| >> |
!!S1oOkTjvsv2 09/02/11(Fri)16:07 No.2052720
File1314994036.gif-(476 KB, 500x220, tumblr_lqgvxg1jHR1qzp1hio1_500.gif)
 >>2052666
It's
a sort of realism I'm into I guess with Fellini. I mean, call me out
for being a little mainstream and perhaps unenlightened (of course,
calling me out for the most inauthentic and poseurish reasons, but I
suppose that's okay) but La Dolce Vita is for me, pretty masterful film
making, even on a shot by shot level, beyond any considerations of
pacing etc etc. The story itself is just very real and kind of
psychological immanent in the same way, I suppose, that Faulkner's best
stories are, and hell that's all to do with Fellini's film craft I
guess. I guess what you're getting with this whole 'empty posturing'
critical line is that you're not into Fellini's style of anti-symbolic
realism. Which is fine.
The issue with Kieslowski is that
symbolism is way too heavy handed and sort of reified, certainly in the
three colours trilogy. It's almost as if he expects us to follow this
non-apparent symbolic drama instead of this paltry sort of reality he's
providing us with in the film and, I've always thought that the only way
this could be at all engaging is on some abstruse intellectual level
where you kind of feeling good for being clever for once, a sort of
narcissism encouraged-and-abetted by the movie.
I have had a
similar problem with certain Von Trier films. Dogville apart from having
a ridiculous political message, had a kind of uncomfortable allegorical
distance to the characters and in the end it sort of sterilized
proceedings for me.
(enjoy the gif) |
