Started by polkablues, August 18, 2012, 01:41:45 AM
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Quote from: Alexandro on March 08, 2013, 01:41:26 PMWell, I've seen it three times now.I guess after reading all these comments I have few things to say, but PTA's mention of Raoul Walsh as a "nuts & bolts director" and influence here really starts to make sense after the second viewing. This film goes very directly from one thing to the next, every scene as a consequence of the last. There's almost no wasted time, no contextualization, no introductions, just the action, the moment taking place. You're there in the moment with Freddie, particularly during the first 15 minutes or so, when everything happens so fast and you start realizing it's all about him, it's all about how he's walking directly into the Cause. But after Lancaster and Freddie meet, this continues. I think that by using elipsis in this way PTA is somehow rediscovering narrative cinema for us. He is going the opposite of what "contemplative cinema" does, and at the same time he's distancing himself of all the "narrative fat" most films have. It really is a "nuts & bolts", very direct film. It may be just too direct for audiences to follow completely, which would explain why people think is pointless. They can't keep up with it's rhythm.
Quote from: Alexandro on March 14, 2013, 01:26:32 PMI think the old PTA, in the motorcycle sequence for example, would have done what he did in Boogie Nights before the attempted drug deal in Alfred Molina's house: a whole scene of "this is what we well do next". But now, we are just suddenly in the desert with barely a context or explanation of why are they there, how they got there and what does the master wants to accomplish.
Quote from: Freddie on March 18, 2013, 04:56:18 PMThe wall is dead and cold. The glass window is warm and comfy. Freddie makes out with the Glass window. But it's angry at the wall, he punches it and breaks it.He would much rather be with his warm inanimate object (Think of Benny Profane in "V"), then with the uncertainty and the pain of a real life girl.
Quote from: Freddie on March 18, 2013, 04:56:18 PMHe would much rather be with his warm inanimate object (Think of Benny Profane in "V"), then with the uncertainty and the pain of a real life girl.
Quote from: Alexandro on March 15, 2013, 12:23:55 PMI'm not saying is bad at all. I'm just giving an example.