Post by Casablanca on Aug 29, 2009 0:18:01 GMT -5
MAY BE SPOILERS, SO ONLY READ AFTERWARD.
I do mean that. Take this warning seriously.
“One can endure sorrow alone…”
-Elbert Hubbard
BLG's newest films makes a strong case against the quote above; persisting that it takes some outlet to act through, and someone (or something) to relate to, to suffer.
“Irony”. It is a term that is used more then once during the course of this film. It is used at the first time we hear Max speak, and later, towards the later part of the film. Seeing it’s recurrence, naturally, we are to assume that there is some theoretical reason for it’s appearance, and lack, there of, a definitive meaning of the word. Is it “ironic”; the course of events that lead throughout the ninety-seven pages of the film? No, it isn’t. The word has no meaning to the film, and thus, is a clear metaphor for a term often paired with it, “life”; a metaphor for lack of definition. Max’s life has no clear definition, as we see at the end of the film; what’s real and what’s imaginary is only so determinable, and why exactly the blending took place (be it directly the medication, or a more philosophical reason- that the later made him more susceptible to the blend?) is irrelevant in my opinion. There is no rhyme and reason to why things work; as Max himself says “I’m under no illusions there (speaking of conformity)”; failing to see that he is under an illusion that there are parts of which need to channel out through some other form. He needs, as Helena puts it; “an outlet”. The film succeeds as a nice story of suspense and of inner turmoil, and even better as a statement against psychology- stating that the mind is creator of it’s own pain, it’s own truth, and, sadly, it’s own illusions.
Looking back on the film, I think that it’s greatest achievement is the relationship between Helena and Max. It’s a relationship built on the deepest bowels of Max’s mind; and through her, all of his feelings and thoughts pour out beautifully. His problems are shown through her, and as he tries so desperately to fix her life, we understand why- the damage he is trying to cure is his own. It’s a wonderful bit of trickery, and of illusion, not only forcing a re-watch, but also making every single event and scene obsolete regarding plot, and nothing more then an elaboration into the character, Max.
The film itself, excluding any pre-knowledge of the ending, or any of the forays into the philosophical turn it takes, is well written. It has moments of, if one is so picky, lines which can come off as, at different points, rushed or sporadically toned. But overall, the film really can hold up on it’s own, as a quite moody, very mellow film. The characters are well rounded, I quite liked “Emma”, Max’s sister, who had such a warm and loving reaction to his pain that even the occasional melodrama seemed to flow, and was hardly as noticeably placed as it should have been. Dr. Connelly had both some of the finest moments of the screenplay, and some of the most “out-there”, putting us in Max’s shoes, and starting to really deny him any credibility. The meeting of him and Max in the study, if it was, is a very nice scene. And then his devious turn later on was something to be surprised over.
Another thing I’d like to point out is how intelligent the film is. Scenes that seem minute at first come back later to be larger. One scene that comes to mind is the drawing; another is, very well done, the fight between Danny and Max, and the following photograph taken. The film knows how to use it’s brain, that’s for sure; and even when it falls into the more abstract ending, it does so with grace and with little effort; making the whole thing seem so believable.
The in-school scenes were fine as character pieces, but for terms of the plot, didn’t progress things in a real cerebral level. They were the necessary “norm” needed to have the plot seem realistic without being silly, and were fine lead-up’s to the more intriguing and wondrous scenes; as were the therapist sessions. They were good; but don’t receive their full credit until the film is over, and everything takes a whole new look. The film doesn’t rest on its last note, but that last note sure does make some lesser notes even better.
My only gripe would be some of the characters and scenes that go under developed. I would have liked to see more of Emma in the second half, even if it only another scene, some sort of redemption for her character beyond a few words at the end. Besides this, though, I really cannot find any fault without taking away the ending, which brings so much together.
Overall, I think this is BlG’s most original and creative effort to date. I also think that it is his greatest. Decidedly that, it is one of the great twists I’ve seen in a Movie Reels’ film, and as deep and thought provoking as any film this summer. It doesn’t wallow in it’s half-hearted romance, nor does it ask pity for it’s character’s emotional problems; it boldly knows where it is going and is absolutely fine keeping you waiting. It genuinely surprised me at how much I enjoyed it, how much it left me thinking after, and how cheated, how betrayed, I too felt at the end. It’s a manipulative piece of trickery there, and even though I read with caution, I still had wool pulled over my eyes. It imagines a world of people we can relate to and things we can take joy in- silly when you think back to it, only in the mind can such a world exist.
