kleist-1
Entrou em jan. de 2003
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Selos2
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Avaliações3
Classificação de kleist-1
Any Beatles fan will wish to bask in this superb exploration of the creation of Cirque du Soleil's LOVE, which opened at the Las Vegas Mirage Hotel and Casino on June 30, 2006.
However, the images and sounds of the Cirque production are so enticing, one can only be crestfallen that no partner DVD of the actual show in its entirety exists.
The 22-minute extra of how the father-and-son Martins (George and Giles) created the show's music was so fascinating, I watched it twice.
As with all Beatle projects (for any Beatles fan), one wants to hear and view all the materials left on the cutting-room floor.
However, the images and sounds of the Cirque production are so enticing, one can only be crestfallen that no partner DVD of the actual show in its entirety exists.
The 22-minute extra of how the father-and-son Martins (George and Giles) created the show's music was so fascinating, I watched it twice.
As with all Beatle projects (for any Beatles fan), one wants to hear and view all the materials left on the cutting-room floor.
COW MONKEY, the 2001 sequel to FISHING WITH GANDHI, is aesthetically more pleasing than the original. The camera-work is more professional, and the sound quality is lusher. What remains the same are Roy and Gil, the Reichmuth anti-heroes who are the highlights of each film.
The allegedly improvised persiflage of the brain-fried duo is as satisfyingly hilarious as in the first film. The brothers excel at non-sequiturs, partial-sequitors, fractional-sequitors, word salad, allusive chaos, brand-name mayhem, partial-birth recidivism, and upside-down blood fountains of verbal enmanglements. They're funny as hell. The Roy & Gil universe is parallel to our own but twisted in ways that brilliantly resemble the quotidian misunderstandings of the normal world outside. Here, the anthropologist and the bigfoot photographer are perfect straightmen for Roy & Gil. The interactions of the foursome are nearly as funny as the solo scenes with Roy & Gil alone.
My favorite sight gag is the recurring image of bigfoot wandering behind the oblivious characters in the foreground. Other highlights are the destruction of the ceramic Rotweiler, the dictaphone singing of the anthropologist, and Roy's ongoing analysis of the mythical pee howler.
Though not as manic as FISHING WITH GANDHI, COW MONKEY is more deliberate, more complex, and is musically better scored. Fans of the Reichmuth twins can look forward to further cinematic misadventures, which I await with wild enthusiasm. (I'm anticipating an introduction to Wanda III.)
The allegedly improvised persiflage of the brain-fried duo is as satisfyingly hilarious as in the first film. The brothers excel at non-sequiturs, partial-sequitors, fractional-sequitors, word salad, allusive chaos, brand-name mayhem, partial-birth recidivism, and upside-down blood fountains of verbal enmanglements. They're funny as hell. The Roy & Gil universe is parallel to our own but twisted in ways that brilliantly resemble the quotidian misunderstandings of the normal world outside. Here, the anthropologist and the bigfoot photographer are perfect straightmen for Roy & Gil. The interactions of the foursome are nearly as funny as the solo scenes with Roy & Gil alone.
My favorite sight gag is the recurring image of bigfoot wandering behind the oblivious characters in the foreground. Other highlights are the destruction of the ceramic Rotweiler, the dictaphone singing of the anthropologist, and Roy's ongoing analysis of the mythical pee howler.
Though not as manic as FISHING WITH GANDHI, COW MONKEY is more deliberate, more complex, and is musically better scored. Fans of the Reichmuth twins can look forward to further cinematic misadventures, which I await with wild enthusiasm. (I'm anticipating an introduction to Wanda III.)
Clever screen modernizations of classic drama make sense to me. I loved Ethan Hawke in HAMLET, Emma Thompson in MUCH ADO ABOUT NOTHING, Kevin Klein in A MIDSUMMER'S NIGHT DREAM, etc.
This is a masterful adaptation/reformulation of THE REVENGER'S TRAGEDY. It's intelligent, fast-paced, witty, shocking, engaging, and faithful to the spirit of the original.
I intend to use it in conjunction with teaching the original to Advanced Placement English students in a public high school.
As a certain 20th-century poet said, "Don't criticize what you can't understand." This is a nearly flawless production for anyone who loves the history of theater or who loves great cinema.
This is a masterful adaptation/reformulation of THE REVENGER'S TRAGEDY. It's intelligent, fast-paced, witty, shocking, engaging, and faithful to the spirit of the original.
I intend to use it in conjunction with teaching the original to Advanced Placement English students in a public high school.
As a certain 20th-century poet said, "Don't criticize what you can't understand." This is a nearly flawless production for anyone who loves the history of theater or who loves great cinema.