Word: soulfully
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Dates: during 1990-1999
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...Will is sensitive too. He can't help being perfect, but deep inside he's a poor abused soul. In any other movie, we would hate Will Hunting. His perfection would be nothing short of violently irritating--and lethally boring. And yet, Damon avoids the pitfall of being one-dimensional. Instead, he keeps shedding layer upon layer of complexity during the film until finally we reach the core of his character near the end. It's almost as if he knows Will is all an act, a mask for something much deeper and thankfully less heroic...
There, Miles declared himself a "pious agnostic." An agnostic in the usual sense, he thinks that we humans cannot know whether God exists or not, However, unlike most agnostics, he is a regular church-goer. Church attendance is good for society if not for the soul. Miles remarks in The Sentinel that he often leaves church "with gladness and singleness of heart' to love my neighbor as myself." Moreover, he explains, "It is not the saving knowledge I find there...but the admission I make there as nowhere else, that no knowledge saves...
Jackson, De Niro...Grier? If you watch Grier's blaxploitation flicks, you can see what Tarantino may have seen in her (MGM is re-releasing both Coffy and Foxy Brown on video, rechristening them "Soul Cinema"). In her most popular films, Grier played a strong woman out for revenge. "This is the end of your rotten life, you motherf___ing dope pusher," she cries in Coffy before blowing a dealer's head off. Grier was a woman of action well before Thelma met Louise, or Ripley encountered aliens. In 1975 Ms. magazine put her on its cover. She was also...
Even the Sundays' lyrics seem to support the two halves of this proposition: one of the lines from "Folk Song" ("it stoned me to my soul") is a near-replication of a Van Morrison lyric. In addition, "I Can't Wait" alludes to the necessity of a creative vacation in order to produce a better recording in the end: "when there's more in your head than you find in your life/calls for a change...
...work--evoke echoes of the theatre of the absurd, of postmodern anguish a la Waiting for Godot. But it seems unclear why this effect is courted in the first place. The movie's ultimate aim appears to be a statement about the sublime aptitudes and beauty of the human soul, and the existentialist numbness of its intermediate scenes, striking as they may be, are working against this effect...