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Noch ein paar ungekämmte Bemerkungen über Southland Tales: Mir hat gut gefallen, wie Marx einfach unspezifisch als irgendwie obskurer Philosoph eingeführt wird, trotz der Wichtigkeit der Neomarxisten im "Plot". Weiterhin ist interessant, dass und wie Kelly das auch in Pynchons "Against The Day" präsente Zeitreise/Bilocation-Thema unterbringt. Und das Schönste der zahlreichen Koans des Films: But the NY Times said God Is Dead.
Zur Frage der Wahrnehmung des Films: O'Hehir von Salon.com , stellenweise langweilig kritisch ("But Kelly never gives us any reason to care about this byzantine, comic-book plot", gähn.) und mit leicht spoilenden Details, aber immerhin:
I've done my best to forget about the infamous Cannes screening that provoked hissing and booing. Consider that it started at 8:30 AM, that the film was clearly unfinished and ran almost 3 hours, and that probably half the audience was working on less than 5 hours of sleep. [...]
Mocking post-modernist detached irony is a really tough tightrope to walk, but if he pulls it off, he'll set the tone for a whole new breed of films.
Zur Frage der Wahrnehmung des Films: O'Hehir von Salon.com , stellenweise langweilig kritisch ("But Kelly never gives us any reason to care about this byzantine, comic-book plot", gähn.) und mit leicht spoilenden Details, aber immerhin:
I've done my best to forget about the infamous Cannes screening that provoked hissing and booing. Consider that it started at 8:30 AM, that the film was clearly unfinished and ran almost 3 hours, and that probably half the audience was working on less than 5 hours of sleep. [...]
Mocking post-modernist detached irony is a really tough tightrope to walk, but if he pulls it off, he'll set the tone for a whole new breed of films.
neuronal - 9. Mrz, 16:17
