Ann Arbor Film Festival
Official Selection
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Mur 191966
Mark Rappaport's first film commences with Gerald Mur "studying the cinema" in the form of a blow-up glamour shot of "La Garbo." Then "the cinema" studies Gerald (from numerous angles) followed by a standoff as filmmaker and subject circle one another, dueling with cameras to determine who's watcher and who's watched. Gerald's philosophical soundtrack musings ("People don't ask for beauty, they'll settle for less ugliness," "To live together destroys integrity") suggest a preference for the abstract over the intimate that's borne out when our protagonist finds a turbulent romantic interest (Teresa O'Connor). Yet in this chaptered black-and-white meditation on art and life, it's possible "true love" (should it exist outside the movies) might win out for the first and possibly the last time in this unique American independent oeuvre - Dennis Harvey
What makes this film worth watching?
1 member likes this review
Self-reflexive filmmaking at its best. It captures the time in which it was made in small, telling details but also tells the larger story of capturing images and moments on film.
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Member Reviews (3)
top reviewer
Self-reflexive filmmaking at its best. It captures the time in which it was made in small, telling details but also tells the larger story of capturing images and moments on film.
1 member likes this review
top reviewer
The main character expresses a slight philosophy of life—integrity lies with the single individual—that is not developed in any way nor expressively filmed, except for his mostly appearing alone, by himself. The background music sometimes comes to the fore and when it does, be it Bach or whoever, it overshadows the minimal conversations and actions. There is a seed here, and one worth developing, but this movie plants that seed too shallowly.
top reviewer
*I do not know the intent of the filmmaker = reviews are typically nothing but opinion and speculation. This one is no different.*
I'm beginning at, as far as I can find, the beginning of Mark Rappaport's released film career.
This exudes student film but you can tell immediately there is something more going on than most first time films. The contrast between what a person can tell you compared to how a film can show you is demonstrated cleverly. What appear to me to be several contrasts which we frankly take for granted several times every day.
A witty, charming little film, the medium itself partly as subject.