Película sobre los lazos filiales, los ásperos e irreconciliables, además de los fervorosos. El protagonista de esta historia se encuentra en una especie de limbo, entre el resentimiento a su padre y la inocencia de su hermano. A pesar, existe un pesar moral que este sabe aparentar. Gray crea un mundo que está arraigado a lo nocivo, no hay intención de reformarlo, pero el pesar no deja de ser palpable.
The crime/hitman element is held so much in the background of the family drama that it feels mostly unneeded until the climax. It makes the story more ungrounded and melodramatic than it would be if it were a pure drama, or had it equally balanced both elements, or even, if Roth was just an ex-con. The drama itself is serviceable but doesn't push emotion and characterizations into unique and surprising territories.
"Little Odessa" is to New York what "Heat" is to L.A. Furlong lying dead on the floor is like a mirror image of Alain Delon (the shot the The Smiths would later use on the cover of their "The Queen Is Dead" LP) lying dead at the end of "L'Insoumis"/"The Unvanquished" by Alain Cavalier. Fate dominates this in a very Cimino, Mann, Mizoguchi-ian way. A mainstream auteur was born. What a birth! Is the film burn in ... ▽
35mm, rewatched, re-rated. In his first two films, Gray retakes the mythology of immigrant mafias in the United States and turns it into a tragedy toward silence and void, that is, the accumulation of crimes and confrontations are sudden becomings of a language without excess or predictability - cinema inscribed by a liturgy of space and time dimensions. And memory, ...
Interestin how Gray's other films show necessity of social conformity along with price to one's individuality.But Odessa shows price of nonconformity: Roth lives life of 90s movie-criminal/hero: freedom, money.But in Gray's movie world he is a prisoner + social consquences for his out of the ordinary life is destruction for others. Opposite of We Own + Lovers. Furlong is end of GenX lookin to wrong model.