Had an affair with the 70mm version tonight. Some things became clearer.
-Everyone acts with their whole faces and posture. I bet you could run this thing like a silent movie and just watch the juxtaposition of faces and retain the story.
Do they match? What do they want? How is each face reacting to the other? It’s amazing how much the faces express in this film. They speak as loudly as the lines. It reminded me of Chaplin, that way. This all comes to a crescendo during the New Year’s Eve party when Reynolds goes to retrieve Alma. They exchange no words. It’s all beautifully played out as if in charades, and burns its images into your mind's eye like the movements of a ballet.
-The sound effects are also mixed LOUDLY, and most often have the effect of grammatical punctuation, becoming an added way for each character to express his will. And they all act out their emotions as if with props. Most obvious example: the final scene after Alma has served Reynolds his omelette. She pours two glasses of water - a slow, medium-height pour for Reynolds, and a longer, even higher pour for herself, establishing dominance. The communication with sound effects is so rampant I’m wondering if you could run the film without the image and still follow along, just listening.
-Foreshadowing for the later evolution of their relationship happens early on, as does a veiled allusion to what’s going to happen with the mushrooms. Was surprised how early the mother element is woven into the narrative. It’s literally the second conversation Reynolds and Alma have, and it occurs on their first date, underlining the romantic context of his maternal feelings.
And this, I believe the first time they’re having dinner out with Cyril:
-We often see Reynolds from the point of view of Alma, but not Alma from his own. She often secretly admires him while his attention is directed elsewhere, but he almost never looks at her the same way, the exception being when Alma is seated next that socialite’s son (Dr. Hardy), and Reynolds is made privy to what a good time the two of them are having talking to each other. Here we see Alma from Reynold's point of view on the far end of the table, but it’s under the auspice of ownership, or desire coupled with it, at least. I thought this was telling. The movie is still about them both, not purely from Alma’s perspective. We see Reynolds alone as he readies himself in the morning, and then also when he’s sick, hallucinating. When Reynolds is alone, he concerns himself with himself, whereas Alma always behaves (or is shown) relationally.
-When Alma poisons Reynolds the first time and he falls ill while examining a dress, his shoe polish ruins the fabric during his fall. As Reynolds falls sick, his work is sullied as well, his art being an extension of himself, intrinsically connected.
-The shot structure is so varied and creative. How many ways can one shoot inside the same rooms?
And have we discussed Reynolds' aggressive style of driving yet? I'm taking it as a 'release' for him. A way to (unconsciously?) blow off the contained, controlled environment of the House of Woodcock. Other thoughts?
Probably true. It’s also pretty clear that this is an on-the-button metaphor for who’s “steering” (COUGH) the relationship. When Reynolds is feeling weak/exhausted following the showing of his dresses to the social elite, Alma insists she drive (they get in the car in their “original” positions and then switch places), coinciding with her gaining agency, learning the ropes of his business, ascending within his company to a role of helping assemble the dresses (taking over his life).
i don't believe he's a man who could win his fights alone (there isn't evidence of that).
One thing that was front and center this time is how Cyril is always on top because Reynold’s mother was always on top and continues to be in his own mind, and upon her death she (Cyril) immediately stepped into his mother's shoes. Then Alma comes along and the torch is again transferred. Towards the end, when Reynolds becomes sick and the doctor visits the house, upon leaving, Cyril and Alma walk him to the door. “
Goodnight Mrs. Woodcock” he says, and “
Goodnight Dr. Hardy” both Cyril and Alma reply in unison. The dots connecting. Cyril never loses an argument, either. The one time she relents, when Alma requests time alone for her surprise dinner, it's to let Alma see she was right all along.
as aforementioned, the exploration of romantic love is the context with which i personally view the whole thing
Yes, this was more evident this time.
the thing that really struck me this third time is the film's leanings toward screwball comedy among its many many facets
Double yes.
