Word: sexes
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Dates: during 1960-1969
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...criminal insanity aside, his remarks are the ideal preface to a film that shows just how horrible the paranoid lives we lead in the shadow of Vietnam are. The film is about three young New Yorkers, Jon, Paul, and Lloyd--apparently students--and their hassels with the draft and sex. Greeting has a very hip perspective on both; unlike so many films today that speak to the student, Greetings speak for them. It was made by anonymous young group, shot on location in New York City, with much of the dialogue improvised. In these respects it is like some...
...movie maker to get them to take off their clothes. Paul is a computer dater. He has one "premature ejaculation scene" which sounds like it should be very sexy, but is rather just very funny. Don't go to this film expecting to be aroused. The sex scenes are mostly about the horniness of the trio, and made me all the more embarrassed at the horniness that kept my eyes glued on the screen...
GREEN IS HONEST. It paints the student in the patchwork mix we all live. We hope we are against the war for better reasons than that we are scared, and we hope that we want sex for other reason than fucking itself. But there is a dualism of high values and a debased reality in a lot of what we do. Our response to this dual nature may take the radical form of blaming corporate power for the evil we live, but this is often self-deluding and hopelessly illogical. In one scene of Greetings, a man is selling...
...searching amidst chaos, and the half-assed things young people do when they are confused. It's a good film. There are a lot of funny lines, and I laughed very hard. But someday we won't laugh about the draft, the Kennedy assassination, Lyndon Johnson, Vietnam, or perverse sex. Someday Greetings will remind us of a time when we got hip, and made a Heaven out of a national Hell, but got debased, and arrived at something which was just a new hell all over again...
Petur Gudjonsson's Father seems insufficient and perhaps even bland at the opening of the play. But this is a character unaware of himself: he is created as the play progresses, as his own position and that of his sex becomes clear to him, and as his anguish overwhelms him. Caught in this process of torturous revelation, Gudjonsson is convincing and arousingly pathetic. What is most intriguing is that the father is never moved on the basis of fact, but, much like his wife, decides on the basis of inclination and reasons and rages in fantastic uncertainty. He must fail...