Under the Volcano. The whole thing just unwraps with rushed editing. It takes you along this journey and then goes, “uhoh, gotta finish the movie in two minutes”.
No Country for Old Men, I think, was a masterpiece. Before that probably American Beauty. The problem is all films need the benefit of time and reflection to truly become masterpieces. Perhaps one day hindsight will show us that a movie like Crash, which I personally think is overrated, is the root of a new movement in art. Probably not, but then, most people hated Vertigo when it first came out, so we’ll have to just wait and see.
Tati builds structures around his gags that allow them to play off as more than just simple jokes, they are machinery in themselves. Every sound effect, every physical tic, and, most of all, every absence of the viewer’s expectation is brick and mortar towards an understanding of the vocabulary of comedy. If Tati attempted to execute his situations “in a better, less time consuming way” they would lose much of their depth and tension. When you get bored with the gag that’s playing out on the main stage, look to the back and fore ground, watch the other people in the shot, listen for rhythms and melodies. Tati’s films, especially Play Time, are as dense as anything ever produced in their representation of the ballet of life.
GREAT MOVIES WITH BAD ENDINGS... over 3 years ago
Under the Volcano. The whole thing just unwraps with rushed editing. It takes you along this journey and then goes, “uhoh, gotta finish the movie in two minutes”.
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Last Time Best Picture Oscar Winner was a Masterpiece? over 3 years ago
No Country for Old Men, I think, was a masterpiece. Before that probably American Beauty. The problem is all films need the benefit of time and reflection to truly become masterpieces. Perhaps one day hindsight will show us that a movie like Crash, which I personally think is overrated, is the root of a new movement in art. Probably not, but then, most people hated Vertigo when it first came out, so we’ll have to just wait and see.
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Mon Oncle, Tati and Obviously Genius Directors about 3 years ago
Tati builds structures around his gags that allow them to play off as more than just simple jokes, they are machinery in themselves. Every sound effect, every physical tic, and, most of all, every absence of the viewer’s expectation is brick and mortar towards an understanding of the vocabulary of comedy. If Tati attempted to execute his situations “in a better, less time consuming way” they would lose much of their depth and tension. When you get bored with the gag that’s playing out on the main stage, look to the back and fore ground, watch the other people in the shot, listen for rhythms and melodies. Tati’s films, especially Play Time, are as dense as anything ever produced in their representation of the ballet of life.
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