In a way, Greenaway is my touchstone for deep film experience. It was with him that I first studied the things that have since become part of every viewing experience, from "Godzilla versus the Sea Monster" to the more homeopathically transcendent meditations of Medem and Ruiz.
Each film is its own adventure, and that's part of the joy. Each film is similar in reaching for a context outside of the ordinary context of other films, so it helps if you are knowledgeable about the dynamics of those contexts. Which of those that are more natural to you will color which of his films you prefer.
I like his "book" films the best because I had prewoven worlds that he just happened to encircle. All of his looping narratives and playing with discrete objects, events and relationships strung and structured capture me when they are prominent. I'm not crazy about his projects when he drifts toward conventional narrative as he does here and away from engaging in conceptual play.
This is more like "Draughtsman's Contract" or even "Cook, Thief" than his more complex films, so many people will like it. Its also his prettiest film since he lost his long time cinematographer.
If you don't know this film, its a simple fold: its about Rembrandt creating a painting with deep, Greenaway-like meaning. The filmmaker goes to great lengths to visually make his relationship to the film be similar to Rembrandt's with the painting, and thereby fold us into the thing because we see and hear (in great detail) viewers of that painting react. And they punish our painter much like the filmmaker has been.
Threaded throughout is a rather touching story not unique in Greenaway of a man and passion, and the woman and then women he loves. And how passion and love, and creativity encompass one another and drive that energy of life that we count on artists to use to break mountains ahead of us so we can pass.
Its the women here. It is always the lovers who allow creativity, who grow it and channel it. There is no real penetration of life without it, and the night it brings. Just on the straight narrative alone, its powerful. It works. The whole thing works, and could be a theatrical success for a wider audience than usual.
The three lovers are redheads, of course.
Ted's Evaluation -- 3 of 3: Worth watching.
Each film is its own adventure, and that's part of the joy. Each film is similar in reaching for a context outside of the ordinary context of other films, so it helps if you are knowledgeable about the dynamics of those contexts. Which of those that are more natural to you will color which of his films you prefer.
I like his "book" films the best because I had prewoven worlds that he just happened to encircle. All of his looping narratives and playing with discrete objects, events and relationships strung and structured capture me when they are prominent. I'm not crazy about his projects when he drifts toward conventional narrative as he does here and away from engaging in conceptual play.
This is more like "Draughtsman's Contract" or even "Cook, Thief" than his more complex films, so many people will like it. Its also his prettiest film since he lost his long time cinematographer.
If you don't know this film, its a simple fold: its about Rembrandt creating a painting with deep, Greenaway-like meaning. The filmmaker goes to great lengths to visually make his relationship to the film be similar to Rembrandt's with the painting, and thereby fold us into the thing because we see and hear (in great detail) viewers of that painting react. And they punish our painter much like the filmmaker has been.
Threaded throughout is a rather touching story not unique in Greenaway of a man and passion, and the woman and then women he loves. And how passion and love, and creativity encompass one another and drive that energy of life that we count on artists to use to break mountains ahead of us so we can pass.
Its the women here. It is always the lovers who allow creativity, who grow it and channel it. There is no real penetration of life without it, and the night it brings. Just on the straight narrative alone, its powerful. It works. The whole thing works, and could be a theatrical success for a wider audience than usual.
The three lovers are redheads, of course.
Ted's Evaluation -- 3 of 3: Worth watching.