"I've got an infinite number of places to go, the problem is where to stay." Holy shit, David Thewliss. "Do you ever get the feeling you're being followed?" A barrage of dark, some funny, some not-funny, some poetic, uncompromising dialogue. This absolutely knocked my socks off. And other clichés.
Ingeniously caustic dissection of social dislocation and ruptured relationships in post-Thatherite Britain. Eschatological narratives bitterly intensify the realization that "there is no society, but only individuals". Yet the demise of the social is tantamout to the end of the individual, transformed by Thewlis' herculean performance into a naked Spencerian skeletal figure -not far from Archie's primeval grunt.
A passive-aggressive nihilist's Odyssey through wasted, decadent modern London, this guy pretty much screws over everyone he meets (not to mention the actions of some of the side characters)...one can sense a ruined romantic in the main character, the kind of people who become more bitter and pessimistic as their lives "wear" on...Thewlis gives an award deserving performance, but beware, the film's smeared in grit...
Free roaming these loopholes and gateways we buy one-way tickets to. Sometimes we formally miss the loopholes, like this guy, by staying devoted to what we may call our basic principles, that we either sell to get a ticket or stick to and see happens. This film could of been unbearable but is saved by an insane caricature in accordance to 'simian' beings in a nonsensical system of its own cherished basic principles.
David Thewlis is remarkable as Jonny and makes the film memorable. As for the film Thewlis is in, well, that doesn't hold up so well. It's an early Leigh piece with the working methods he'd later master - but in naked it's all unformed and the film doesn't quite work. Still, interesting to see how far Leigh has come with this style. But those Thewlis monologues are awesome.
"That's the trouble with everybody - you're all so bored. (..) So now you want cheap thrills and like plenty of them, and it don't matter how tawdry or vacuous they are as long as it's new, as long as it's new, as long as it flashes and fuckin' bleeps in forty fuckin' different colors. So whatever else you can say about me, I'm not fuckin' bored."
88/100 (İkinci kez daha dikkatli izlemek istedim ve bir kez daha çok sevdim bu filmi. Her şeyiyle hissettiren bir eser çıkarmış Mike Leigh. Bu sefer özellikle dikkatimi çeken sahneler filmin sonunda müzikle birlikte baş karakterimizin ritimli sekmesi ve filmin başlarında eski sevgilisiyle sıkılma üzerine yaptığı konuşmaydı. Gerçekten zevkten dört köşe eden sahnelerde yerini aldı bu kısımlar...)
It's a comedy. One that wears its stilted mannerisms on its sleeve, connecting to a world of classic literature and theatre, and indeed, puppetry. (Puppet-Heathcliff and Cathy, anyone?) It's Leigh's own way to mock the formalism of British society, but also to retain a pinch of humanity in the bleakest of setups. Except his puppets here are even lonelier than ususal.