jbels
Apr. 1999 ist beigetreten
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Bewertung von jbels
I had not seen this film prior to today but if you watch it strictly for the production design, it is wondrous (and worth the watch). Reminded me of Dave Made A Maze in a much more grotesque manner.
After re-watching Pink Flamingos, I had fun imagining how today's college student audience would react to it, especially if there was no prior knowledge or expectation of the audience. I first saw this years ago during college, but admittedly, I've never seen it with an audience. Am glad to have watched it a fifth or so time today on Criterion and have some fresh insights into the film:
The Egg Lady was genius on Waters' part, whose scenes provide empathy, love, and comfort from her surrounding characters
Nice touches such as the Liz Taylor posters and Divine singing "That Old Black Magic" while grilling steaks.
The dialogue heavy single-shot takes that most of the cast delivers are astounding, particularly Mink Stole's dressing down of her servant.
The baby-maker pit scenes are horrifying in a Silence of the Lambs sort of way.
The film could stand to lose Mr. J's narration but I still love it.
The "Surfin' Bird" scene is as disgusting as the "How Much is That Doggie in the Window" scene.
The Egg Lady was genius on Waters' part, whose scenes provide empathy, love, and comfort from her surrounding characters
Nice touches such as the Liz Taylor posters and Divine singing "That Old Black Magic" while grilling steaks.
The dialogue heavy single-shot takes that most of the cast delivers are astounding, particularly Mink Stole's dressing down of her servant.
The baby-maker pit scenes are horrifying in a Silence of the Lambs sort of way.
The film could stand to lose Mr. J's narration but I still love it.
The "Surfin' Bird" scene is as disgusting as the "How Much is That Doggie in the Window" scene.
I watched Bringing Out The Dead last night as I do every few years (originally saw it on the giant screen at Loew's Astor Plaza NYC at 11:00 am and that was quite the experience). Martin Scorsese has been spot-on with what must be hundreds of music cues throughout his career. And this film contains many of his great ones--"Janie Jones", "T. B. Sheets", "What's The Frequency, Kenneth?" But I must say that his use of "These Are Days" is his biggest misstep of ALL of the songs he's used. The song kicks in about halfway in the film, after Nicholas Cage offers Patricia Arquette a ride in the ambulance. The tune invokes a sense of a false ending and then is subsequently played for too long, lacking the usual clever subtlety of 99.9% of Scorsese's cue. I get the feeling that Scorsese was in love with the song, as was I, and it was relatively and comparatively a new tune at the time of the film's release. But my giving second thought to all of the great cues--Devo's version of "Satisfaction" in Casino; the Piano Exit from "Layla" in Goodfellas; Elton John's "Daniel" in Alice Doesn't Live Here Anymore--I can't help but hate this one cue.