Mickey is a second-rate New York nightclub comedian and piano playing singer working out of Detroit, where he’s a surprising smash. The comedian becomes convinced the mob is after him though there’s no reason to think so.
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35mm. A daring adventure in the ways of narrative according to non-narrative techniques, in which fiction, that kind of sworf of Damocles over cinema's expressive freedom, is in an underlying level to the choreography of the in-significant images and editing. It was considered incomprehensible and dated by this rebellion, i consider it as exultant as the early Skolimowski's. With Ghislain Cloquet excellence.
Literally a film I love and hate within the space of a nanosecond. Awesome opening. Pretentiousness throughout, yet the score and performances are great, individual shots and scenes. You have never seen anything like it.
This would gel better with an actor who didn't subscribe to the Method (too much psychology for a postmodern jape like this). But there are still inventive sequences and kooky ideas to be found here, even if the hit-to-miss ratio is dodgier than it would be with Truffaut or JLG behind the camera.
Didn't work for me, hard to watch and sometimes wants to hit Mickey hard because of his acting and his unclear voice. But yet enjoyed many scenes and images separately, I'd love to watch many parts again and again but, god, not the entire film,plz. It was nerve-wracking and WOW at the same time. Maybe that's the way it used to be.
Arthur Penn's fusion of French New Wave stylistics and Kafkaesque storytelling doesn't completely work, but it provides many fascinating images. http://eddieonfilm.blogspot.com/2010/10/arthur-penn-mickey-one.html