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.
A movie about the exquisite death of cinema....or perhaps the re-birth? Trans-formative, gonzo, and ultimately moving this movie is perhaps the greatest film to come out in the second decade of the 21st century.
Amazing, Genious and Beautiful
Holy Motors is certainly strange enough for its reputation to be warranted. A surrealist travelogue of sorts that follows Oscar, an actor working for an unnamed agency, who performs different roles over the course of a day.
Holy Motors begins with a prologue that does a great job of setting the tone for the rest of the film: a man walks through a wall and enters a theater wherein the audience are either sleeping or dead. From there, we follow Oscar's story, which is basically a series of vignettes interconnected by his limousine ride to and from each "appointment."
Each scene is unique, dream-like, and ambiguous, with little logic or coherence to any aspect. Various themes are touched upon: reality…
¿Qué pasaría si el autor tuviera plena libertad en su obra? ¿Qué pasaría si los actores fuesen esclavos de una vida que no les pertenece? ¿Qué pasaría si la verosimilitud de las cosas no importase en pos del arte en sí mismo? ¿Qué pasaría si un conjunto de fealdades fuese lo más bello visto en años? Holy Motors es todo eso y más. Un film que arrolla todos los estándares impuestos por la industria y nos regala una obra maestra de una belleza incalculable. La cumbre del cine de autor moderno y un clásico instantaneo.
Best movie about movies I've seen lately
Best movie about movies I've seen lately
A film so strange, it is hard for me to formulate a review of it that would make any sense. Holy Motors follows a man, Mr. Oscar, who travels around in a limo, and changes lives, much in the way we change our clothes, to suit whatever is needed for his next assignment. Nothing about the story makes any sense, unless you look at it as some future form of entertainment... but even that could be stretching it.
Like I said, it's a strange film, but it is oddly compelling at the same time.
I can't give this a rating because my attention span isn't equipped for this movie, at all.
Less a movie, more of an experience. I enjoyed the experience of watching this.
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…