@deanduncan63Saw the great geriatric Passion Play, #Amour. Cruel/not sadistic. Clinical/not cold-hearted. Not sentimental, but full of deep sentiment.
Starkly tender film landmarks on the subject of age: The Parson’s Widow. The lost Grannis/Baker sub-plot, from Greed. Make Way …
… for Tomorrow, & Tokyo Story. Wild Strawberries. The Leopard. Strangers in Good Company. Away From Her. #Amour.
#Amour. Cf. Carl Th. Dreyer, who also treated the miraculous matter-of-factly, and rendered the everyday with reverence (Skoller, 1973).
#Amour. Can someone please get #MichaelHaneke together w’ Carl Th. Dreyer’s Jesus script? (Dial Press, 1972)
Haneke’s #Amour is a master class in the use of long takes, dead time, stasis, off-screen space/sound, & bold, even disorienting ellipses.
#Amour. Not Bazin/Renoir’s humanist long takes. More the confrontational duration of late Dreyer, or Kiarostami. Distantly, even Jansco/Tarr.
#Amour brings to mind the agonizing, exhilarating extenuations of Chantal Akerman’s #JeanneDielman… Not its fierce ideology, however.
This may be too obvious/easy, but watching #Amour you can’t help but think of Bresson ’50, & maybe Bresson ’62, ’66, ’67, & even ’83.
W’ its mind-melting prologue/epilogue, #Amour echoes Haneke’s otherwise utterly dissimilar Caché.
#Amour is an inadvertent documentary about the ways & means, the pace & texture & privilege of the French bourgeoisie. Very posh!
#Amour, conscious or no, is a straightly unironic, sincere, agnostical/hopeful take on the myth of Baucis & Philemon …
… Here: http://bit.ly/1dNjDaf
Way different, somehow similar. If #Amour pleased you, try X. Beauvois’ mournfully exalting Of Gods and Men.