Word: metaphores
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...Godard female has often been a prostitute. She expresses his vision of every man-woman relationship, and serves as a metaphor for the personal film maker in a tawdry art-industry. But Isabelle, in Every Man, exists simply to endure: to suffer the indignities of venal clients, and to survive with her mystery intact. She is a modern, unsentimental version of the silent-screen innocent who is noble not because of what she does but because of what men do to her. She is touched - indeed, pawed and probed - but never moved. And that is her revenge on the male...
Sexuality and swords--an ancient metaphor, and one that becomes tiresome about halfway through the evening. Yet it helps create a shaky, violent world in which fact and fiction, murder and loyalty, blur dangerously. When the king's party enter Macbeth's castle to spend the fateful night, young Donalbain screams and falls to the ground with a dagger in his side--just kidding, of course. Banquo's ghost strolls in and pours himself a nice, long draught (rather bloody, actually) at Macbeth's banquet. The messenger warning Lady Macduff of impending doom tries to seduce her after her moody...
...animal metaphor obtains here. Blake is a rambunctious baby bull, snorting and butting and pawing the ground, looking for a matador his own size. Cannon is a gorgeous, frisky filly with a case of the giggles. Together, even in a pasture full of chuckholes, the lovers have a lot of fun, and some of it is infectious. Director Sargent orchestrates the punch-drunk merriment with finesse. But one cannot help remembering that the movie's working title was What's That Funny Smell? Under any title, it offers the film equivalent of a day on the farm...
...Jimmie Blacksmith's rampage continues, the film transcends the individual acts. On perfectly sunny days, human beings explode, literally explode, gaping holes where vital organs once were. And yet the Terror becomes metaphor. Nothing is what it seems. It only takes a second. In the end Blacksmith is as destroyed by the violence he makes. "Does anybody deserve this?" Jimmie is asked. In one incredible sequence, Jimmie Blacksmith stands on an ancient sacred Aborigine spot, an amazing visual juxtaposition, part Old World and part Urban Present. He has no blood ties. No gods. The only justification in his mind...
...stars in the film as Linda's father, whose alcoholism and sexual perversity have contributed to Linda's spiraling decline, obviously. Linda, suited for the part but laboring under the random references to last year's chart listings and a script that forces her to embody a homicidal punk metaphor, finally snuffs her folks while singing "Teddy Bear...