Re: Road to Nowhere

by dagwead (01.03.09 09:01 pm)

As an artistically-minded Hollywood release, I was jazzed by the movie's, and stars', ability to bring the sense and quality of acting, in terms of a really good theatrical production, to a mainstream audience. I thought the use of the Hollywood practice of “catch-phrasing”, translated into a recognizeable behavioral pattern in the female lead, was really interesting. One can't help falling in love with these characters. But if you really want to get to the real interest this film manifests, one's goggles need white siding and maroon shutters. Is the director at home? Is Paris metaphoric, in terms of the strictures of Hollywood releases? On whose production does the high school curtain fall, in terms of the films' interior “play”? Unlike a Shakespeare play-within-a-play, its depiction here is perfunctory. Visual aids, hearing aids, tuning out mandarin chopsticks—this movie rewards good listeners. Chelsea's guillotine isn't a bore?

Revolutionary Road's mood is complex—its tone tragic—the tension underlying the movie's mood is comedy. This is not to say that the tragedy of the storyline is satire. The movie is a repressed comedy. With market contexts in mind, I feel that Mendes put “public-use material” to use to a degree as skillful as Isa Genzken's past London installation (where was it?).

The movie is an incredible gift, from all involved. It's a coming of age piece, peace by piece. :)

Basquiat's crown can be a search for a Hallmark moment. Not every ironic artistic stance is profound, not every Hallmark moment is superficial. Hmm. In difficult times and tragic ages, real feelings are sometimes the most difficult things to hear. Call it a Horowitz wheelie.