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Second watching robbed it of something for me. PTA is def chasing the dragon now rather than coke. Can usage in the film is superb though. Also - I didn't notice many (or any) long tracking shots? The film seemed uber claustrophobic because of that.
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Feb 7, 2015 15:48
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| # ¿ May 21, 2024 06:44 |
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Yeah, and he even makes the desert seem oppressive (with all those cops moving in) There's a post over at brightlights (http://brightlightsfilm.com/peace-gently caress-paul-thomas-andersons-inherent-vice/) that makes some good points about how a) this is Altman homage when everyone thought PTA had grown out of that b) why didn't he choose one of the more sprawling Pynchon's like Vineland to adapt? It overall just seemed like a bit of a misstep, albeit one that's pretty fun. I don't agree with the writer's idea that Phoenix is miscast though, maybe he's not right for Pynchon's Sportello but I thought he did a good job here, he's suitably grimy.
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Feb 7, 2015 20:15
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Kull the Conqueror posted:Isn't Altman's influence persisting in film a cool thing? That dude was good. I dunno, I thought we were all about artists actually breaking free from their homages? Or do we think so little of PTA?
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Feb 8, 2015 02:56
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The_Rob posted:I've never understood people who think artists should break free of homage. There isn't a whole lot in this world that is original. Kurosawa took from Shakespeare, Leone took from Kurosawa. These are all fine for me. All artists wear their influences on their sleeve. Kurosawa finished his career with Dersu Uzala, Leone with Once Upon a Time in America - both are original in the sense that they couldn't have been made by anyone else. I mean i'm not saying anything controversial here, it's about artistic progression - there's something a bit reserved about constantly going back to the same source without actually expanding your artistry. The Master was original hence why Inherent Vice seems a step back.
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Feb 8, 2015 12:13
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Magic Hate Ball posted:Also if you try to go too far in the other direction you get late-period Godard and nobody wants that. I'm sure you're trolling here. You are, right? right?! I know there are some Ebert-level critics that love to skewer Godard in that anti-intellectual 'where's the car chases!' kind of way. That's fine and all and sometimes refreshing, but it's also quite normative. Godard requires us to do some work instead of wait for the next film reference that makes our brain smile.
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Feb 8, 2015 12:34
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Kull the Conqueror posted:It just seems like a weird axis to orient artistic success upon. With Anderson especially, it's disingenuous to say he's just doing homage or referencing a great artist when, like few others, he molds these things to work very well in his films. Very early on in The Master, he recreates the look and feel of John Huston's Let There Be Light, which perfectly fits the story he's trying to tell about the American postwar experience. The fact that it's a good creative choice has nothing to do with quoting a great filmmaker; it just happens to fit extremely well with the film he's trying to make. I don't think the film stacks up favourably with A Long Goodbye, I don't think he does enough to capture the mood of Pynchon's novel, and I don't think it really gets to soar like the last two films he released. So what i'm saying is that I personally *don't* think he's managed to mold these sources into a great movie - it's fun and interesting but i'm not sure its going to be considered a classic.
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Feb 8, 2015 17:31
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Abu Dave posted:This is out to rent in HD now, oddly, before even a Blu Ray release has been announced. This is going to be very very snobby but I don't want crystal clear Inherent Vice
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Feb 18, 2015 11:47
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