D'une beauté sans nom avec ces enseignes nocturnes qui, de parures mercantiles, deviennent sous l’œil du photographe autant d'entités féériques et vivantes. Une très belle utilisation de la musique. Et cette transition vers le matin...Ce même espace qui, la nuit, se métamorphose, révèle une dimension ignorée, m'a fait penser à l'apparition de la ville des esprits à la tombée de la nuit au début du Voyage de Chihiro.
The opening cue cards of the film are a moment of brilliant wit. If nothing else, watch this minute of humor. After that, the film loses its drive. The actual shots of Time Square are still whimsical and show it in a new light (pun intended). I wish more of the wit was maintained, it would have kept investment in the film much higher and would have given insight in how the director saw this everyday oddity (for him).
First rule of Las Vegas. Everyone there is either a sheep, or a wolf. First axiom, street signs are bright shiny things. First rule of New York. Don't make eye contact. First axiom, Times Square is a nexus of Space and Time .. it's good luck to ring in the new year there. Ancient Indian Burial Ground considerations aside. This film shines in the midnight sun. Manhattan as timeless as Times Square in the sixties
I'd love to hear more about the cinematic technology of the late fifties. If anyone knows about film stock and processing, let me know. All I could gather from the short was that it was filmed in "Eastman Color." Texture and color saturation, the tone and aura of a film, help define certain periods in the collective conscious. Klein's meditation makes a powerful statement about the late fifties. Simply gorgeous.