Посмотрела "Аве, Цезарь!"

[morreth]

Один вопрос - об чем это вообще?
До варианта "о том, какое говно эта студийная система времен "Золотого века Голливуда" я сама додумалась. А вот какие еще варианты?

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[j-reads-comics.livejournal.com]

И далее:

Mannix receives a ransom demand for Baird's release. He secures the money easily. One of the throwaway jokes of the film is that the amount is so small. It slides right in next to a joke about Esther Williams-manqué DeeAnna Moran (Scarlett Johansson), who's a little pregnant, so her mermaid "fish ass" doesn't fit so good no more. And another joke where twin gossip columnists (both played by Tilda Swinton) believe the other is a discredit to their disreputable profession. We should also mention Burt's energetic On the Town number and paean to the love that dare not speak its name. The throughline is a mission to present a certain image to the public, no matter the sordidness of the personal apocalypse.

Mannix is the guardian of that projection of propriety. ("On account of how innocent you are.") Embedded in the knowingness of the piece is the notion that we've irrevocably lost something in our post-modern self-awareness: that smug satisfaction allows gaggles of freshmen appreciation classes to giggle at the rear-projection and mattes in Vertigo while losing sight of the fact that the artifice is the message. The artifice is the message in Hail, Caesar!, too--it's the Coens' career thesis. This is a movie that deepens with your knowledge of film history, it's true, but it deepens more with your knowledge of the Coens. The Big Lebowski is an adaptation of The Big Sleep, a book that takes place in Hail, Caesar!'s cultural history--its most trenchant moments come in the skeleton of the misapprehension of the tenets of nihilism that ironically informs the Tao of Dude. The Coens are great filmmakers but may in fact be better critics. Hail, Caesar! posits that we lose something when we "see through" Burt's dance with his buddies as smirkingly homosexual; when we don't think of our starlets as fresh off the bus; when we refuse to accept things at face value. There's a moment where Mannix gets the news that Moran has eloped with a schlub she met only a few hours before, and there's no register from our hero that their love isn't genuine, though we sure get a giggle out of it. Hail, Caesar! says that we're smarter, but we still don't know anything and, more, we didn't used to be dicks.