Endings

Started by Sleuth, June 12, 2003, 01:11:23 PM

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Sleuth

June 12, 2003, 01:11:23 PM
It seems like sad endings are just as cliche as happy endings now, so how do you end something?
I like to hug dogs

SoNowThen

#1
June 12, 2003, 01:12:07 PM
I believe the key here is: Big Explosions.
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

ono

#2
June 12, 2003, 01:28:23 PM
Three of the best endings ever can answer this question for you:

Quote from: Paul Thomas AndersonCAMERA holds on Claudia.  She's sitting up in bed, covers around her, staring into space....a SONG plays....for a very, very long time....she doesn't move....until she looks up and sees someone enter her bedroom.... a FIGURE from the back enters FRAME and walks in and sits on the edge of the bed....from the back it is clear that it's Jim Kurring.  She tears a bit and looks at him...HOLD....

She turns her eyes from him and looks INTO THE CAMERA and smiles.

CUT TO BLACK.
Quote from: Alan BallLESTER (VO)
I had always heard your entire life flashes in front of your eyes the second before you die.

First of all, that one second isn't a second at all.  It stretches on forever, like an ocean of time.

For me, it was lying on my back at Boy Scout camp, watching falling stars.

And yellow leaves from the maple trees that lined our street.

Or my grandmother's hands, and the way her skin... seemed like paper.

And the first time I saw my cousin Tony's brand-new Firebird.

And Janie.  And Janie.

And ... Carolyn.

I guess I could be pretty pissed off about what happened to me.  But it's hard to stay mad when there's so much beauty in the world.

Sometimes I feel like I'm seeing it all at once and it's too much.

My heart fills up like a balloon that's about to burst.  And then I remember to relax... and stop trying to hold to on to it.

And then it flows through me like rain, and I can't feel anything but gratitude... (whisper) for every single moment... of my stupid little life.

You have no idea what I'm talking about, I'm sure.  But don't worry.

CUT TO BLACK.

You will someday.
Quote from: Stanley KubrickALICE
Fuck.

BonBon85

#3
June 12, 2003, 01:36:46 PM
Or there's the art film cliche: the differences between the end and the rest of the film are so imperceptible that it seems as if nothing has happened at all.

Pubrick

#4
June 12, 2003, 01:37:56 PM
nip.
under the paving stones.

godardian

#5
June 12, 2003, 01:42:38 PM
Quote from: tremoloslothIt seems like sad endings are just as cliche as happy endings now, so how do you end something?

DECISIVELY and INDELIBLY, a la Your Friends and Neighbors or Safe. A good sharp cut to black is almost always better than a fade to black, in my opinion.

There are a million other emotions in that nebulous area between happy and sad that could potentially be evoked in this manner.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

ono

#6
June 12, 2003, 01:50:06 PM
Agreed.  You always remember the cuts to black much better than the weak, feeble fades.  They all make statements.  Magnolia, Amercian Beauty, and Eyes Wide Shut, the three examples I gave, all cut to black.

Other endings that are memorable: Rushmore, for its slow-motion, ambiguous final shot.  Fight Club: the walls of Jericho come crashing down.  Stuck for more examples right now, but you get the idea.  A film doesn't have to end happily or sadly, it just has to end in a way that makes an impact on you, and ties up the strands in an acceptable way.  Rushmore does this because the principle players are all in full view.  Fight Club does this with Tyler's line: "you met me at a really weird time in my life," as Tyler and Marla watch the buildings collapse.  Magnolia, of course, does this with Claudia's smile.  And every time I watch this in the future, I'm always gonna remember That Moment when Paul and Fiona are doing their little sketch: "NO ONE CARES ABOUT HER SMILING!" and "NO, YOU'RE TOO LONG!  NO ONE CARES!  STOP DANCING!"  Priceless.  But I digress.  :-D

SoNowThen

#7
June 12, 2003, 01:55:32 PM
PTA said it best: "the saddest happy endings I can come up with".

If it ends with things looking up for the characters, but you still feel like shit, it's a gooder. Fellini called this the life-goes-on ending, I believe. It's in pretty much every one of his movies.
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

modage

#8
June 12, 2003, 02:11:09 PM
Quote from: SoNowThenPTA said it best: "the saddest happy endings I can come up with".

If it ends with things looking up for the characters, but you still feel like shit, it's a gooder. Fellini called this the life-goes-on ending, I believe. It's in pretty much every one of his movies.

a life goes on ending. i like that.
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

Duck Sauce

#9
June 12, 2003, 09:28:32 PM
Quote from: SoNowThenI believe the key here is: Big Explosions.

You saying that is more cliche then actually having big explosions....

Jeremy Blackman

#10
June 12, 2003, 09:35:01 PM
Quote from: godardianA good sharp cut to black is almost always better than a fade to black, in my opinion.

I usually don't like fades. Cuts to black have so much more impact. Although... Kubrick has pulled off fade outs a few times, right?

godardian

#11
June 12, 2003, 09:44:44 PM
Quote from: Jeremy Blackman
Quote from: godardianA good sharp cut to black is almost always better than a fade to black, in my opinion.

I usually don't like fades. Cuts to black have so much more impact. Although... Kubrick has pulled off fade outs a few times, right?

Oh, yeah. And they can be exactly right on some occasions. But for IMPACT... no, nothing beats a good sharp cut to black.
""Money doesn't come into it. It never has. I do what I do because it's all that I am." - Morrissey

"Lacan stressed more and more in his work the power and organizing principle of the symbolic, understood as the networks, social, cultural, and linguistic, into which a child is born. These precede the birth of a child, which is why Lacan can say that language is there from before the actual moment of birth. It is there in the social structures which are at play in the family and, of course, in the ideals, goals, and histories of the parents. This world of language can hardly be grasped by the newborn and yet it will act on the whole of the child's existence."

Stay informed on protecting your freedom of speech and civil rights.

oakmanc234

#12
June 13, 2003, 06:23:12 AM
I believe that 'PDL' ended PERFECTLY. It was just so well timed/in sync/lovely final shot. It left me floating out of the cinema. Really somber and warm. Its my favourite of Paul's endings so far.
'Welcome the Thunderdome, bitch'

SoNowThen

#13
June 13, 2003, 09:06:06 AM
Quote from: Duck Sauce
Quote from: SoNowThenI believe the key here is: Big Explosions.

You saying that is more cliche then actually having big explosions....

...hence, the joke...
Those who say that the totalitarian state of the Soviet Union was not "real" Marxism also cannot admit that one simple feature of Marxism makes totalitarianism necessary:  the rejection of civil society. Since civil society is the sphere of private activity, its abolition and replacement by political society means that nothing private remains. That is already the essence of totalitarianism; and the moralistic practice of the trendy Left, which regards everything as political and sometimes reveals its hostility to free speech, does nothing to contradict this implication.

When those who hated capital and consumption (and Jews) in the 20th century murdered some hundred million people, and the poster children for the struggle against international capitalism and America are now fanatical Islamic terrorists, this puts recent enthusiasts in an awkward position. Most of them are too dense and shameless to appreciate it, and far too many are taken in by the moralistic and paternalistic rhetoric of the Left.

phil marlowe

#14
June 13, 2003, 09:16:41 AM
if the explosions thing wasnt a joke i would've agreed. hollywood action flicks are now about kungfu or are starring some kind of little black man with a helium voice. i miss the trucker heroes.
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