But that description nevertheless applies to the bulk of what comes out of mainstream Hollywood today, and especially holds with the films of classic Hollywood, especially the grand, sunny films of MGM, the studio on which Capitol Pictures of Hail, Caesar! Hail, Caesar! Involvement in personal or political events; jealous, loss of love, defeat) in a way that makes them seem uncomplicated direct and vivid, not ‘qualified’ or ‘ambiguous’ as day-to-day life makes them, and without intimations of self-deception and pretense.” Entertainment, in other words, sifts “real life” events into bold, readily digestible morally unambiguous acts. By showing the transition between “real life” and “the show,” these films also suggest the show (and, by extension, the utopian feelings it incites) are produced — and, depending on the tenor of the film itself, hollow and false, and the work of a system that manipulates both its workers and its audience.
Le film contient contient des bribes de réflexion sur le cinéma lui-même, le pouvoir des images et de faire-croire (make-believe) et du coup pose aussi la question de la foi religieuse. It’s not as if the Coens couldn’t make that sort of messed-up film: If Barton Fink, a jaundiced take on 1930s Hollywood, weren’t enough proof, then Miller’s Crossing, Fargo, and No Country for Old Men all highlight just how dark their world view can tilt, especially when operating in the noir register.
The result is somewhere in the middle of the Coen Brothers oeuvre, lacking the full film noir and zaniness of The Big Lebowski , the severity of Fargo , and even the nuanced showbiz parody of Barton Fink . The more effective a spectacle is in effacing its status as a manufactured “utopian moment,” the more you forget that it’s really weird when people just break into song or choreographed dance in the middle of their lives. But, without a doubt, the focus of the film is the sword-and-sandals epic Hail, Caesar! It’s sanitized, rose-colored, and smooth: an homage, a celebration, or, as critics have called it, a “lark,” a “mash note,” a “doodle in the Coen canon” that’s “pure popcorn fun.”. Je pense m'inspirer de ce que fait Saxondog Pour la mise en scène des socles au sein d'une unité. Hail, Caesar! View all posts by Derek Jacobs, Channing Tatum, Comedy, Drama, Ethan Coen, George Clooney, Joel Coen, Josh Brolin, Period Piece, Ralph Feinnes, Scarlett Johansson, Tilda Swinton. Sorry, your blog cannot share posts by email. Click to share on Facebook (Opens in new window), Click to share on Twitter (Opens in new window), Click to share on Reddit (Opens in new window), Click to share on Pinterest (Opens in new window), Click to email this to a friend (Opens in new window), “Hail, Caesar!”: The Zany Slices of an Incomplete Pie, “Deadpool” is a Self-Conscious Masterpiece of the Comic Book Genre, Plot and Theme’s Top 10 Films of the First Half of 2016 – Plus Complaining! in which Whitlock stars, but the meta-narrative of the Hail, Caesar!
Hollywood est-il vraiment l’industrie frivole et inutile (et condamnée) décrit par l’homme qui bâtit des avions? is doing something similar to Born with a far smaller palette. film-within-the-film, increasingly compelled by a competing, secular, class-based explanation for why the world is the way it is. The recent contrast of Mannix’s innocuous confession of a few cigarettes followed by his professional reflexes of forced entry, bribery, lying and physical … – Plot and Theme, Plot and Theme’s Very Favorite Films of 2019, The Ignominious Return of My Questionable Opinions, “BlacKKKlansman” and its Multi-layered Performances Pop Off the Screen, Clarice Starling, Meet Dr. Hannibal Lecter - a Scene Analysis, “Train to Busan”: Effective Zombies with Ethical Subtext. Change ), You are commenting using your Twitter account. 4 commentaires: Franck a dit… Et n'oublions pas les Gaulois qui peuvent servir d'alliés aux germains, bretons et celtiberes. In truth, Mannix was a massive, arguably murderous dick, it was incredibly dangerous to be gay, women had no control over their … No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. Contact Anne Helen Petersen at anne.helen.petersen@buzzfeed.com. Nous voyons alors un autre visage de la foi: celle qui le pousse à parler à un prêtre, demander l’avis de sa femme et essayer de faire ce qui est juste. Not all Hollywood films follow this imperative — some of the most artistically daring and important films, including some of the Coens’ most resilient work, is not “entertaining” in this sense.
Scarlett Johansson plays DeeAnna Moran, a foul-mouthed starlet whose unexpected pregnancy will surely cause image troubles for the studio. His stirring recitation of the lines moves his fellow actors, the writer and director, and even the stage crew nearly to tears. Catholique, ses confessions ne sont pas des travestissements et elles touchent par leur sincérité, naïves peut-être mais pas ironiques. Hobie Doyle (Alden Ehrenreich) is a fantastic Western star, but he struggles in the world of drawing chambers. Mi-démo mi-partie, mais vrai scénario, la partie pourra voir 4 joueurs prendre les commandes des forces en présence : romains vs britons. Ao continuar com a navegação em nosso site, você aceita o uso de cookies. is inoffensive to all denominations, and the proceeding theological discussion showcases that Coen Brothers wit that we have come to know and love. But there are some things that “entertainment,” under Dyer’s definition, is bad at handling — namely, anything serious related to class, race, patriarchy, or sexuality. Eddie’s plate is never empty, and there is always a wild character for him to handle. “Huh,” echoes the audience. Are the Coens saying here that, despite the ersatz nature of film, through it we can reach new heights of understanding and beauty?
If it can be written, or thought, it can be filmed. Attempts to “dance out” racial tensions (Save the Last Dance, Step Up, Fame, Dirty Dancing) always call attention to themselves as “dance solutions,” which means they fail, because the best moments of entertainment also make you forget that they’re even functioning ideologically.
is based. Put differently, if you thought this movie was a mindless delight, the Coens have successfully fucked with you.
Regardless, moments of hilarity exist in this mish-mash of tone and style, and the worst sin Hail, Caesar! I am a molecular biologist who loves movies and wants to think about them and discuss them from the perspective of romantic realism, a reason-based school of aesthetics championed by novelist-philosopher Ayn Rand. The reason we love this type of entertainment so much, then, is because it doesn’t ignore these social tensions, inadequacies, or absences — it hears them, and solves them. Caso não concorde com o uso cookies dessa forma, você deverá ajustar as configurações de seu navegador ou deixar de acessar o nosso site e serviços.
film-within-a-film narrative, in which he gives a performance so spirited that it enthralls even the jaded crew: “A new truth,” he soliloquies, “A truth told not in words but in light, a truth that we would see if we had but, but, but..." But then Clooney forgets the line, effectively shattering the promised utopian deliverance. There’s “real life,” that is, the action surrounding the show, and then there’s “the show,” or, the moments of utopia. can certainly be read as a bite-less diversion, that’s the point. There are four set pieces in Hail, Caesar!, the Coen brothers’ most recent release, each revolving around one of the four stars at the film’s heart. Change ), You are commenting using your Facebook account. There’s also trouble with the European director Laurence Laurentz’ (Ralph Fiennes) new period piece. Alas, though, the German director already has a wife and kids back home, so Eddie has to think a little more outside the box. Nous avons eu raison d'en parler la semaine dernière. Most of the story lines weave together near the end of the film around the events spurned on by The Future, giving the film the semblance of an over-arching theme.
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