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4,1/10
1080
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuA man returns to New York after years in exile to save the girl he loves.A man returns to New York after years in exile to save the girl he loves.A man returns to New York after years in exile to save the girl he loves.
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- 1 Nominierung insgesamt
Zoe Lister-Jones
- Rebecca
- (as Zoe Lister Jones)
Fred Arsenault
- Man with Bowtie
- (as Freddy Arsenault)
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There will likely be a small audience for this artistic little cinematic treasure SHADOWS AND LIES, but while the audiences crowd in line for the multi-million dollar retreads of comic book heroes and potty mouth 'guy or chick flicks' it is reassuring that there are experimentalists like writer/director/editor Jay Anania and his pupil, the multi-talented James Franco who continue to push the edge of cinema and create the challenges of this jewel-like film.
Anania opens his film with a dark in medias res raw episode that quickly moves to an image of Joseph (James Franco) missing his flight to Japan because he steps out of line to retrieve a book. The plane crashes, killing everyone on board, and that opens the doors for Joseph to move to Manhattan to have a new life: he becomes William Vincent, a strange loner/drifter who has a job editing nature films for schools in a sparse storefront abode and also performs petty crimes. What gradually becomes apparent is that we maybe re-visiting what happened four years ago: William Vincent, a quiet and mysterious criminal, falls for a New York gangster's (Josh Lucas) favorite call girl Ann (Julianne Nicholson), after performing some 'deliveries' arranged by one Victor (Martin Donavan). When William's feelings are discovered Vincent is forced to flee the city, threatened with death if he should ever return. But after four years in exile (? in Japan), William secretly returns to rescue Ann from the life of derision and fear she is leading. There are quirky moments in the film where William is in the park and 'sees and talks to' two young brothers - Ty and Lewis played by Ty and Lewis Anania - who may simply be a part of William's previous existence as Joseph. But it is this very disturbing interchange of time sequences that makes the film so powerful - are we watching the now or are we watching the then, and if we are seeing the past, how does the ending make sense? Another observer states it this way: 'The story of William Vincent as he recounts the eccentric and curious path that has brought him, at mortal risk, to New York City, after four years in exile, to rescue a woman he scarcely knows, Ann, from the vague crime syndicate that first brought them together.'
Franco is disturbingly brilliant as this strange character Joseph/William and the scenes that simply sit in silence with Franco barely outlined by terrific lighting effects or interacting in spare dialogue with Ann or Victor or the Boss are visually and emotionally stunning. The cinematography by Daniel Vecchione is moody, dark and always appropriate in adding mystery to the story. John Medeski's musical score is primarily a few piano notes and the wheezing sounds of an odd organ (melodica) instrument played by a street person. It all simply works as a brilliant film. Some may label this 'film noir': it is more like experimental 'noir film noir' at every level.
Grady Harp
Anania opens his film with a dark in medias res raw episode that quickly moves to an image of Joseph (James Franco) missing his flight to Japan because he steps out of line to retrieve a book. The plane crashes, killing everyone on board, and that opens the doors for Joseph to move to Manhattan to have a new life: he becomes William Vincent, a strange loner/drifter who has a job editing nature films for schools in a sparse storefront abode and also performs petty crimes. What gradually becomes apparent is that we maybe re-visiting what happened four years ago: William Vincent, a quiet and mysterious criminal, falls for a New York gangster's (Josh Lucas) favorite call girl Ann (Julianne Nicholson), after performing some 'deliveries' arranged by one Victor (Martin Donavan). When William's feelings are discovered Vincent is forced to flee the city, threatened with death if he should ever return. But after four years in exile (? in Japan), William secretly returns to rescue Ann from the life of derision and fear she is leading. There are quirky moments in the film where William is in the park and 'sees and talks to' two young brothers - Ty and Lewis played by Ty and Lewis Anania - who may simply be a part of William's previous existence as Joseph. But it is this very disturbing interchange of time sequences that makes the film so powerful - are we watching the now or are we watching the then, and if we are seeing the past, how does the ending make sense? Another observer states it this way: 'The story of William Vincent as he recounts the eccentric and curious path that has brought him, at mortal risk, to New York City, after four years in exile, to rescue a woman he scarcely knows, Ann, from the vague crime syndicate that first brought them together.'
Franco is disturbingly brilliant as this strange character Joseph/William and the scenes that simply sit in silence with Franco barely outlined by terrific lighting effects or interacting in spare dialogue with Ann or Victor or the Boss are visually and emotionally stunning. The cinematography by Daniel Vecchione is moody, dark and always appropriate in adding mystery to the story. John Medeski's musical score is primarily a few piano notes and the wheezing sounds of an odd organ (melodica) instrument played by a street person. It all simply works as a brilliant film. Some may label this 'film noir': it is more like experimental 'noir film noir' at every level.
