And their entire romance is more or less the same-just stipulated according to the requirements of the plot, rather than actually dramatized. Rather than depict Charlie's realization either visually (catnip for Hitch) or through dialogue, the movie just vomits it up: BLEEAARGHHH. See what I mean? I don't see how you can make a case for this as subversive in the way that, say, Judy's letter to Scottie in Vertigo is subversive. This is such a hugely revered movie that I really want folks to understand where I'm coming from, so stop for a sec and actually watch that "transition." The film, at this writing, is here, start at 49:20 and watch the next 40 seconds or so. Some aspects are so freakishly lame that you'd swear entire scenes are missing, most notably the dissolve from Charlie and the dick out on their date, embarrassed at having been "caught" by one of Charlie's friends, to Charlie suddenly exclaiming "You're a detective!" in alarm. Short recovery-room version: Everything involving the detective who gets romantically involved with Girl Charlie is terrible. (Some may argue that my low rating relative to its canonical status indicates that the virus had already gone to work on my faculties.) Virtues speak for themselves-Hitchcock, cat-and-mouse, whaddaya need, a road map?!-and it feels to me as if the problems should be equally apparent.yet here I go again on my own like the goddamn Whitesnake drifter. Had a lot to say about this, but unfortunately I was smacked by the flu the same night a week later, as I slowly re-enter the world, it's all gone a bit fuzzy.
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