Tuesday, January 31, 2017
Living In A Community
W. speeches practically commenting directly on plot developments. Since it becomes the point more than anything it all overwhelms the narrative but since there really isn’t anyone to ‘care’ about it all becomes a little clinical, almost as if we were watching a film about a worldwide financial crisis set on another planet. Even some of the plot developments are basically reported to us, information learned offscreen then reported secondhand later on. On a purely cinematic level the whole thing becomes so skillful in how alienating it’s willing to be that I kind of admire how the approach all becomes more about the scummy vibe than anything. Even the sound mix is downright Lynchian at times making each rundown building seem alive with subterranean noises. The camerawork courtesy of cinematographer Greig Fraser (recently the DP of both LION and ROGUE ONE) is almost reptilian in the way it seems to follow behind the characters and at times it’s a little mesmerizing. The big robbery sequence is particularly impressive in how it drags that quiet tension out even with those stupid dishwashing gloves they have on, playing almost as a short film in itself with minimal dialogue and in that silence we can tell exactly what the card players are thinking as well as how Ray Liotta’s poor bastard Trattman knows they’re thinking he’s in on all this. It’s isolated moments like that which work best throughout, not necessarily connected to the larger narrative as if the film itself can’t ever bother to get interested in the actual story, knowing that some clarity to a few story beats would help but not bothering—how many scenes are even in the film? 25? 30? Even if Dominik decided that the fractured nature of the storytelling was more appropriate at least he shoots the hell out of some of those individual moments and in its own way there’s barely a wrong shot in the film, the camera always knowing who to fix on at any moment and how far away to stay from them, keeping scenes visually active by breaking them up into sections but too often the wordiness of the dialogue gets lost in it all as if Dominik was staging for the visuals instead of the dialogue. To be honest it was a help when I decided to turn on the subtitles to help follow along with the plot which clarified a few things but also made me wonder about holes that weren’t plugged in, making the film seem more like a collection of stylish scenes than a complete story.