I think of this movie all the time. Along with Rudolph’s even more ambitious The Moderns, it has become my base reference for exercises in intoxicating style. The associative cuts, the shots composed around mirrors and windows, the wet streets, the zooms of Toyomichi Kurita’s camerawork—they all lend Trouble In Mind the logic and flow of music or verse. There is an attentiveness not just to sound but also to the sound of speech.
February 14, 2017