Word: filmic
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...Easy Rider is basically the filmic diary of a motorcycle trip through the Southwest to New Orleans. The travelers are two young hip types, Wyatt (Peter Fonda) and Billy (Dennis Hopper) who have managed to smuggle in a large quantity of cocaine, and, having bought two Harleys, are heading for Mardi Gras to celebrate. The two meet up with George Hanson (Jack Richardson), a drunken Southern lawyer, while in a Deep South jail. Hanson, yearning for some legendary whorehouse and dominated unto middle-age by his Daddy, decides to accompany them to New Orleans. But camped out one night they...
Easy Rider is basically the filmic diary of a motorcycle trip through the Southwest to New Orleans. The travelers are two young hip types, Wyatt (Peter Fonda) and Billy (Dennis Hopper) who have managed to smuggle in a large quantity of cocaine, and, having bought two Harleys, are heading for Mardi Gras to celebrate. The two meet up with George Hanson (Jack Richardson), a drunken Southern lawyer, while in a Deep South Jail. Hanson, yearning for some legendary whorehouse and dominated unto middle-age by his Daddy, decides to accompany them to New Orleans. But camped out one night they...
...expensive restaurants and expensive ladies rooms. But they become bored with being successful parasites; they lie, they steal, seeking new excitement, "a worse kind of life." Finally they stumble upon an unattended banquet, which they utterly destroy. Here the film stops; they are seen drowning, calling for help against filmic extinction. The filmmaker, arbiter of their future, types out a message on the screen: "Even if they were given a chance, things would, at best, turn out like this." But they are given a chance, and suddenly are back at the ruined banquet, trying to set things alright. They fail...
...they can keep their eyelids from drooping at Kwaidan's plots, moviegoers may well be enchanted by its decor. Director Kobayashi imagines a never-never land of vermilion skies and shimmering, silver-green grass, as miraculously unreal as a Japanese landscape painting on silk. Such filmic virtuosity seems almost commonplace, though, among moviemakers of Japan, who sometimes say nothing and say it so impressively that their essays on art appreciation pass for art itself...
...search for God, no solace in Bergman-style pseudo religion, as in Through a Glass Darkly and Winter Light. Instead, Bergman now seems to suggest that man must stand alone, without the crutch of a religious vocabulary. It is unfortunate that neither this encouraging thematic advance nor Bergman's filmic mastery can hush the grating content which disrupts The Silence...