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Посмотрела "Аве, Цезарь!"
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?
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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Hail, Caesar! is about the end of the world, the coming of the saviour, and how Hollywood is ever the reflection of prevailing attitudes. The timeline places it at the turn of the 1950s. Mannix is depicted as married, which he wasn't until 1952. Baird's biblical epic is in the vein of 1953's The Robe. Bikini Atoll was bombed in 1946. There's a segment from a movie that's been woefully miscast with Western singing star Hobie Doyle (Alden Ehrenreich); the bit of it we see during a hilarious Frances McDormand cameo borrows from the opening of Strangers on a Train (1951). Esther Williams's Million Dollar Mermaid, by the way? 1952. So Hail, Caesar! is a pastiche of Old Hollywood at its peak. It's like that hall of mirrors at the end ofLady from Shanghai, except reflected in every panel is another piece of our movie-love. The picture plays with industry artificialities and indulges in its fits of ego when Mannix assembles representatives of major faiths to ask them if they think his studio's depictions of "The Christ" are, you know, reasonable. Later, Christ is asked if he's a principal or an extra--the distinction earning him either a hot lunch or a box lunch. He's not sure. The only thing at stake, really, is that lunch. Hail, Caesar! does something interesting in that it suggests that the artifice and the audience's willing engagement in it is the exact simulacrum of the word that Baird, in the midst of his big Oscar speech, forgets: "faith." Mannix visits a studio Golgotha set and genuflects beneath the centre cross, which has the same disconnected impact as the funeral scene from Synecdoche, New York. No accident that a doddering, Freudian professor The Future trots out as their guru posits, essentially, the cognitive science of religion in the mind-body dualism. Hail, Caesar! says that much of what's wrong with us is our inability to enjoy something without critical distance anymore--the snarling posture of someone who's been abused has seeped into our relationship with the world. We complicate everything with our petty imperfections. It says that engaging, truly engaging, with the Cinema requires exactly the same mechanism as engaging with Religion. Hail, Caesar! is the Coens at their most and least cynical. Amen and hallelujah.
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