If you have taken it upon yourself to treat an unfamiliar world like a school project, like something you can insert yourself in without any consequences, you won’t ever grow. Ashby’s film isn’t about Elgar’s journey to enlightenment. Sometimes, in the film’s more insufferable moments, it feels like that, like it’s a movie that uses race and class relations to teach a privileged white dude a lesson.
10/10. What starts as a broadly comic farce, quickly develops into a surprisingly poignant romantic drama that tackles class and race. Ashby takes some risks with intercutting several scenes in a manner that borders on experimental, though his stylistic flourishes always serve to benefit the characters and/or advance the conversation about race at the heart of the film. Funny, romantic & moving.
Una comedia de tonos hilarantes que apunta a la conciencia sobre la convivencia racial para la década de los 60. Lo valorable en "The landlord" tiene que ver con los detalles en cómo el desencuentro social y racial es desmitificado. El choque no es más que una careta que se diluye mediante los comportamientos de rutina: el baile, el sexo, el trago. Satírica escena sobre un baile de disfraces. Un carnaval histórico.
Contrary to David Thomson, Ashby is an auteur because who else do the flaws in this film - radical editing choices that sometimes do not pay off; occasional liberal didacticism - belong to? Honestly conflicted about race, the resulting confusions feel true to life. And the acting! Grant so sexily comic she defines the Oedipal Complex. Sands and Bey and their utterly unique voices. Bailey! Willis! The music! Joy!