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In Reply to: Speaking of breasts... posted by Victor Khomenko on June 5, 2006 at 06:59:39:
Victor,I haven't seen the Master and Margarita series, but another full-figured movie in which there is substantial and lengthy sequences of bosmatic presence is a surprising one- Greenaway's "Prospero's Books" (1991). The numerous scenes in Prospero's magically created island study in which hundreds- well, maybe a hundred- naked men and women are performing presumably various forms of experiments/rituals/dances. This is done in a surreal manner without interaction between the characters and without a sexual component. The body shapes have the kind of range of ordinary and attractive you mention in the "M&M" sequence.
This is not a perfect movie- I didn't like the interruptions with narration to show various "magical" books- these might have been better placed over th eopening credits, but the concept and visual realisation is memorable and is the first depiction of "The Tempest" with this kind of magical air to it.
I'm not an avid follower of Greenaway,- and hated "Cook Thief Wife Lover" but I did like "Belly of an Architect" and more recently was very pleased with Lumière et compagnie (1996) which uses an 1895 camera in imaginative 50 second short films.
Cheers,
Bambi B
Follow Ups:
Nevertheless, Greenaway's triumph is not in plot or dialogue but in art direction and cinematography. That's what it's all about. He knows how to put it all together with excrusiating detail.Dollying the camera through the kitchen and dining room in "Cook" is shear mastery of stagecraft--there is always something going on in the background. When Greenaway has his camera pan or take a closeup it is always nearly perfect in its placement and setting. The elegance of the apartment in "Belly" was overwhelming in its simplicity. The "fabric" beach house in "Drowning" lyrical with the wind giving it a sailing ship effect. The fluffy redhead counting down 100 constellations in "Drowning" incestuously alluring. (Naughty old man he was.)
I would have to say my favorite would be "Belly" (because it is damned near coherent) and "Cook" for its masterful stagecraft.
Ex nihilo, nihil fit . . .
I don't recall being that impressed with the Book... it was way too thick to my taste, but perhaps we should leave it up to our resident breats expert Patrick to run the tally? :-)I suspect though he will enjoy the job too much.
I love certain things about Greenaway, mostly his masterful imagery, but the soul behind it all is suspect to me. My wife hates him.
Victor,I think Greenaway would like to make movies that are "essential" and "elemental"- he always wants to get to basics. He uses strong imagery and almost delicate detail over a subtext of brutality and animal instincts.
"Prospero's Books" , I think was an attempt to really throw into the pot every reference and image he thought of- when you refer to it as "thick" I think that's actually Greenaway's intention- he wants that amazing density in his movies in which every aspect is rich and contributes to the theme. I once watched "Books" three times over a weekend once to try and absorb everything.
The brilliance I think of "Books" is the way in which Greenaway reveals the astounding proto-psychology of Shakespeare in which all the characters in "The Tempest" are actually spilt out components of Prospero's personlaity- Miranda is the feminine component, Caliban, the body/sensuality, Areial, his child element. "The Tempest" which is Shakepseare's most alchemical and psychological play seems impossible to film, but in this case Greenaway is brilliant.
Not every aesthetic decision is the best in my view- he likes to stay with the fundamental and sensational while in a very intellectual climate (see "Belly of an Architect"), but I would congratulate him on this particular treatment of difficult, subtle, literary material.
Greenaway was trained I think as a painter and does have a painter's eye for images, though in most of his work there is a high art way and some self-consciousness about the images.
As for the "soul behind", because his work is so varied in genre and uneven in quality, I would be curious to meet Greenaway or hear him speak about his work, he obviously has strong intentions but overall he is a bit mysterious. I place Greenaway in the category with Herzog- the movies have some similarities in character- and Herzog another director I'd like to pummell with serious questions over dinner.
Still, I find that with Greenaway I am usually at least fascinated by the movies as to their motivation and conception- he is an intriguing director if not always satisfying.
Cheers,
Bambi B
try the Greenaway film the Draughtsman's Contract - it is quite excellent!
His Pillow Book.So my memory of his art is fading at this point, and I find much of your writing correct, and can't argue it.
I too am fascinated by his movies, but there is that anti-humanism in many of them, that makes my lady opposed, and you know full well, what the lady doesn't want, you don't get.
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