I do mean that. Take this warning seriously.
"Ufology" (BLG)
“One can endure sorrow alone…”
-Elbert Hubbard
BLG's newest films makes a strong case against the quote above; persisting that it takes some outlet to act through, and someone (or something) to relate to, to suffer.
“Irony”. It is a term that is used more then once during the course of this film. It is used at the first time we hear Max speak, and later, towards the later part of the film. Seeing it’s recurrence, naturally, we are to assume that there is some theoretical reason for it’s appearance, and lack, there of, a definitive meaning of the word. Is it “ironic”; the course of events that lead throughout the ninety-seven pages of the film? No, it isn’t. The word has no meaning to the film, and thus, is a clear metaphor for a term often paired with it, “life”; a metaphor for lack of definition. Max’s life has no clear definition, as we see at the end of the film; what’s real and what’s imaginary is only so determinable, and why exactly the blending took place (be it directly the medication, or a more philosophical reason- that the later made him more susceptible to the blend?) is irrelevant in my opinion. There is no rhyme and reason to why things work; as Max himself says “I’m under no illusions there (speaking of conformity)”; failing to see that he is under an illusion that there are parts of which need to channel out through some other form. He needs, as Helena puts it; “an outlet”. The film succeeds as a nice story of suspense and of inner turmoil, and even better as a statement against psychology- stating that the mind is creator of it’s own pain, it’s own truth, and, sadly, it’s own illusions.
Looking back on the film, I think that it’s greatest achievement is the relationship between Helena and Max. It’s a relationship built on the deepest bowels of Max’s mind; and through her, all of his feelings and thoughts pour out beautifully. His problems are shown through her, and as he tries so desperately to fix her life, we understand why- the damage he is trying to cure is his own. It’s a wonderful bit of trickery, and of illusion, not only forcing a re-watch, but also making every single event and scene obsolete regarding plot, and nothing more then an elaboration into the character, Max.
The film itself, excluding any pre-knowledge of the ending, or any of the forays into the philosophical turn it takes, is well written. It has moments of, if one is so picky, lines which can come off as, at different points, rushed or sporadically toned. But overall, the film really can hold up on it’s own, as a quite moody, very mellow film. The characters are well rounded, I quite liked “Emma”, Max’s sister, who had such a warm and loving reaction to his pain that even the occasional melodrama seemed to flow, and was hardly as noticeably placed as it should have been. Dr. Connelly had both some of the finest moments of the screenplay, and some of the most “out-there”, putting us in Max’s shoes, and starting to really deny him any credibility. The meeting of him and Max in the study, if it was, is a very nice scene. And then his devious turn later on was something to be surprised over.
Another thing I’d like to point out is how intelligent the film is. Scenes that seem minute at first come back later to be larger. One scene that comes to mind is the drawing; another is, very well done, the fight between Danny and Max, and the following photograph taken. The film knows how to use it’s brain, that’s for sure; and even when it falls into the more abstract ending, it does so with grace and with little effort; making the whole thing seem so believable.
The in-school scenes were fine as character pieces, but for terms of the plot, didn’t progress things in a real cerebral level. They were the necessary “norm” needed to have the plot seem realistic without being silly, and were fine lead-up’s to the more intriguing and wondrous scenes; as were the therapist sessions. They were good; but don’t receive their full credit until the film is over, and everything takes a whole new look. The film doesn’t rest on its last note, but that last note sure does make some lesser notes even better.
My only gripe would be some of the characters and scenes that go under developed. I would have liked to see more of Emma in the second half, even if it only another scene, some sort of redemption for her character beyond a few words at the end. Besides this, though, I really cannot find any fault without taking away the ending, which brings so much together.
Overall, I think this is BlG’s most original and creative effort to date. I also think that it is his greatest. Decidedly that, it is one of the great twists I’ve seen in a Movie Reels’ film, and as deep and thought provoking as any film this summer. It doesn’t wallow in it’s half-hearted romance, nor does it ask pity for it’s character’s emotional problems; it boldly knows where it is going and is absolutely fine keeping you waiting. It genuinely surprised me at how much I enjoyed it, how much it left me thinking after, and how cheated, how betrayed, I too felt at the end. It’s a manipulative piece of trickery there, and even though I read with caution, I still had wool pulled over my eyes. It imagines a world of people we can relate to and things we can take joy in- silly when you think back to it, only in the mind can such a world exist.
It may just be my mis-reading of the lines, though, so you'll have to tell me what you think. 
