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In Reply to: RE: From the very intelligent and talented director, Kelly Reichardt, comes posted by tinear on May 24, 2010 at 08:39:41
...I've seen in a while. A poor-man's Malick, if you will. No gratuitous voilence, nudity and music cues and cutesy language to tell you how to think and feel - different in a good way.
She got better, I thought, in the jump from "Old Joy" to "Wendy". "OJ" was not my cup of tea; the "time and maturity's effect on a friendship" idea was kinda overshadowed by the spoiled-white-kid-turned-yuppie and slacker characterizations. Those guys get old fast, probably cause they seem to be everywhere (at least on the left coast, that is).
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hint at his original class. I also see nothing intrinsically less interesting about those in alternate lifestyles. Do you need some sort of business reference to make a character interesting? What is more intriguing than a person rejecting an entire culture's main and overwhelming, defining paradigm? But Oldham, I'm sure you know, is a very successful folk singer in "real life."
As for Malick, I find him to be a pretentious bore. And he has a way of working with the worst actors around, i.e. Nolte, Caveziel (sp?), Gere, Shepard.
...put in "real life" perspective the problems were a bit hard to relate to and thereby even care about completely.
A very "American" movie, I suppose.
But, as with Malick, to each his own.
universal. I mean friendship, which I could argue is the MAIN topic. Long separated friends--- who have pursued different lives--- get together with expectations of resuming the connection. But as they speak and interact, the divisions--- though obliquely stated and reflected--- appear to be deeper and less easily bridged. The ending is a jolt.
I realized this after the second viewing; the first time around, I was fell victim to the easy pacing, the visual beauty.
Like an Oregon river, the clear waters disguise cold and possibly deadly currents.
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