Started by MacGuffin, October 01, 2014, 02:10:50 PM
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Quote from: SailorOfTheSeas on October 11, 2014, 04:08:42 PMI've got a question for the majorspoiler squad. Is there a scene in this akin to the frogs in Maggie, the ending to twbb, the processing scene in The Master? I don't mean in terms of content but similar in a "holy fuck" woah nowthatssomething" kinda way.
Quote from: jenkins<3 on December 24, 2014, 08:36:10 PMi also think pta plucked a great line from the first chapter for the first scene of the movie "Back when, she could go weeks without anything more complicated than a pout. Now she was laying some heavy combination of face ingredients on him that he couldn't read at all."
QuoteAs I sat in the theater, taking in the visuals and the groove, I was struck with the simple fact that, it's too fast. The medium of film isn't one built for memory. The paranoiac intricacies of Pynchon's plot demand a reader's time, a word-by-word intake that engraves on the brain. When we approach an aside mention in the novel that may connect to another small event of personage that came before, we perk up and say wait a minute... But in the film it is too fast. We fling willy-nilly from scene to scene without much pause. Not to say that the effect isn't in the film. It's done well with the Golden Fang connections, but this is usually due to Doc's own recognition of the connections. One of the joys of a Pynchon novel is the connections the characters don't see. These, I think, are hard to pick up on in the film. Instead we feel over-saturated, soaked in plot and names and colors.Yet, this may not necessarily be a weakness. Pynchon is known for saturation, and perhaps Anderson wanted to reflect that. However, I think it falls flat. Even with a running time of 2 and a half hours, there still isn't room for the viewer to chill out and tune in, as Doc would have it. Instead we feel, to quote Gravity's Rainbow once more, like we are "riding across the country in a bus driven by a maniac bent on suicide."There is an achievement here though. When my friends and I left the theater feeling as if we'd been knocked over the head, I had one feeling: I need to see it again. And this is exactly like a Pynchon novel.When you turn the last page, you feel you must go back to the front and begin again. There's something you missed, something which graced the pages that held you, but at the same time you overlooked, some treasured "beach" under the paving stones you failed to recognize. Anderson's movie leaves you with the same gut-feeling. You want to tell the projectionist to put it up again so you can have another go at it. You think that if you watch it once more there will be something different. Waiting, as the novel's closing states:"For the fog to burn away, and for something else this time, somehow, to be there instead."If this is not the measure of a good film or a good novel, I don't know what is. After all, if you finish watching or reading and all you want to do is watch and read again, what more can the creator ask for? If nothing, it sure sells tickets.