Posted 13 July 2012 - 09:14 PM
: . . . and the ear-piercing scene was clearly a losing-virginity joke . . .
Huh. That never occurred to me, though now that you mention it...
: I think it's rarer for the cat to die.
I dunno. I'm not sure cats are on filmmakers' radar anywhere near to the extent that dogs are.
: As Bowen points out, whenever the story is actually about a dog, the dog dies. But I suppose you're right that it's rare for it to show up and get killed just like that.
Yes. 'Tis rare. Although, as I admitted in a blog post on this subject a few years ago, my thoughts on this subject were profoundly shaped by the Disaster Movie Revival of 1996 and 1997.
Posted 15 July 2012 - 08:50 PM
- I loved the music - Desplat, Britten, and Bernstein melded perfectly - lovely, lovely childlike stuff that enhances without obtruding - also, worth sticking around for the end credits for
- I'm not at all a fan of Wes Anderson's oeuvre, but man, I intuitively trusted his melding of story and mise-en-scene from moment one, and he didn't let me down. I can't remember a better use (yet not overuse, IMO) of panning shots than in this film.
- As a (perhaps over-)protective parent of 2 teens, the implied sexuality of Sam and Suzy's relationship left me a bit squeamish, but seeing this as a metaphor/fable for the 'leaving and cleaving' of young courtship and adulthood, it makes excellent sense and is quite moving. I'm actually thinking of taking my kids to this, just to see what sorts of conversations (or heck, even awkwardness) ensues. It would definitely be a nice break from superhero movies.
- Lastly, count me among those advocating for seeing this on the big screen: the pleasure of sharing in the responses of a receptive audience, the fantastic visuals, and excellent soundtrack all make such an excursion highly worthwhile. This is the only new movie of 2012 that I'm eager to see in the cinema for a second time.
Edited by Andrew, 15 July 2012 - 08:51 PM.
Posted 16 July 2012 - 01:02 AM
A couple of points apart from the story. The set design of the Bishop's home was way cool. I loved how the camera was moving around the home at the start of the film. I'd like to see pictures of the actual set.
Also did anyone notice that during the scene where the boy and girl first met up, the windmill behind them was turning in some shots but standing dead still in others. Not to be nitpicky but I found it intruiging that the filmmakers didn't seem to pick up on that obvious continuity error (at least while filming).
I thought the dog scene was pulled off incredibly well, simply by the fact that they were able to move into humour so quickly after (and slightly during) without it becoming distasteful. I'd think that trying humour that soon after killing off someones pet dog (in that way at least) has the potential to mistep and go south real quick. I thought that they managed to pull off the delicate balance of making this sad, but not to heavy that the film couldn't quickly go where it needed to go.
It was fun to watch the film in a fairly full theatre, and listen to some people's gut laughs. It seemed to have some parts that struck particular people in the theatre as hilarious, while others just chuckled, unlike other films where the audience in general laughs to about the same degree. I suppose that's because of it's quirkiness.... the humour touches people on a more individual level.
Edited by Attica, 16 July 2012 - 03:31 AM.
Posted 16 July 2012 - 10:40 AM
I agree with this. I think the narrative sustains it as well, as their relationship is not born out of physical but emotional self-discovery. The true scandal of the beach scene is not any sort of implied physical intimacy beyond what we actually see, but the way Anderson films these two relatively young children sans clothing. In several cases Anderson films Suzy in ways that in other contexts would be formally suggestive. But in this context, Anderson frames these shots with the overall Sam/Suzy innocence narrative such that to suggest these shots sexualize their experience just feels wrong somehow. In fact, it contradicts the way Sam and Suzy represent a restorative form of innocence, freedom, and faithfulness.
I think this is a brilliant maneuver by Anderson, and is evidence to me that he is more than just a storyteller and stylist. He is actually capable of creating, as in Moonrise Kingdom, a world in which all of the culturally-bred lenses for sexuality that color our experience of other films don't work. The one he creates in Moonrise is simply better, less susceptible to all the flawed perspectives on the human body and sexuality that other directors manipulate as convenient plot devices or use in place of actual character development.
Edited by M. Leary, 16 July 2012 - 12:10 PM.
Posted 24 September 2012 - 08:37 PM
Posted 02 October 2012 - 05:09 PM
Posted 02 October 2012 - 06:11 PM
Posted 02 October 2012 - 07:11 PM
Posted 02 October 2012 - 09:23 PM
I live in Maryland, just outside of Washington, D.C. There are no lower-ticket-price theaters around here... it's $8 and up everywhere. At the AFI Silver Theater (a short bus ride away for me), which has many of the independent and foreign films and documentaries that are discussed here, tickets are normatively $11.50. These well-heeled D.C. people and their artsy tastes, hehe... I just happen to be a poor person, living in the area, who also has some artsy tastes! Thanks be to God for Netflix!
Edited by Christopher Lake, 02 October 2012 - 09:24 PM.
Posted 06 October 2012 - 12:58 PM
So far, this is far and away the 2012 movie for me: a very bright light in what has been a year of dim and disappointing releases.
Edited by Overstreet, 06 October 2012 - 12:59 PM.
Posted 06 October 2012 - 01:14 PM
Posted 11 November 2012 - 03:41 PM
I finally got to see this last night. And as a viewing experience I loved it. Not sure if it will knock FMF off the top of my Wes Anderson faves list.But certainly it's a great film.
But I'm troubled by the groping scene between Sam and Suzy. At the time I assumed Suzy was played by an older actress, but actually she was only 13 or so when this was filmed. Which when you think about it means that someone got her to allow herself to be groped, for the camera. Perhaps I'm just over sensitive to this due to a big paedophile scandal that's been top story in the news for the last month over here, but I feel prooundly uncomfortable with that set up.
Anyone else think that?
Posted 11 November 2012 - 03:53 PM
Sorry to say I have no particular thoughts on the question you raised. Which is to say, I'm not quite sure what to think, myself. Though I did not think the film itself was exploitive in any way.
Posted 11 November 2012 - 04:08 PM
Just to clarify, neither did I.
Posted 27 November 2012 - 09:21 AM
Really enjoyed the film--one of my favorites of Anderson's. But I'm right there with you in a sense--and I see that others have discussed it above. I found the groping scene (and the upskirt shots) awkward and uncomfortable. If I was the parent, I would have axed my kid's participation based on those shots; upon reflection, while Anderson may not intend these images as exploitative, or as a corrective to the way we view or are culturally predisposed to see such images as sexualize, I'm not sure I care.
Posted 27 November 2012 - 10:30 AM
With Moonrise Kingdom I have a similar gut response in that some of the shots of both Suzy and Sam seem to: A. Cross some sort of hazy line. B. Are unnecessary in the sense that the same narrative element could have been filmed in a different way. On the other hand, the film would lose a hefty amount of its gravitas if the beach scene was less intimate. I don't think I would buy into the film's central relationship as much as I did if this budding romance, and its attendant physical component, had been sanitized for our consumption.
When it comes to Moonrise Kingdom and Walkabout, I would argue that the basic impulse for each film is a naturalism that only works if it adequately mimics how children relate to each other in real life. No one will question that Roeg is willing to go out on cinema limbs. But the beach scene in Moonrise Kingdom is the first time I have seen Wes Anderson so boldly demonstrate that he is willing to make the hard formal choices that lead to brilliant cinema. Based on what I see in MK, I don't think we have seen Anderson's best film yet.
But the question remains: Can these kinds of images of kids ever be filmed in a way that would not raise the exploitation question? I don't have an answer for that.