Excellent. Has a bit of the flavor of the mise-en-scene of some of the gritty British working-class movies of the same period. Grim story, extremely well-played. Also fascinating as a slice of culture -- who in the US has ever given a moment's thought to the situation in postwar Korea, or of the Korean vets of that war? The print is terrible, but the hand-written subtitles are cool.
An absolute tour de force. I usually keep half an eye on what the Brothers Quay are up to, but I somehow missed this. Much credit due to the score, as well. Not to be missed. Actually based, by the way, on a true story -- gonie inot in some detail in the Nwe York Review's article about the show they currently have up at MoMA: http://www.nybooks.com/articles/archives/2012/nov/22/where-macabre-fantastic-meet/
Completely fascinating -- interesting to see how the Warner Brothers tropes work their way in....
not that interesting. more trickery than really bringing anything out about the film.
As a member of the East Coast leftist intelligentsia, I'm not sure whether I'm more mystified by the racial politics or the very fact of the Mardi Gras cult, which certainly seems to drive a great deal of civil society down there. Fascinating in more ways than I think even the director herself realized.
Fantastic performances -- the lightness of the touch could easily fall into pointlessness, but brilliantly carried by the cast. Kind of a Cassavettes film for the low-affect era. Highly recommended.
but it's not supposed to be. This movie actually falls into the particularly French genre of 'low-affect hot girl character study.' Not a bad example of the form -- I can think of worse -- and her boyfriend is particularly well played.
Fun little satire of the American coming-of-age story. Worth seeing if only as a note for what was beginning to bubble underground in the postwar period. I"m intrigued about the very brief, and unnarrated, Turkish Bath scene.
Although the main conceit gets hammered in a bit relentlessly, the images are beautiful, and the raw quality of the stop-motion gives it a hard-edged energy that one doesn't feel in more recent, and slicker, uses of the technique. Also somehow more appropriate to the New York of that era than Koyaanisqatsi's roiling clouds and perfect sunsets. I'm surprised I had never heard of this movie -- I think it deserves more attention -- and if it were not for the incredibly lame soundrack, it could be in the same league as Ruttman's Berlin: die Sinfonie der Großstadt. In that film, the metaphor for the city is the machine. Fifty years later, the organism is the model -- that change in itself is interesting, and the two are a great comparison pair.