This sequence in Boogie Nights just keeps going through my head. I love how PTA uses an extended version of Clementine's Loop and how the sequence goes back and forth between the violent events. It then goes to the donut shop scene which is just great as well. I always thought that it was funny that PTA would have something O Little Town of Bethlahem playing in the background while violence is occuring and people are getting killed. I guess it's just the irony of the situation. But it's like John C. Reilly said, "You know the characters are in trouble when there's a Christmas tree with lights on it in a P.T. Anderson movie".
it's the most uncomfortable section of the film.
good thing....
Does anybody have a picture or screen cap of The Long Way Down (One Last Thing) as it comes on screen?
I don't know what's more nuts... that you want a screen cap of nothing more then a black screen and white text or that I took the time to play the "Boogie Nights" DVD on my computer and made a screencap.
Enjoy. 8)
(https://xixax.com/proxy.php?request=http%3A%2F%2Fhome.comcast.net%2F%7Eckad79%2Fcap875.bmp&hash=d4d4cb0e7feb3cc4c6d3b3fc2962e12af433fff2)
i'd say that you did it.
but then, you're really nice for it.
-sl-
Thanks :wink:
I know I'm a sucker.
Quote from: socketleveli'd say that you did it.
but then, you're really nice for it.
-sl-
Quote from: ckad79
Enjoy. 8)
Bon Apetite
Concerning the sequence in general--I recall watching the donut scene for the first time, and being positively aware of a sense of doom, dread, and general discomfort. I believe the sheer inevitability of tragedy as our erstwhile cowboy picks out pastries to be a unique accomplishment. Tough sequence to watch, given our investment in the characters. Who wants to watch your family finally have to pay up for its transgressions?
Few scores can do that, and Clementine's Loop is without question an effective little piece of programming. Much like the piano riff from Eyes Wide Shut, it has an immediate and biological impact.
Quote from: Drencromerstwhile
Nice observations. You don't get a lot of "erstwhile" these days. Welcome to the site and stuff.
When I first watched Boogie Nights, I couldn't get that sequence out of my mind. It really blew my mind as it showed how decadent the lifes of those characters were at that point. Rollergirl beating up the guy with the rollerskates and and... just brutal. And I couldn't get Clementine's Loop out of my mind (although I had no ideal about what Clementine's Loop was at that point). Great stuff...
... HOWEVER, not wanting to be picky, doesn't the Long Way Down (One Last Thing) come AFTER the Clementine's Loop brutallity situation with the assault on Rahad's house? I got confused now. :?
PT has some interesting comments concerning this on the commentary track, which I suspect most of us have heard at least once. As I recall, he raises the question of why he feels the need to punish his characters. It's clear he loves them, and wants them to achieve happiness by the time credits roll, but they're going to have to pay some dues before this is all said and done. Hence, One Last Thing, a dark cinematic purgatory where paths converge, guns fire, and the soundtrack suddenly isn't so danceable.
Paying karmic dues seems to be a running theme through his films, and Sydney in particular grew from that idea alone--take a classic gangster character from a 30s genre picture, age him a whole lot, and say: 'You know what motherfucker? Some day you're going to have to pay for what you've done. In one way or another.' The Sydney commentary track(s) go into this characteristic as well.
^^^^ this guy just said more in one minute than I have my whole time here. WELCOME!
Quote from: DrencromPaying karmic dues seems to be a running theme through his films, and Sydney in particular grew from that idea alone--take a classic gangster character from a 30s genre picture, age him a whole lot, and say: 'You know what motherfucker? Some day you're going to have to pay for what you've done. In one way or another.'
I like this... :)
I never met an Egyptian PTA fan I didn't like.
. . .
Additionally, I always liked the title card itself. Here, our host is aware his audience is going through an emotional wringer, and the chapter head simultaneously preps us for bad times, and lets us know the clouds will clear soon enough--there's just one final bill to reconcile. The preceding 2 hours of coke-sniffing, pool-diving, vette-buying, butterfly collar-wearing indulgence is going to ring up a mighty tab that, like the young prophet says before a rainstorm, "gots to get paid though, gots to get paid."
It's reassuring when an auteur cares about his characters as much as you do, and a title card like that tips you off.
i like you
wow, you are awesome Drencrom, honestly.