Grady Harp
OK this movie is SO slow, if you are making a noir, you must demand excellent writing and story, not some mash up half-done gangster plot. A mopey Franco , a lot of meaningless blank stares. don't attempt things with this bad effort. "you sound like you're in a movie" was used twice, Really? I thought Lucas was a good villain, and martin Donovan held there own, but the leads had no real chemistry. Franco wasn't pulling his weight, although not totally his fault given the substandard script.
If you're into a lot of good camera shots over accordion music with odd fragmented cutaways that lend little to pushing the story forward than the movie is for you.
If you're into a lot of good camera shots over accordion music with odd fragmented cutaways that lend little to pushing the story forward than the movie is for you.
This film is a tragedy in its truest sense: tragedy in dramaturgy is sometimes defined as "potential not realized". With this great cast and crew, this director & producers should be shot for making the film stock worth so much more before it was shot.
James Franco is too good an actor to be used, misused and abused in a film like this. His teacher should not have cashed the favor on this film.
The only thing that is more boring, than the boring life of the main character, is the film itself. Telling the story of a boring character does not have to be boring. This film does not know the difference.
The ultimate irony lies in the fact that Franco plays a "film editor" -- this film if edited correctly could perhaps make an interesting 15 minute thriller -- and I am being generous.
James Franco is too good an actor to be used, misused and abused in a film like this. His teacher should not have cashed the favor on this film.
The only thing that is more boring, than the boring life of the main character, is the film itself. Telling the story of a boring character does not have to be boring. This film does not know the difference.
The ultimate irony lies in the fact that Franco plays a "film editor" -- this film if edited correctly could perhaps make an interesting 15 minute thriller -- and I am being generous.
This movie is different. It does have some recognizable names in it and it might sound intriguing. But it might also bore you to death. Saying this was moving at a snails pace would be an exaggeration. Some people might call this "Artsy", some will call it waste of time. It's tough to say what corner you'll be belonging to.
But you will be able to tell, where your feeling about the movie lie, after a couple of minutes. Though you might not always be able to tell what the characters feel at any given minute. There was a very irritating scene with James Franco, where he is being asked things (mostly about his emotional state). It almost looks like he's about to crack up and laugh. Not something that seems fitting considering the situation he's in. That might be over analyzing, but watching this movie will bring this sort of thinking out of you
But you will be able to tell, where your feeling about the movie lie, after a couple of minutes. Though you might not always be able to tell what the characters feel at any given minute. There was a very irritating scene with James Franco, where he is being asked things (mostly about his emotional state). It almost looks like he's about to crack up and laugh. Not something that seems fitting considering the situation he's in. That might be over analyzing, but watching this movie will bring this sort of thinking out of you
Disappointment.
Great casting, no story for a long piece. Really long, tried to be something more, but the length was overwhelming. Fell asleep for 15 min and didn't lose anything as I continued to watch..... Could have been made into short film, a much shorter film. Franco brooding, sans dialogs pieces, didn't go.he does this well. Looking pasty and attractive..
The music at points was obtrusive and disgracing. Visually it was pretty to watch, the coloring, beautiful exterior shots, but not for this long.The movie left me with nothing....
Great casting, no story for a long piece. Really long, tried to be something more, but the length was overwhelming. Fell asleep for 15 min and didn't lose anything as I continued to watch..... Could have been made into short film, a much shorter film. Franco brooding, sans dialogs pieces, didn't go.he does this well. Looking pasty and attractive..
The music at points was obtrusive and disgracing. Visually it was pretty to watch, the coloring, beautiful exterior shots, but not for this long.The movie left me with nothing....
Wusstest du schon
- WissenswertesOn the opening title card the word iridescent is misspelled with 2 Rs.
- PatzerWilliam offers Ann a glass of water and he then gives her a glass that is almost empty with barely a few of sips of water in it which she puts up to her lips. After William sits down, Ann takes a drink from the glass which now is half full of water.
- Zitate
[first lines]
Title Card: The iridescent lipstick of the Kyoto geisha when seen in the dim light of a candle... / Jun 'ichiro Tanizaki / 'In Praise of Shadows'
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Details
- Erscheinungsdatum
- Herkunftsland
- Sprache
- Auch bekannt als
- In Praise of Shadows
- Drehorte
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
- Laufzeit
- 1 Std. 40 Min.(100 min)
- Farbe
- Seitenverhältnis
- 2.35 : 1
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