David Lynch ripped this movie off when he made INLAND EMPIRE.
Watching this I was astonished by how much more accessible and straightforward it is than Godard's work on either side of it and before the subtitle credit even disappeared the older man in front of me asked his partner "so what was that all about?" Then on the way out the door the college-aged kid asked his friend, "can you just explain the entire movie to me."
Can't please everyone, I guess.
Ideas about this film I am willing to entertain:
1. We are supposed to think of Michael Stone as an awful human being.
2. Everyone is poorly written on purpose, that's the point. Michael can't see anyone other than as a sketch of a human being that exists in relationship to him.
Arguments about this film I am not willing to entertain:
1. This film has any insight or anything of significance to say about Michael, the male psyche, masculinity…
There is a stupendous Kuleshov Effect moment in this film: It occurs some half hour or so after Brad Pitt tells his middle son (I believe) that "not to end up like I did, I dreamed of being a great musician." Pitt is playing the piano, and during a rest, just as his fingers are descending, hears the plucking of a guitar and turns his head to look. There is a cut to a shot of the same son (once…