Author Topic: Boyhood  (Read 7435 times)

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  • The Master of Two Worlds
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Re: Boyhood
« Reply #45 on: January 29, 2015, 10:44:34 AM »
I don't understand. We have every other film in the world for characters who are deeply affected by their upbringing and huge dramatic moments. Every movie around has a central conflict, and nowadays tv series specialize in conflicted asshole characters whose souls get dark by the episode. Linklater completely goes the other way and he's coping out? If anything it takes a lot more balls to go this route, leaving the drama out and celebrating the small moments. Thankfully we have no scenes where the kid breaks his stepfather windshield or gets expelled from school. We know he failed first grade, right? We don't see it yet it's there. Thankfully the whole film wasn't about both parents endlessly fighting and fucking up their kid's well being.

The film doesn't need the main character to rebel or suffer some kind of imbalance. He's a smart kid who keeps things to himself. Most lifes are "uneventful", but how can we say that when watching a film where characters discover themselves quietly as the years go by?

Linklater has been doing this forever, he's not into the whole big dramatic arc thing. He even managed to make a science fiction film about drug addiction which feels more like a laid back slacker experience than a futuristic film noir. I dig it.

Gold Trumpet

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Re: Boyhood
« Reply #46 on: January 29, 2015, 04:37:52 PM »
I think it's very good. Not a top ten movie for me, but I think the idea of how to film the movie overwhelms the content. Some critics attacked the film for the kid never going through teenage angst and anger periods. Implication is the portrait is more of a sentimental tale, but given the characteristics of the main character, I think it's more part of his nature. No, my qualms against the film that keep it out of greatness territory is that the film keeps the philosophical discussion to a medium level of philosophical revelation. An argument for the familiarity is that life cycle should remind the audience member of their own coming to terms during childhood and high school, but for me, it reminds me of Linklater's tendencies to be fascinated by less than fascinating things. As the story comes to conclusion, the story slows to conversational pace and I find myself seeing more of the less interesting moments to come out of Linklater's dramas. I think a major challenge for the film would have been if Linklater tried to just base the film on experiences that revolve around situations, but it would have forced him to plot out more telling moments and characterize progression more. Linklater loves actor interaction and the potential of the spontaneous in the moment. I think it can mean for different and unexpected things, but I often thinks it never tops a well orchestrated and thought out plan for storytelling and filmmaking.


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