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Inherent Vice - SPOILERS!

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WorldForgot

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Reply #210 on: June 10, 2019, 06:25:54 PM
So, seeing as a recent picture of Thomas Pynchon was snapped by a paparazzo in January, has anybody gone through the movie again to search for a potential cameo?

StrandedWriter and I have theorized about this for yearz...

During a late-night talk show Paul drew a doodle, too, of the silhouette we should be looking out for... My guess iz the sponge-hair, bespeckled, book clutching extra that looks at the camera behind Coy and Doc as they discuss how subversive outfits entrench you...Pynchon "cameos" but it might be his mid-20s son dressed as a 60's era Pynchon. Either way the dude looks too young, but looks like the caricature of Pynchon drawn by Paul + the National Enquirers picture defo looks like an older version of this.

At work rn so I can't post Higher-Res screengrabs until I'm back home, but this "Extra" walks by the glass twice, "Once you're in, it's like a gang," and right after Coy leaves Doc alone. Both times they look into the camera. They show up even clearer in one of the Blu Ray'z special features.







eward

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Reply #211 on: June 10, 2019, 07:17:29 PM
That was my guess early on, too - but I feel like it was debunked...? Can anyone confirm?
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Tdog

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Reply #212 on: June 11, 2019, 02:10:33 AM
That was my guess early on, too - but I feel like it was debunked...? Can anyone confirm?
I can't check now but I remember that guy looks a lot like the photo of Pynchon that leaked in the 90's.

I vaguely remember it being debunked too though.


eward

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Reply #213 on: August 12, 2019, 08:01:03 PM
POTENTIAL SPOILERS FOR OUTIH

Lovely to think of this film as taking place in the same-ish cinematic universe as Once Upon a Time In Hollywood. Summer of 69 REVISED contrasted against the summer of 1970, just a few weeks into the much-publicized Manson trials - the dream of the 60s preserved slapped up against the cold barbed reality wherein the dream lay rotting. Doc and Shasta running through the rain on their journey through the past while Cliff and Rick prepare to return from Italy (assuming I'm lining the timeline's up accurately), or 6 months before that all of them possibly crossing paths unawares, Shasta and Doc crossing the boulevard with Shasta emoting nothing more complicated than a pout, as Sharon stares at herself in wide-eyed wonder on the Wrecking Crew one-sheet, Dr. Blatnoyd presumably blowing rails off some local trampoline with Japonica Fenway tweaking to cast recordings of Broadway musicals nearby...or even going back to Doc's skip-tracing days, Adrian Prussia out to kill him, when Rick and Cliff presumably would have been riding a bit higher career-wise. (Geographically all this path-crossing could be far-fetched.) Doc definitely saw Rick (and Cliff) on the tube, dreaming of the day when he might see Shasta there as well...
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Drenk

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Reply #214 on: August 12, 2019, 08:10:16 PM
I rejoice when I remind myself that 1969 must have felt like the end of the world, too.
Ascension.


eward

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Reply #215 on: September 23, 2019, 03:35:31 PM
Something to look forward to...

A podcast breaking down INHERENT VICE one scene at a time!

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jenkins

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Reply #216 on: September 23, 2019, 04:35:29 PM
that ad has been altered of course but the heads in the hair come from raw materials and um i would not call this one of its better products


WorldForgot

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Reply #217 on: September 23, 2019, 07:18:39 PM
Before Pubrick left the forum, while it was being cast he had an interesting intuition on PTA's MO for the film's ensemble.

PTA is doing something he's never done before.. he's working with a LOT of new people. and maya! i feel an analysis coming on..

basically what we can surmise is it will probably be a return to ensemble. this is significant. otherwise why have so many casting announcements? it would be a waste. i don't think any of his other films had this much of the pre release buzz generated by every single person who got a role in the film. we still don't know how significant these no-name actors roles will be, but there's enough actual name people that he will have to give them at least a scene to make it worth their while. how long have they been shooting now? it feels like every day they add a new actor to the film.

that may be the only relation this has to boogie nights, having such a big cast set in a fun loving era. i think a more interesting comparison can be made to PDL. that being his only other film aimed for the general "comedy" genre, which this most certainly will be. it will have to have some correlation to The Master cos JP is in it, but what is his BABY MOMA doing there? i'd be interested to see what role she's playing. the only other time she has appeared in his films was as the blurry red figure in the background of the supermarket in PDL.

the other PDL like thing i will go on a limb to say is Joaquin is wearing Barry's blue suit under his own perma-jacket

And it's true,  even when they're only given one scene, each cast member is allowed their own story, and they add a new shade to Paul + Pynchon's LA. A city of people here, moreso than scenic markers. As other Xixaxerz lamented its "scope,"  which is present in its characters and their storytelling -- more so than Los Angeles haunts.


Something Spanish

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Reply #218 on: September 23, 2019, 08:28:26 PM
Id lend that podcast an ear. That dude wrote a pretty good piece on IV.


