Is it just me, or does Anton Corbijn take a little credit for the celebrity of the musicians he took pictures of. He even preferred that the Moonmen of the MTV awards go to the directors instead of the musicians. Well, I guess he could be right about that.
“Shadow Play” does give you new insight on Corbijn’s aesthetic. He’s stereotypically a dark photographer who took pictures of gothy artists like Joy Division and Depeche Mode. What the documentary shows is how Rembrandt influenced him. There’s two or three sentences dedicated to how his father only took him to those art shows. But everything makes sense after hearing about that streak in him. The iconography, the tenebrism. EVERYTHING. I wonder if he gets blurrier as he gets older.
It also shows his humourous side. I didn’t know he directed “Heart Shaped Box.” I didn’t realize how funny and surrealist those images were, and the documentary makes it look exactly that instead of the hallowed interpretation the original video had. I didn’t know I could respect Cobain again. I didn’t know Corbijn did colour.
The movie also documents him shooting his first feature, “Control.” Seeing the making-of of that film takes away the varnish that black and white films normally present. Although Sam Riley gives the performance of his life, I do prefer Ian Curtis as a character in”24 Hour Party People” better.
Corbijn looks a bit like Mario Testino. Both tackle celebrities although the former’s gloom is nothing like the latter’s luxury.
And I didn’t catch on with the daddy issues.
And despite me apprehensions I can’t wait for “The American.”
While everyone else was watching “Glee” (seriously, fuck that show), I was masochistic and I watched “Saving Private Ryan.”
I have trouble writing about this since this is turn of the twenty-first century cinema and those have different expectations than I do now. And it’s a bit of a pejorative but it’s still true that Spielberg has that mainstream feel to all his movies, even the most depressing ones like this. The movie does start with irritating hope music that would eventually be done away with years later.
But the movie quickly earns the right to use that music when it switches to a grueling 30 minute slaughter scene of American soldiers. Spielberg spoon-feeds but his in context to his more recent work, we get a little surprised by what’s…in his stew. The movie shows a man getting killed seconds after seeing someone else getting shot. In moments of relative peace, we forget the sadism that is unfortunately necessary in times of war.
This movie reverses the world view of “The Thin Red Line.” Unlike the Malick film, deaths in “Saving Private Ryan” less elegiac and more guts-y and faceless. Also, the leaders responsible for the myriad of slaughtered young men is faceless. We see generals ordering rescue missions instead of ambitious military attacks, although the movie shows both. The brutality is then seen in the lower level, making ‘the American people’ just as cruel as the enemy.
I don’t know why there are so many women in my pictures. They only show up for five minutes, but they that effect on me. Home front, I guess.
The scene with the mother also starts off how Boschian Spielberg could be. Comes with the territory and subject matter, I guess. I could notice the little details from the TV, it would have been fun watching this in the theatre. But then it wouldn’t have been fun since I was ten at the time.
Anyway, enough of me now, enjoy the rest of the screen caps, if you can even call this enjoying.