fowler1
Entrou em fev. de 2000
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Avaliações52
Classificação de fowler1
No, not the movie...the comments! My favorite was the guy who chided naysayers by pointing out that MULHOLLAND requires a modicum of intelligence to figure out - then added it took him 12 viewings to make sense of this! (ONLY twelve?)
Lynch made THE ELEPHANT MAN & the spare, lovely STRAIGHT STORY, so it's not as if he's a fraud, without any talent. But these Rorschach puzzle nonsense-films he's known for are the equivalent of monkeys throwing fruit at a canvas, complete with the subsequent onrush of posturing phonies who ooh and ahh over the results. "Exegesis" my ass. If not for a memorable performance clip of "Llorando", this mess would be every bit as snoozeworthy as - as - as practically every other Lynch movie!
LOST HIGHWAY fans (yes, both of you) will be pleased to note that Lynch continues his questionable tradition of bamboozling an out-of-circulation ex-star into embarrassing themselves with a supporting role (here, it's Ann Miller). Otherwise, the 'mystery' here is the eternal David Lynch mystery: how does he talk people into financing these things?
Lynch made THE ELEPHANT MAN & the spare, lovely STRAIGHT STORY, so it's not as if he's a fraud, without any talent. But these Rorschach puzzle nonsense-films he's known for are the equivalent of monkeys throwing fruit at a canvas, complete with the subsequent onrush of posturing phonies who ooh and ahh over the results. "Exegesis" my ass. If not for a memorable performance clip of "Llorando", this mess would be every bit as snoozeworthy as - as - as practically every other Lynch movie!
LOST HIGHWAY fans (yes, both of you) will be pleased to note that Lynch continues his questionable tradition of bamboozling an out-of-circulation ex-star into embarrassing themselves with a supporting role (here, it's Ann Miller). Otherwise, the 'mystery' here is the eternal David Lynch mystery: how does he talk people into financing these things?
This is unlike any other Anderson movie; really, it's unlike any other MOVIE out there, period, and a necessary antidote for those of us who feel more and more alienated by modern movies, modern culture, modern life. Since there are already a kazillion reviews of this I won't rehash the plot except to say that it's about one "ordinary" day when all the buried/masked/diverted/denied pain of the world comes welling up, like a dam bursting, refusing to remain unacknowledged any longer. The apocalyptic finale may not make a lick of "sense", but it feels inevitable and right and it plays perfectly. The ensemble cast is so uniformly inspired that it only underscores the stupidity of Oscars and Golden Globes....singling out an outstanding performance here is akin to taking apart a perfectly-calibrated Swiss watch to praise one particular gear.
One further point: you hear a lot about Anderson's "audacity" and "ambition" in discussions of MAGNOLIA. It's true but that ambition has less to do with juggling interlocking subplots, and everything to do with the core of this movie: that forgiveness is hard but living without it is impossible, and that even pain has beauty in it because it is authentically FELT. The final image - Claudia's uncertain, frazzled, vulnerable but hopeful smile - is one of the most haunting in movie history, one I hope to carry with me forever. God willing.
One further point: you hear a lot about Anderson's "audacity" and "ambition" in discussions of MAGNOLIA. It's true but that ambition has less to do with juggling interlocking subplots, and everything to do with the core of this movie: that forgiveness is hard but living without it is impossible, and that even pain has beauty in it because it is authentically FELT. The final image - Claudia's uncertain, frazzled, vulnerable but hopeful smile - is one of the most haunting in movie history, one I hope to carry with me forever. God willing.