jrlandsverk

In Bergsonian terms, "Sympathy" or "1+1" seems to represent the cinematographical spirit of Becoming; while deconstructing the perfect rock song (though Blood on the Tracks-era Dylan fans may want to disagree), "Sympathy for the Devil" never actually plays at any time in its totality. Mick and friends conceive of the song while sitting in a semi-circle, and perfect it months later via the same seating arrangement amidst acres of sound equipment. Meanwhile, Godard's full synthesis of his cinema of ideological engagement(s) (cinemarx) is projected while we're still wondering why the girls dressed in white are being executed, the bookstore owner makes customers give him him a Third Reich salute or why there aren't any drummers as cool as Charlie Watts anymore.

I'm not entirely sure who Justin and Kelly are, but the movie seemed to involve piloting motor-cars during Springtime festivals, friendly utilization of portly comrades for comic purposes, and abstracting electricity in attempts to find clues to our past and future epistemological divergencies. Delicious!

The idea of "Exquisite Corpse" has always fascinated me, and I'm happy that there's a movie based around such a unique method of story-telling. The director comments that by the end, it was less about the actual story the villagers were telling and more about the social implications; therefore the movie becomes more of a documentary. I enjoyed this movie but would like to see more movies based on the Exquisite Corpse method, possibly one part going "out into the field" and talking to villagers, gathering the story, and then a second part where either a rehearsed play or actual movie was written given those elements. Mysterious Object at Noon gets an A- from me.