I’ve seen both the theatrical cut (never again, god willing) and the television cut (a few times, now), with the television cut being vastly superior in every way imaginable.
I familiarized myself with the television cut as it (obviously) is Bergman’s preferred cut before watching the theatrical cut; when I watched the theatrical cut I was shocked to find that nearly all of my favorite scenes had been stripped away. The skeleton of the film is still apparent, but the heart and soul are missing. While the television cut is much more of a commitment, the reward is much greater.
I think the only answer I could possibly give to this after seeing it is “Antichrist”.
I’ve never been affected by a film like that… I walked out of that theatre shaking. As most of us (I would assume), I’m fairly desensitized to intense imagery and so I didn’t expect Antichrist to get to me, but it did. I think the biggest factor is how relentless the tone of the film is. It’s sort of like a calculated attack on the inner-workings of your mind, using the performances and aesthetics to really get under the viewer’s skin and into their mind.
I posted these as a comment on the original article but figured they deserved some love here too.
First up, Control. I saw someone else posted the official poster earlier, which I love too. However, this version is hands down my favorite poster. This is the original poster they designed for Cannes. I love it and have a bus shelter-size original hanging on my wall.
Second, this awesome poster for The Pleasure of Being Robbed.
You may find this text by David Rodowick helpful. I did when I was working through the Cinema books. The language is a bit… easier to follow.
http://www.amazon.com/Gilles-Deleuzes-Machine-Post-Contemporary-Interventions/dp/0822319705/
Should a movie EVER be rated 10/10? about 3 years ago
10/10 for Brian’s post!
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Fanny & Alexander about 3 years ago
I’ve seen both the theatrical cut (never again, god willing) and the television cut (a few times, now), with the television cut being vastly superior in every way imaginable.
I familiarized myself with the television cut as it (obviously) is Bergman’s preferred cut before watching the theatrical cut; when I watched the theatrical cut I was shocked to find that nearly all of my favorite scenes had been stripped away. The skeleton of the film is still apparent, but the heart and soul are missing. While the television cut is much more of a commitment, the reward is much greater.
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Fanny & Alexander about 3 years ago
oops! my internet slipped and posted this twice, sorry!
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The scariest or most disturbing film you have EVER seen. over 2 years ago
I think the only answer I could possibly give to this after seeing it is “Antichrist”.
I’ve never been affected by a film like that… I walked out of that theatre shaking. As most of us (I would assume), I’m fairly desensitized to intense imagery and so I didn’t expect Antichrist to get to me, but it did. I think the biggest factor is how relentless the tone of the film is. It’s sort of like a calculated attack on the inner-workings of your mind, using the performances and aesthetics to really get under the viewer’s skin and into their mind.
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THE AUTEURS BEST OF THE DECADE: POSTERS over 2 years ago
I posted these as a comment on the original article but figured they deserved some love here too.
First up, Control. I saw someone else posted the official poster earlier, which I love too. However, this version is hands down my favorite poster. This is the original poster they designed for Cannes. I love it and have a bus shelter-size original hanging on my wall.
Second, this awesome poster for The Pleasure of Being Robbed.
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THE AUTEURS BEST OF THE DECADE: POSTERS over 2 years ago
Oh man! I almost forgot about this Dig! poster.
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Deleuze's theories on cinema: The time image 11 days ago
Archie,
You may find this text by David Rodowick helpful. I did when I was working through the Cinema books. The language is a bit… easier to follow.
http://www.amazon.com/Gilles-Deleuzes-Machine-Post-Contemporary-Interventions/dp/0822319705/
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