Word: neon
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Dates: during 1980-1989
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...laid out. Herzog sends Kinski and his crew up the river. They chug in a rickety steamship chiristened the Molly-Aida--a name which contains the symbolic kernel of film. The yoking of Molly (Claudia Cordinate), a brothel madame, and Fitzearruldo's mistress, and Verdi's opera is a neon sign for the Juxtapostio of Prostitution and Art. It's Imperialism and the Musc, strolling in hand up into the old Heart of Darkness. Unfortuantely, this potentialty interesting irony is crushed by the film's mass. P>Early in journey upstream. Herzog achieves one scene of considerable,, if fleeting, power...
...ASHBY'S NEWEST FILM, Lookin' to Get Out, is framed by illusion As flashy neon titles appear in the opening sequence, two brightly dressed magicians work their chichi miracles on a glittery Las Vegas stage. The closing credits roll over a juggler trying in vain to make something of a very state routine...
...full two weeks after the neon orange and blue Steve's cone first lit up on Church St., there are chilling indications that something got lost during the trip down Mass Ave. No longer treated to the perverse pleasure of a 20-minute walk and a 30-minute wait, connoisseurs now are discoving a sterile, betrayed environment. Although the Square may have gained a few new flavors, ice cream lovers have lost much more: the Steve's myxtique...
WHAT PUTS DIVA in a class above the usual plotty thriller is its bizarre setting. There are no romantic sidewalk cafes or sunsets over the Eiffel Tower in this Paris. Instead, the viewer enters a world of neon and cellophane and leather--a world in which vast underground garages contain video palaces and cats have names like "Ayatollah" and everyone lives in a loft. And yet, what makes this punked-out environment intriguing is that it contains many small reminders of the old Paris. Jules first meets Alba when he watches her shoplift records in a discomat. She is dressed...
...does echoes of film noir as well as its own peculiar vision of Paris in the '50s. One of the most memorable shots is of the contrast in the still landscape of Montmartre at night. In the pitch black lower part of the frame only the sharply etched neon nightclub sign. "Pigalle," stands out, while above the dome of the Sacre Coeur cathedral is silhouetted against the mist. The music reinforces the fundamental contrast inherent in the film. It is magically distant and redolent of both jazz and the French music hall. The only part of the film that unfortunately...