There are good and bad movies.
If we talk about ordinary cinema, the main purpose of which is to provide short-term entertainment for the audience. However, in very rare cases, the most ordinary (and most often extremely high-quality) film becomes a landmark for subsequent generations.
For such a phenomenon, a whole series of specific requirements must be realized. A simple and very detailed story must have intrigue. The actors are partly iconic for their time status, and the musical accompaniment has every chance of a subsequent separate release. The film itself must find a suitable time for itself and correspond to certain clearly not conditioned tastes of society. And it is “Hunger” that can be called a single model for the majority of “iconic films”.
Tony Scott made a risky bet endowing his brainchild with a certain sophistication of the host directly participating in every minute, scene or plot twist coming to the audience. Fear of death and its further overcoming. The loss of a loved one and the subsequent search for an outlet capable of silencing the eternal loneliness of unfortunate Miriam for some time. In some ways, this is familiar to everyone.
And therefore always popular.
I am in love with the images of Catherine Deneuve during the “Aversion” of Polanski. In the same film, the first signs of the aging of this beautiful actress in all the plans are already visible. Isn't it symbolic? Therefore, while watching "Hunger" I always visit a kind of sadness.
David Bowie is more than natural in the role of the dying John. It is difficult to imagine someone else in his place. And Susan Sarandon ... Not a very good choice for the role of a scientist in search of immortality, which is only to become a woman. However, perhaps enough to enumerate the names of cult actors who are only a small part of the landmark film.
Everything is in it ... Agreed. This is especially true of music breaking apart from the Bauhaus to the excerpt from Delibe's “Flowers”. It is not always appropriate or correct, but always beautiful. This is much more important.
The work of the operator (Stephen Goldblatt) resembles small shiny beads collected by a good (but not at all talented) person in a certain pattern. Constant in its brightness and unpredictability of details.
Such a movie over time only wins for itself new positions. At least because of the recently growing army of fans of the theme of vampirism and in particular the all-consuming desire to live forever. But we have to admit that it will never outgrow its own bar of the “landmark film”.
Yes, it is not to strive for this. Which is good, since big ambitions would most likely have drowned him, making him the next predecessor of “Requiem for a Dream” or “Mr. Nobody” ...
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