They part ways...
Monday 1 November 2004
Wow...I guess that was October. The month of change. The month of the new. As Dylan puts it in My Back Pages:
Yes, my guard stood hard when abstract threats
Too noble to neglect
Deceived me into thinking I had something to protect
Good and bad, I define these terms
Quite clear, no doubt, somehow
Ah, but I was so much older then
I'm younger than that now
I saw Oldboy at the UGC Broad St yesterday. Pretty dark stuff covering a range of materials - incest, slaughter, torture, lust, love... It was really good. Went home and watched La Dolce Vita. I can now see why Fellini is regarded as a master. Its not that I've struggled with his previous films but I think you have to have read a little about 8 1/2 and Roma to 'get' them, to let them delve in to your subconscious. The Sweet Life was immediate, even at 3 hours in length. I think there were shots of Via Veneto, right near where we stayed in June. Anita Ekberg is a delight and the Trevi Fountain scene is heart-shattering.
I haven't done a great deal over the past few days really. I went home to mix and master some of my recordings. I rented two great films from Cinephilia. Wild Man Blues follows Woody Allen and his jazz band around the cities of Europe, providing a hitherto unseen insight in to the neuroses of the man. His Milan hotel suite has a swimming pool. It reveals Allen's loathing of flowers (because of the burden it places on the receiver).
Before Sunrise (another one from, unbelievably, Cinephilia) beat even its sequel in depth and emotion. Because of its real-time set up, you leave feeling as though you have been part of the their wonderful evening. This film should be seen by anyone who is sceptical about love, as maybe we all are at some stage of our lives. The film floats along like a dream and yet the actors create an atmosphere that is totally believable, full of awkwardness and gay abandon. You feel for the characters as they part ways. Knowing what happens in the sequel also adds to the interest. Vienna is made to look beautiful almost by accident. I mean, the story and the conversation are always central even when they are commenting on the city or the river or whatever. Therefore, the physical presence and beauty of the city is a by-product of the film.
Wow...I guess that was October. The month of change. The month of the new. As Dylan puts it in My Back Pages:
Yes, my guard stood hard when abstract threats
Too noble to neglect
Deceived me into thinking I had something to protect
Good and bad, I define these terms
Quite clear, no doubt, somehow
Ah, but I was so much older then
I'm younger than that now
I saw Oldboy at the UGC Broad St yesterday. Pretty dark stuff covering a range of materials - incest, slaughter, torture, lust, love... It was really good. Went home and watched La Dolce Vita. I can now see why Fellini is regarded as a master. Its not that I've struggled with his previous films but I think you have to have read a little about 8 1/2 and Roma to 'get' them, to let them delve in to your subconscious. The Sweet Life was immediate, even at 3 hours in length. I think there were shots of Via Veneto, right near where we stayed in June. Anita Ekberg is a delight and the Trevi Fountain scene is heart-shattering.
I haven't done a great deal over the past few days really. I went home to mix and master some of my recordings. I rented two great films from Cinephilia. Wild Man Blues follows Woody Allen and his jazz band around the cities of Europe, providing a hitherto unseen insight in to the neuroses of the man. His Milan hotel suite has a swimming pool. It reveals Allen's loathing of flowers (because of the burden it places on the receiver).
Before Sunrise (another one from, unbelievably, Cinephilia) beat even its sequel in depth and emotion. Because of its real-time set up, you leave feeling as though you have been part of the their wonderful evening. This film should be seen by anyone who is sceptical about love, as maybe we all are at some stage of our lives. The film floats along like a dream and yet the actors create an atmosphere that is totally believable, full of awkwardness and gay abandon. You feel for the characters as they part ways. Knowing what happens in the sequel also adds to the interest. Vienna is made to look beautiful almost by accident. I mean, the story and the conversation are always central even when they are commenting on the city or the river or whatever. Therefore, the physical presence and beauty of the city is a by-product of the film.
posted by Steve State at
15:48
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