A man at the wheel of its large displacement, made laps in the desert. The sequence stretches until the vehicle stops. A pathetic moment in the life of a man. Welcome to the world of actor Johnny Marco.
Sofia Coppola has always been interested in characters like permanent jet lag she had known in the magnifying Lost in Translation. But young women hurt in their skins Virgin Suicides and Marie Antoinette gave way to a man of forty, who, still youthful physique with outfits that would not have disowned Kurt Cobain, like more like a teenager than a belated star confirmed. Yet, the man spends his free time at the Chateau Marmont desperate, well-known hotel ghotta Hollywood. Sofia Coppola herself has experienced this dissolute life at the time his father was attending.
The fourth feature is probably the least kind of filmmaker. It's a void she filmed with astonishing acuity that belongs to her. Once again, she knows to put his camera in the right place, filming the ghost Stephen Dorff as himself. Festive joy with hugs without sleeping, Johnny wanders like Marco a ghost. Without personality, a crass banality, it appears inconcient its own ordinary mediocrity. A number of striptease as mechanical as sterile and a master plan on his face wrapped in makeup dripping say to themselves, only the nonsense of his life.
Stephen Dorff and Elle Fanning
Then came the thinning in the middle of the mist. Her twelve year old daughter, nicely played by Faninger it, will revive his role as father. Sofia Coppola captures those moments of dad with his daughter without psychology superfluous. No settling scores or sequence-derived tears between her two beings who understand better than you think. Accomplice of this relationship, we particularly a hilarious sequence in Italian which they attempt to withstand the ridicule and the surrounding vulgar.
Once step parenting closed, Johnny Marco is once again confronted with the emptiness. He finally decides to take off his route and stop "somewhere". Sofia Coppola falls into the easy ending his film's most grotesque ways. Director will fail to go beyond the mere chronicle. This modesty, weighed down by some annoying repetitions Authoring, is also the limit of the film. The sadness is so dull in Sofia Coppola's a little light at the end of the road was not bad.
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