WorldForgot

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Reply #219 on: October 02, 2019, 03:48:35 PM
Quote from: Joan Didion'z Slouching Toward Bethlehem
Anybody who thinks this is all about drugs has his head in a bag. Its a social movement, quintessentially romantic, the kind that recurs in times of real social crisis. The themes are always the same. A return to innocence. The invocation of an earlier authority and control. The mysteries of the blood. An itch for the transcendental, for purification. Right there youve got the ways that romanticism historically ends up in trouble, lends itself to authoritarianism. When the direction appears. How long do you think itll take for that to happen? is a question a San Francisco psychiatrist asked me.

At the time I was in San Francisco the political potential of what was then called the movement was just becoming clear. It had always been clear to the revolutionary core of the Diggers, whose every guerrilla talent was now bent toward open confrontations and the creation of a summer emergency, and it was clear to many of the straight doctors and priests and sociologists who had occasion to work in the District, and it could rapidly become clear to any outsider who bothered to decode Chester Andersons call-to-action communiques or to watch who was there first at the street skirmishes which now set the tone for life in the District. One did not have to be a political analyst to see it; the boys in the rock groups saw it, because they were often where it was happening. In the Park there are always twenty or thirty people below the stand, one of the Dead complained to me. Ready to take the crowd on some militant trip.

But the peculiar beauty of this political potential, as far as the activists were concerned, was that it remained not clear at all to most of the inhabitants of the District, perhaps because the few seventeen-year-olds who are political realists tend not to adopt romantic idealism as a life style. Nor was it clear to the press, which at varying levels of competence continued to report the hippie phenomenon as an extended panty raid; an artistic avant-garde led by such comfortable YMHA regulars as Allen Ginsberg; or a thoughtful protest, not unlike joining the Peace Corps, against the culture which had produced Saran-Wrap and the Vietnam War. This last, or theyre-trying-to-tell-us-something approach, reached its apogee in a Time cover story which revealed that hippies scorn moneythey call it bread and remains the most remarkable, if unwitting, extant evidence that the signals between the generations are irrevocably jammed.

Because the signals the press was getting were immaculate of political possibilities, the tensions of the District went unremarked upon, even during the period when there were so many observers on Haight Street from Life and Look and CBS that they were largely observing one another. The observers believed roughly what the children told them: that they were a generation dropped out of political action, beyond power games, that the New Left was just another ego trip. Ergo, there really were no activists in the Haight-Ashbury, and those things which happened every Sunday were spontaneous demonstrations because, just as the Diggers say, the police are brutal and juveniles have no rights and runaways are deprived of their right to self-determination and people are starving to death on Haight Street, a scale model of Vietnam.

Of course the activistsnot those whose thinking had become rigid, but those whose approach to revolution was imaginatively anarchichad long ago grasped the reality which still eluded the press: we were seeing something important. We were seeing the desperate attempt of a handful of pathetically unequipped children to create a community in a social vacuum. Once we had seen these children, we could no longer overlook the vacuum, no longer pretend that the societys atomization could be reversed. This was not a traditional generational rebellion. At some point between 1945 and 1967 we had somehow neglected to tell these children the rules of the game we happened to be playing. Maybe we had stopped believing in the rules ourselves, maybe we were having a failure of nerve about the game.


WorldForgot

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Reply #220 on: October 16, 2019, 12:53:48 AM
Infectiously funny. Caught it at the Bev on its second night, paired with The Long Goodbye (intermission rn wrapping up), and this feels as fresh as it did five yearz ago. It steps on its own toes, is I think what happens, for first-timers or those not on its frequency, being so dense as a text, not your typical conversations and a revolving door of subculture slang, where exposition is happening during visual gags.

Forget about it, though. If you listen, you'll get sucked in. Paul gives his rhythm generously to the actors rather than the camera or cut. This playfulness also givez IV endless replay value, to me. Are you tuning in to the score? Their sudden, careful hushed tone? Burgle beer, Marshmallow pizza?

A Californian ricochet mural, done as slapstick cosmic comedy. Y'all have seen it, you know what I mean. I'm just real glad PTA got to make this. When Doc is walking backwards on the beach, after Shasta's 'return,' he's pacing against nostalgia. Just as the light reflects on them from behind the car, as much as with Once Upon a Time, we've got here an endearing as heck tome of LA mythos.


wilberfan

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Reply #221 on: October 16, 2019, 01:53:16 PM
Seeing it tonight. I'm trying to have expectations set to the minimum and open-mindedness maxed.   I can't recall any film that I've changed my mind about completely with a re-watch*--so I don't think I'll come out of there having seen the light--but I'm hoping it will at least be interesting to see it with enthusiasts.

*I've revisited films I loved decades ago that haven't aged well--but I don't think I've ever changed my mind about a film I disliked in it's first viewing.
"Trying to fit in since 2017."


WorldForgot

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Reply #222 on: October 16, 2019, 02:06:10 PM
It's an odd film. Possibly PTA's oddest? Even PDL plays in a rom-com sense that's easier to grip.

Anyway, have fun!
There's a surprise 35mm print awaiting you before the trailers, too ;)


eward

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Reply #223 on: October 17, 2019, 11:09:42 PM
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eward

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Reply #224 on: November 01, 2019, 11:44:22 AM
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