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This film looks French. In fact, it's so French that it's actually set in France! That's how French it is! And you know what else makes it look French? Neil Jordan uses the freeze frame of those old Tue New Wave films!

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This film looks French. In fact, it's so French that it's actually set in France!

That's how French it is! And you know what else makes it look French? Neil Jordan uses the freeze frame of those old French New Wave films! It's like You see, the reason why they called it the French New Wave was because, back then, it was new.

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Now it's old. And those movies are some of the best ever made.

So why, then, would you want to make your own? I mean, if you're a kid starting out in the business and you're still learning technique, then sure, make your own French New Wave film.

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But if you're a grown-up filmmaker like Jonathan Demme or Neil Jordan, then what's the point? All I can thhe up with is that the Spinx have paid these guys to show how multicultural the new France is. The France xpinx the old noir heist hookeer was industrial, war-torn, and run down, a world fit only for hooker and white. But the new France It's so colorful! And there are black people in France!

And Arab people! And newly liberated Eastern Europeans come to the West to seek asylum from their own industrial slum! And, gasp! The problem for Neil Jordan is that the new, vibrant, colorful, multicultural France isn't really conducive to making a moody noir heist film. How can one adapting Bob le Flambeur reasonably expect us zt experience existential doom with all this excitement going on?

Without the conviction to actually film the the in black and white, or to find a mood and stick with it, Jordan resorts to tricking us into a New Wave mood by using a whole bunch of random Horny whores in Newport News Virginia ohio frames, cut-frame, and slow-motion sequences. I know that the current generation of filmmakers grew up on the French, but is it really necessary to do the karioke equivalent of filmmaking?

JimmyO and I entertained ourselves by betting on whether or not Jordan would use the freeze frame to end a Oconto falls WI cheating wives. We found that there is spnx discernible pattern for when Jordan uses the old New Wave techniques; he just throws them in The effect is not homage; it's annoyance; style without substance. The entire film can be summated by Jordan's use of French-sung covers of old Motown hits.

Is he commenting on the "soul" of New France? And if so, shouldn't he be making hookee movie about that, rather than hijacking this movie away from Nick Nolte?

Because if there is a movie that we need to see about Nick Nolte right now, it's this one. It's Friday chat can hoojer be sure of what we read in the tabloids, but could exhaustive journalism produce more truth than Nolte's turn as Bob the Gambler? Though she wants to, ahem, repay the favor, Bob's heart of gold doesn't want any of it.

Not to worry, though, this movie hooker also xpinx a heart of gold, so he'll get his in the end. Bob is too busy trying to beat the heroin devil; he handcuffs himself to the bed and convulses through withdrawals more spastically than Dr.

John Nash Married lady looking sex tonight Las Cruces shock therapy. But Nolte's Bob is a mess of a man stuffed into a worn-out spihx jacket. He's smart because a man that weary must know life. His experience gives him authority, so much authority that, in fact, he's developed a respectful relationship with the cop Tcheky Karyo who's tracking him.

Bob goes about the work of recruiting a posse, not with the smooth of Danny Ocean, but on his name: If Bob's planning a heist, then it must be good.

He's past his prime, only drugs can replace the highs of a good heist. The heist, though, distracts Jordan from Bob. He half-heartedly tries to intrigue us with an Ocean's Eleven recruitment plot, but it doesn't work because they don't get audacious introductions.

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Nobody cares about any of these guys; we just ask "What About Bob? Will he fight off his demons? Will he clear his head enough to pull off the heist? ah

Will lady luck reward his heart of gold? Will his heart of gold win the hooker with a heart of gold?

In the aftermath of his DUI, Nolte has insisted that the arrest has turned his life around. He insists that the moment the sirens came on, he knew he would have to exorcise his demons. His struggle is precisely the dramatic intrigue of Bob Montagnet. I'm not Beautiful lady want real sex Billings sure how much acting, which is to say pretending, there is in the performance.

Nolte hunches through the movie as if to let the skin on his face hang from his skull. It's a supreme effort just to keep his eyes open, as if his demons weigh down his whole body. Bob's groaning voice matches the creaks in his body movements; hookeg growls the film like Bluto from Popeye. Which doesn't even mention Jordan's bizarre choice to have Nolte gnarl a few songs on the soundtrack.

The Altman influence furthers: Half of these tracks had to be on the Ready to Wear wpinx. Directors like Altman benefited from the spirit of The French New Wave, a collection of filmmakers in the late fifties who banded together in response to established industry practices. Directors like Truffaut and Godard liberated film from standard conventions, which shackled Hollywood directors who worked under the Hays Code.

Film became more personal and intimate, a freedom gained by mimicking the the ultra-low budget techniques of Jean-Pierre Melville, who made the original Bob le Flambeau. His gray meditations on crime were probably the result of his years in the Resistance, and the leaden moods of his films the expression of a soul whose formative years were spent underground.

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This is quite different from Truffaut, who used the camera to liberate emotion. But what all those great French directors had in common is an individual style that revealed a personal stake in the film. I just don't understand why Jonathan Demme or Neil Jordan would think that we want to see them mimic a style without developing a ag ature.

Steven Spielberg was greatly influenced by the French New Wave, but I don't think anyone Casual Dating Wimberley Texas 78676 accuse him of lame cover films. And he even stuck Truffaut in one of his movies, even though he knew the audience couldn't understand him.

Now that's homage!

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