Glitteringly incisive film sociologically, yet with a compassionate sense of the absurd. Wonderfully fresh and inventive, visually striking, and with enjoyable references to old cinema. Great music/sound with an amusing dance sequence by Jacky Lansley and a striking percussion one by Marilyn Mazur. Chuckled at the underplaying by male actors. Was struck by how well Julie Christie managed to embody the text. SB
Sally Potter's debut deconstructs cinematic norms & becomes a funny, poignant, meta-referential tale of female representation, capital and male entitlement. If the riddle that opens the film suggests that women and their media representations exist only for the gaze of the spectator, the movie -created by an all-female crew- proves that women and female empowerment are more than a puzzle to be solved and be looked at
I like the symbolism and the expression form, and may score it more if I could see it in a proper cinema rather than home. I loved YES by the same director. Great deal from MUBI as the DVD for this runs the price of 3 years of MUBI subscription (yes I sometimes buy stuff that I have seen here)
Avant-garde with a hint of Godard’s maoist stuff, this is an interesting film with beautiful photography and an intriguing surrealist aesthetic. It deals with the topic of women in relation to money and the male control of money. It’s not so much an essay as a dream-like meditation on the theme where concepts appear embodied as ciphers or archetypes. Inspired by Marxist-feminist theory but mainly works with moods.
We can interpretive dance if you want to, we can leave your friends behind, because your friends don't interpretive dance and if they don't interpretive dance then they're no friends of mine. Technically solid, interesting exploration of themes, but weighed down by the avant garde stylings.
An inventive film with some experimental features as well as challenging music and songs reminiscent of Kurt Weill's or Paul Dessau's songs for Brecht's plays. Also the treatment of the subject - based on the question where money and wealth come from - can be seen in the Brecht tradition.
All rather ponderous and emphatic with things either spelt-out in block capitals or obscured by clumsy metaphor, the film has in it’s favour a variety of visual techniques and modes that at least divert attention - certainly not engaging it - from the dreary feminist-workshop feel of the enterprise. It’s emblematic of BFI production in this period but that’s hardly a flag worth waiving.
The constant repetitions and restarts in both dialogue and camera pair perfectly with the frustratingly irregular music to show the struggle for women on both ends of the social spectrum in daring to find the same thing: knowledge. Perhaps somewhat too 'artsy' for it's own sake, this film is by no means perfect (the tap dancer was a nadir), but its message is forceful and the film certainly leaves an impression.
Fascinating first feature from Potter that established the themes and visually affecting images that would come into play in subsequent features. The script like the visual flair is experimental playing with historical cinematic imagery, the avant-garde, feminism, dance, gender roles and imperialism.Though not successful on release time has been kind to the film and its look and themes are now better appreciated.
Lindsay Cooper's score might be my favourite part of this film, and is definitely worth noting. I expected that I would like this film very much, but there was something really contrived about it all. For lack of a better phrase, it felt "too artsy," without having the most connectable point. I'm indifferent.