Nada es eterno

Many films which are hard/possible to see/find are more interesting in the stuff you hear about them. The actual film is a letdown.

Not so here.

This film (which stars people who I know, from the lead, on) is really quite good.

First, unlike the others who've commented, I'm not one who acts like viewing it is akin to attaining a 'power-up', or such from a video game, and in that beir, alone is worth seeing. The entertainment business if my bread and butter (who I am is irrelevant. Don't try to figure out from my name).

Saying this, even though I'm not impossibly old , I think the business has fine siren the toilet in the past couple of decades - how, why, I'm not here to discuss that, either - and I find watching films made from the beginning (yes, currently I'm studying early films), up to the early 80's is my forte.

I can't stand any films made based upon comic books (though I DO read and enjoy - primarily Neil Gaiman), or that are mostly dpendent upon effects.

The route of films I miss are adult oriented (not porn. Think anything from a Douglas Sirk, a Marcel Ophuls, etc)- they have a story, emotion, gravitas.

I'm a grown-up, and I want to be emotionally touched and moved - bit by whizz-bang b.s.

That sort of brings me back to why I really admire this film.

Yes, it is a gimmick, in that is a very good... recreation of a 1930-40's film (it includes hundreds of clips - primarily used as establishing shots - from genuine films of that period, and I think that to get clearance in them all is the rain it's not seen). There's several moments I even had to hit myself (metaphorically) to 'wake up', and realise I'm not watching a film from back then.

From the opening - a pre-code MGM logo - the fun really plays with you, time-wise. I never saw more than a tiny bit of Woody Allen's Zelig (made around this time), which also plays with tune (he is 'inserted'into old film, and remember; this was before digital effects, the end-result was really amazing looking. Same here).

The film's story you can read about anywhere. I'm amazed at how I was repeatedly 'lost' as to what I was watching ('wait; is this an old 40's film?'), and had to pinch myself.

If you can see it, do so.

Easily one of the most charming unspoken of movies I have ever seen, especially capturing the supreme Golden age of Hollywood ("The Wizard of Oz) in the middle of a decade that brought us "Predators", "Gremlins", "Aliens", and "Lethal Weapon", etc. Talk about a genre-changer! A film that even came out a year before Terry Gilliam's masterpiece "Brazil" that is similar in many ways; reminding me of the blissful Sam Lowry in an oppressive bureaucratic world searching for love.

The film makes a lot work with so very little (adding to its charm) and gives us a certainly flawed journey of one Adam Beckett who aspires to be an artist amidst a surrealist, oppressive 1930's era New York. The black and white photography and camera-work is beautiful blending rather superbly with the stock footage used of the union workers in the streets and the shots of a sprawling NY skyline lit up at night. Add to that the perfect utilization of switching from B&W to color for specific scenes, and you have more evidence of great directing.

There are some moments that perhaps lack some charisma from our lead but the absolute zaniness and odd tangents of the film keep us interested and save us from any true dull moments. Ultimately, the film tells us we should pursue the right choices in life even if the things we want seem so far away. The allegory here is Adam's literal trip to the moon where he discovers a cult has turned the natives into a consumerized, shopified destination of pleasure, and where Adam falls in love with one of the natives; an Hawaiian-like dancer and singer. The final 20 minutes gives us TWO wonderful music numbers; one capturing the final message of the film by the brilliant title and the other punctuating the claim that all that hard work and those good decisions ultimately pay off. The end commits to the odd tangents we've seen all along, remaining just as wacky as the film has been throughout, and then suddenly grounds us back to reality with an awesome finale back at Carnegie Hall where the film began.

Look out for Dan Aykroyd and Bill Murray in great minor roles (particularly Murray) with a fantastic ensemble of veterans that bring their stuff reminding me of the magic from some films such as "The Shop Around the Corner", "His Girl Friday", and "It's a Wonderful Life". Highly recommended for those who like films like "Brazil" or the 1930's romantic comedies.

I had wanted to see this movie for years, but until just recently it was next to impossible to see, never getting an official release. But it finally popped on TV, and I made sure to record and watch it. After seeing it, I can only say, "Strange... very strange..." Note that I didn't say it's an *awful* movie. The production design is very good, managing to capture the look and feel of movies made forty or so years earlier. And it's so offbeat that you can't help but be curious enough to stick with it in order to see how things will work out. But the problem is that the movie concentrates more on being strange than working to have strong characters and a solid story. Eventually I got somewhat tired of the movie. But if you are a fan of strange major Hollywood studio movies, it is definitely a must see. And it's unlikely a movie like this would get made today by a major Hollywood studio, so you might want to grab the chance to see this rarity.

A truly bizarre film, but all the more entertaining because of it. Starts off in the style of a 1930s science fiction, and just seems to get stranger and stranger. I particularly liked the guided tour of the lunar surface for the paying tourists who laughed when their guide made a comment on the crashed Soviet probe she drew their attention to. The idea of native "moon people" (who look like native Hawaiians), also being another nice touch. Obviously, there was a very creative mind at work here.

Since a version of this film was "leaked" - if that's the right term -- to YouTube a few days ago, it's had a second life worthy of the film's own protagonist, liberated from a job yelling at bad drivers in the Holland Tunnel to a bravura performance at Carnegie Hall. There have been many evocative or pastiche films of the classic era -- Woody Allen's Purple Rose of Cairo, Baz Luhrmann's Moulin Rouge, or Gary Ross's Pleasantville -- but none has more vividly, sweetly, and yet ironically invoked the magic of the movies as has this film. Don't be distracted by the Dan Ackroyd or Bill Murray cameos (fun as they are): keep your eye on the veterans, who've been in more films than you can count, and who bring their considerable powers to bear here: Sam Jaffe (The Day the Earth Stood Still, Bedknobs and Broomsticks); Paul Rogers (Billy Budd, The Homecoming) and the incomparable Imogene Coca, all part of a secret underground league of New York artists who seek to aid any who will give their all, unreservedly, to the cause of art. This film deserves an immediate DVD/BluRay release -- one can only imagine how richly it will shine -- and shame on MGM, Turner, Warner, and all who have kept this gem in their dark, dim, Gollum-like cavern of oblivion.