I spent the whole time asking myself whether I was enjoying this. I tried, but I'm still not sure. I did appreciate the film making. The director clearly asked 'what can we do with the camera?' and the answer was 'anything'. There were many beautiful shots that had me hitting the pause button. A lot of it had an experimental feel - but that wasn't the problem. The story, based on an original screenplay by Kazuo Ishiguro (perhaps they should have stuck to the original), felt like it was concocted by different people trying to outdo each other with silly ideas (tapeworms, beer-filled glass legs, sleeping in the snow, a character based on Gavrilo Princip - you quickly stopped asking why) - but that wasn't the problem either.
The film might have been a collaboration between David Lynch, Orson Welles, Eisenstein, and the Brothers Quay - each of them disagreeing what the film should be about. It was worth trying. I quickly got used to the extremely smudgy effect - as if the lens had been smothered in vaseline - and I appreciated Isabella Rosselini (looking and sounding like her mother) and the big-eyed Maria de Madeiros.
The backdrop was a music contest between international contestants to find the world's saddest music. The face-off heats was pure Python but it was all kept strangely distant. There were several problems: the emotional drama between the father and the two sons was dreary, as such issues always are. Secondly, it wasn't funny, and that was because it was all art and no emotional intelligence. Thirdly, it said nothing. It was full of ideas, but they were all microscopic, worked out at scene level - or even frame level. The whole thing put together didn't add up to anything. In the end, the images were everything, and that is always going to be disappointing.
The film might have been a collaboration between David Lynch, Orson Welles, Eisenstein, and the Brothers Quay - each of them disagreeing what the film should be about. It was worth trying. I quickly got used to the extremely smudgy effect - as if the lens had been smothered in vaseline - and I appreciated Isabella Rosselini (looking and sounding like her mother) and the big-eyed Maria de Madeiros.
The backdrop was a music contest between international contestants to find the world's saddest music. The face-off heats was pure Python but it was all kept strangely distant. There were several problems: the emotional drama between the father and the two sons was dreary, as such issues always are. Secondly, it wasn't funny, and that was because it was all art and no emotional intelligence. Thirdly, it said nothing. It was full of ideas, but they were all microscopic, worked out at scene level - or even frame level. The whole thing put together didn't add up to anything. In the end, the images were everything, and that is always going to be disappointing.