I'd drop Sexy Beast from the list. As good as Kingsley's
performance was, it was one-note played incesantly; I guess I
wanted more dynamics. And why was Ray What's His Name so
essential to the caprer, all he did was jackhammer a hole in
a wall and swim through it?
And I haven't seen the new Coen brothers film, yet, but I'd
agree with the others (especially Time and Tides), plus
Craig's additions of Deep End and Memento.
All of the recent talk about the Flitcraft story has gotten
me thinking. It seems to me that tale sums up the noir
mindset, that inability to change, that falling right back
into the same patterns, whether or not the protagonist is
aware of it. Most of Goodis feeds on that futility. And so
does Ghost World. Does anyone really believe Enid's life is
going to be any better or even different, no matter where she
gets off that bus?
Mark
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This archive was generated by hypermail 2b29 : 12 Nov 2001 EST