the street, and beats him up, forcing Doret to hide up in a tree for safety, until the son throws a stone, which causes Doret to fall out of the tree. Doret lies on the ground, seemingly unconscious, until he comes to, and calmly walks away from the trouble.
Doret’s performance is remarkable in it’s simplicity and directness. There is a scene where Doret visits his father again, only this time to offer the money he got from the robbery, thinking this will win his father’s acceptance. His father is a little stunned, before refusing the money and sending Doret on his way. Doret hardly inflects the scene at all, he offers the money to his father with an almost animalistic simplicity, and it is this simplicity which renders the moment heartbreaking. Compare this to James Dean’s performance in East Of Eden, where there is a similar scene of rejection involving money; Dean explains the character’s pain to us with the preposterous emotional excretion; “YOU’RE TEARING ME APAAARRTT!”, rendering the moment false and meaningless. Doret is courageous in resisting the temptation to explain what is happening, enabling us to engage with the scene for ourselves, which in turn, makes it meaningful.
Doret had never acted before, so much of his performance will have been instinctive, and perhaps he has yet to become inhibited by the protective guff of adulthood, and so we get this wonderful unfettered performance from him. There is perhaps only one scene where Doret appears to be comprehendingly expressing the inner pain of his character, and what an extraordinary scene it is. While driving in the car with Samantha, Doret suddenly begins to scratch at his own flesh, and punch himself, it is gut wrenching to watch – it represents a bout of self-loathing, induced by Doret’s belief that he is the cause of his own rejection, that he is the source of his own pain, and so wants to destroy the thing which is causing him pain (as he perceives it). Again, Doret performs the scene completely free of James Dean-style sentimentality, but with his customary simplicity and directness. I have to say that, generally, I am not a fan of child actors, and have held off seeing this film largely because the protagonist is a child, but the strength of Doret’s performance here, may just have given me cause to change this view.
Doret had never acted before this film, or, at least, I have not been able to find any record of him doing so, and I am not aware of him receiving any training, and yet he is able to deliver this quite brilliant performance. No-one can know what the future holds for him, the vast majority non-actors fail to kick on after terrific debuts. Having said that, Doret does re-inforce my general view that acting is a talent which cannot be instilled.
Michael/ 05.12.2012
I think I heard somewhere he was a very non-physical kid but they discovered the sensitivity of the character in him. This meant having just to work on physical actions as oppose any sort of character mentality. A little off track but you should try find the work of Dorota Kędzierzawska – (http://www.culture.pl/web/english/resources-film-full-page/-/eo_event_asset_publisher/eAN5/content/dorota-kedzierzawska) Her team does amazing work with kids. I’ve always admired her objectives.. ‘The main aim of Kid Film was production of truly ambitious pictures addressing sensitive and “seeking” spectators.We assume that it is time to talk with youth and youngsters, who need other world than proposed by TV soap operas .We would like to provoke dialogue and intellectual discussion, but we do not want to give easy answers.We want rather to ask and raise the problems.The other important issue is visual approach, which interferes the story and vice versa.We would like to take the spectator to aesthetic trip to spheres a little bit higher than everyday life.Cinema is the part of art, which enables to feel inexpressible.Going to real cinema should be a fest. No matter if this will be moments of happiness and joy or sadness and pain.’ – http://www.kidfilm.pl/joo/index.php/aboutus
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