M: Well, this is a fever nightmare, and absolutely devastating when you think about the degeneration of hope, connection, and trust, and this film is not about narrative at all, but the construction of mood from the ground up. I described The Fall as a ‘fever dream,’ and I think that label fits this film to a ‘t,’ as well – but, it’s something more urbane, something more harsh. And, I think it does the film kind of a disservice to talk about it in terms of narrative or plot, even though there is one, of sorts, because – as you mentioned – this is a film that seems to deal in the evocation of certain emotions that burrow themselves up deep in your veins, festering and brooding, and it’s only later when we start to search for the ‘method behind the madness,’ if I can go ahead and use a cliche’. only recently – which is strange, because it’s one of his most well-received films of that last fifteen or twenty years. It’s the best horror film of the last twenty years, and it’s because there is so much left up to the viewer. It’s something about Lynch’s cutting indictment of Hollywood, the abuses, compromises, and the manipulation. This feeling got under my skin like no other film, and it’s only gotten more pronounced with the passing years. It was one of the first films where I was completely taken with the “feeling” of the film, even if the narrative itself wasn’t clear. the weekend it came out, I was 20 years old, and visibly shaken after the screening. – “The Best of the Decade Project” is an ongoing series of essays written by Match Cuts and The Filmist concerning the finest films of the last ten years. It was published just recently over at The Moving Arts Film Journal. And considering this, I thought I’d take a look at just how it fits into the director’s filmography, in both a visual and thematic sense, by expanding the piece I’d done on it with Glenn Heath at the beginning of last year for our retrospective of the previous decade three-fold, taking a look at the continued use and presence of the barren, biting wasteland in his all of his films, and the implicit societal myths he creates within them, among other things. All over, people are starting to realize that this was a film that was doing a lot of new and interesting things, both visually and narratively, and that it deserved a lot more attention than it got – which is saying something, considering the media blitz surrounding its theatrical run. George Miller’s wonderfully idiosyncratic piece of animation Happy Feet is experiencing of late one of those weird resurgences in critical popularity that a lot of movies seem to get, four and five years after their initial release.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |