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by Somlói Galuska Sun Mar 13, 2016 5:57 pmWilliam Murderface wrote:Anđe'o wrote:Ja isto ne mislim da je taj deo trivijalan, u stvari su dramaturzi-komunisti tu pravi koenovski junaci - ljudi koji imaju naivnu, gotovo infantilnu ideju o kriminalu, ima takvih u mnogim filmovima Koena, npr. dvoje fitnes idiota u Burn After Reading.
Meni je inače neverovatno koliko je sa nerazumevanjem primljen taj deo kod domaće kritike. Ghoul napada Koene jer po njemu Koeni optužuju dramaturge za špijunažu, a Williamov dobar drugtvrdi da Koeni "dokazuju krivicu komunista i da je HUAC bila u pravu"
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Koeni, međutim, tu dosledno rade ono što rade i u čitavom filmu - ekranizuju urbane legende, mitove i zablude o klasičnom Holivudu, pri čemu to rade s ironijom, ali i s ljubavlju, na način klasičnog Holivuda. Holivudizacija klasičnog Holivuda.
Tako je, recimo bila priča za Tom Mixa da nije otišao da radi na radiju, kao mnoge zvezde njegovog vremena, jer je imao neočekivano piskav glas i nije u stvari umeo da govori, što mu nije ni trebalo za nemi film. E. J. Mannix, nasuprot legendi, sigurno nije stvarno šamarao glumce.
Moram da priznam da mi jedino nije jasno zašto se glumica koja izađe na dejt sa Hobijem Dojlom zove Carlotta Valdez
Ludi Armond White piše isto što i Dete Mita. Koeni rakrinkali komunjare!
The screenwriter scenes feature a coup: The high-living scribes are visited and encouraged by one Herbert Marcuse, spoofing the famous philosopher of the Frankfurt School, who comes down from his tenured perch at Stanford to foment the studio revolt. (“History — economics. Same thing, don’t you agree?” the sage pontificates.) The Marcuse joke corresponds with the Frankfurt School condemnation of Michael Walsh’s essential bookThe Devil's Pleasure Palace: The Cult of Critical Theory and the Subversion of the West. Credit the Coens’ superior snarkiness for their being the first American filmmakers to bring up cultural hegemony in a mainstream motion picture. They had previously invoked the SDS’s Port Huron Statement and art-world nihilists in The Big Lebowski, but with no political resonance. Hail, Caesar! exposes the sanctimoniousness of Ben-Hur kitsch as well as the self-conscious moralism of Frankfurt philosophers such as Marcuse and Theodor Adorno, author (with Max Horkheimer) of the oft-quoted but rarely heeded indictment The Culture Industry.
Read more at: http://www.nationalreview.com/article/430815/hail-ceasar-coen-brothers-movie-review-cultural-satire
Lud ko struja. Klikni na ovu knjigu "Devil's pleasure Palace"). Antonić da mu pozavidi na izboru literature.
Antikomunizam deluje na filmske kritičare k'o da su se naduvali lepka.
White je stvarno zabavan, ali gotovo ni u čemu se s njim ne slažem. Možda ga treba posmatrati kao zabavljača.
Erős Pista
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