Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
From dawn to dusk, a few hours in the shadowy life of a mystic man named Monsieur Oscar.
We follow 24 hours in the life of a being moving from life to life like a cold and solitary assassin moving from hit to hit. In each of these interwoven lives, the being possesses an entirely distinct identity: sometimes a man, sometimes a woman, sometimes youthful, sometimes old. By turns murderer, beggar, company chairman, monstrous creature, worker, family man.
Holy Motors, the critics darling of 2012, is as strange, befuddling and pretentious as the gushing reviews suggested it would be. Leos Carax’ first feature film in over a decade is a willfully odd odyssey; a picaresque story of cinema itself and an ode to performance. The committed, certifiable and chameleon-like Denis Lavant plays Mr. Oscar, a man who travels around Paris in a limousine transforming himself into a range of strikingly different characters for reasons left largely up to the audience to decide.
It is a film made for, and by, a particular type of film fan; one steeped in the history of film who enjoys partaking in a game of spot the movie reference. It’s an indulgent, self-satisfied…
To say that Holy Motors has been praised would be the understatement of the century. It has been discussed and interpreted more than probably any other movie this year. Furthermore, seemingly every major critic loves it. It has a 90% on Rotten Tomatoes, an 84 on Metacritic, and my boy Film Crit Hulk placed it at the very top of his 2012 list, ahead of Django Unchained, The Master, Looper, and several other terrific titles. However, there's something none of those critics will tell you, and I'm here to give it to you straight: the key to understanding Holy Motors is knowing that Holy Motors SUCKS.
Now, before you prejudge this as another Cosmopolis-style "Dear Fuckers" letter, hear me out,…
A film that, needless to say, has a number of correct subjective interpretations directly proportional to the amount of viewers that saw it with a high attention span and an open mind, in my humble opinion, can be more easily dissected if:
I. It is seen passively.
“I'd rather people feel a film before understanding it."
- Robert Bresson
“We think too much and feel too little."
- Charles Chaplin.
Some things do not have to make sense. The mind can reast peacefully at night if it was not capable of rationalizing all stimula in one day, even if it seems impossible to several people. Some things just deserve to be felt.
II. The "appointments" topic is taken as the…
Q1. Was this art over substance?
Q2. Was there a point?
Q3. What genre is it?
Q4. Did I like it?
Q5. Did I hate it?
A1-5. I honestly don't fucking know!
This almost feels like a surreal version of the Mediaeval play Everyman. In that play Everyman (representing Man) meets up with a host of allegorical characters representing Life. Through these encounters Everyman learns how to reach salvation, thus completing Life's circle.
If I proceed in this train if thought, Lavant's Oscar is all those allegorical characters rolled up into one creature, a physical manifestation of life, showing us, the Everyman, the state of affairs. And apparently Life is getting old. It is having great difficulty dealing with the rapid, shallow progress we are making and basically has increasing difficulty providing us with our overly demanding urges. Life's own cycle seems to be running towards its end, heading towards its own…
Thesis - The movie is an ode to the human body as the most cinematic of objects.
1. The old video that starts the film.
2. The scene trumpeting the humans performing mo cap over the final product itself.
3. An array of physically showy performances - ogre, beggar, killer, musician, singer, grumpy father.
The "Holy Motors" of the title and conclusion, then, is a metaphor for the engine that makes cinema hum - the human body. Carax asks that in our rush to the next cinematic object, we not fall out of love with the original cinematic object.
"Facciamo dei film per i morti, ma poi bisogna mostrarli ai vivi",
così Leos Carax commentava il mestiere di cineasta nel terzo millennio.
Il cinema agonizza e per un'ora e tre quarti assistiamo ad un tentativo di rianimarlo praticandogli la respirazione bocca a bocca e il massaggio cardiaco.
Il paziente è ancora in fin di vita, il trapasso può arrivare da un momento all'altro.
Prepariamogli una sepoltura adeguata.
Pure cinema magic...
Wow, that's what makes me love this art even more and more, it's films like these that keeps the flame burning, A-MAZING piece of art, YES, art!!!
Kinda pissed at myself for waiting too long to watch this...
There's only one thing that didn't make this earn my precious 5 ones, Kylie part, sorry to me it was totally disposable, i was already so into being surprised all the time that when it came to that part it kinda tone it down a little, made it look less interesting...but overall it was incredible!!!
Def. an instant fave!
Gets better every time.
Cinema cinema cinema cinema, cinema cinema? Ci-ne-ma; cinema cinema ~cinema cinema~ cinema THE CINEMA cinema, cinema. Cinema cinema! Cinema,
The film should come with an informational booklet due to it's vagueness in certain scenes. It's worth a revisit and an interesting art house film of the 21st century.
I was expecting a weird Japanese movie, instead I got a weird French movie. I don't even know where that expectation came from.
It does make you question a lot, what? how? why? wtf?
But aside the questions of confusion, it made me wonder Do you live when you are living other people's lives?
It seems this movie has a lot of room for interpretation and discussion other than it just being plain weird.
Ich kam heute morgen endlich einmal dazu, mir Holy Motors anzusehen. Ich habe mir schon lange vorgenommen, mir diese Deutsch-Französische Co-Produktion anzusehen und habe es leider immer wieder aufgeschoben. Jetzt, wo ich ihn tatsächlich gesehen habe, fällt es mir allerdings schwer, dieses ambitionierte Werk von Leos Corax abschließend zu beurteilen.
Die Prämisse ist nicht allzu schwer zu beschreiben: Ein Mann namens Oscar (Denís Lavant) fährt in einer Stretchlimousine voller Verkleidungsgegenstände durch das nächtliche Paris und nimmt im Laufe der Nacht aus unbekanntem Grund und zu unbekannter Konsequenz eine Reihe verschiedener Identitäten an. Wir erfahren im Laufe des Filmes nur wenige Details über die Hintergründe. Er scheint dies als Teil einer Art Agentur zu tun. Wir begegnen im Laufe des Filmes…
Many favorites, as well as a small handful of films that I don't care for... in no particular order (1960-2014).
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…