Friday , March 5 2021

Nicolas Roegen thinks, Variety



In the 1970s, Victorian understatement was still known as a scene of love: spiders who are naked with privacy, who lived with the touch of voice in the field of cinema, the scene talked for years, even decades. Except for the "Last Tango in Paris" encounters, a 70-year-old love scene was held, as it had been spoken or a year ago as it appeared, "No look at it now." "The brilliant 1973 chiller is undoubtedly the target of Nicolas Roeg The best movie, died on Friday 90th.

The two stars of the film, like Donald Sutherland and Julie Christie, were both sexy and delirious at the same time, even though nowadays they see films appear to be bigger or smaller – a couple of ordinary middle-aged couples still sadly cover the death of their youngest daughter. Two are staying in Venice, the character of Sutherland, an art restoration, renovating an old church. It is a romantic scene of love, which is supported by the best soft-rock tunes, but also naked and graphic and orgasm. (Nowadays, it is hard to imagine that the rumors of more than being performed by both actors are no longer used for advertising purposes, but they were not treated as actors as actors.)

For all its dreadful bravery, what to do this really The scene of Nicolas Roeg was his courageous structural gambit: wearing Roeg sex wearing a pair of sexes, wearing a dress for a couple of minutes. This piece of editing, in a way that the censors were trying to calm down, transformed the meaning of the scene passion. He said: This seems to be a wild thing, but do not leave that fool – it's life.

The scene also said that Nicolas Roeg's films are: this past is present, the climate predicts, and although most of the elements are in the circle of fate.

"Look Now", based on the novel Daphne du Maurier, cuts were disturbing and unhappy, all driven by time and memory as manipulative filmmakers as Roeg's visual abilities. The movie has never left the old labyrinth of Venice in "Do not look at it" to taste the path of anxiety that increases and rotates the path. In 1973, he was shocked by the new movie, and never lost it in any way. The film was first modern The Gothic one, which seemed to be the first story of the ghost world, where these things were very crowned. It was something more than "look now" (although it did well, especially when a red hat appeared mysteriously); It was a tear of the cosmic tissue. It was a prismatic horror poem that seemed like a nightmare that opened inside you.

Nicolas Roeg was one of the most important filmmakers due to the attractiveness of its illustrative figures, the wicked power of his perception and the beautiful erotic quality of obsession. However, his life as a filmmaker did not last long (although, according to all rights, he was longer). Born in London before directing the film in the 23-year-old British film, he works as the first cinematographer. He worked on "Lawrence of Arabia" by David Lean, and then "Ph.D. Zhivago" fought his camera's elegance with Thomas Hardy's sedatives to find himself "Far from the Madding Crowd" (1967) and fashion -forward Godard-meet-Carnaby-St. Vital "Petulia" (1968).

But they were the directors' films. In 1968, Roeg finally had the opportunity to perform his performance with the conductor (along with Donald Cammell): "Performance", a psychedelic London-set gangster-hides-out-rock-star, James Fox, stylish and blue Mick Jagger. The movie was so ominously elliptical, his studio, Warner Bros., did not know what to do. They redone (and have not been released until 1970), it can be a reason, the cinema does not make sense. However, the thing about "performance" is that it is not. The cult griminess of the earthquake is a nightmare, you can not shake – dizziness and foreboding, as if they were in the abyss, and they all meet when Jagger sings "Turner's notes", "A Clockwork Orange" would look like Mick Alex.

In "Performance" and "Do not Look Now", Roeg called him an idiosyncratic version of the Disney movie: "Walkabout" (1971), settled in an Australian campsite and reportedly linked Aborigine (David Gulpilil) and two dead brothers (Jenny Agutter and Luc Roeg). The narrative of survival and intercultural friendship was conventional, yet Roeg's images were deeply influenced by his humanity. The film said Roeg could almost take on any issue and infuse it with sensitivity.

However, he wanted a broad audience and, in 1976, before "Star Wars", he made one of the biggest film fiction films in the future to use futuristic images. this world. "The man who came to earth" was the first movie, and still, most of all, he caught a fascinating and decadent world of David Bowie's "mystique". But his fate goes to the place where he is missing. He becomes an entrepreneurial corporation, an alabaster skin addiction, and a earthbound goddess is a terrific look, watching TV shows at the same time: "Any prophecy of the 70s was the prophetic image of a place." "The man who has reached the ground," "Blade Runner" is the cousin of the headline, a movie of other texts that demands to live as a dark dream, as Bowie's science-fiction as weakened Christ's image. He is still a permanent worship film and Roeg, at the age of 48, was one of the founders of fantasy.

His career was full of flames, however, to be rebuffed without any effect. And I'm saying someone is a fan of his next movie. "Bad Timing: Sensational Obsession", premiered in 1980, the latest "classic" Nicolas Roeg cinema. In short, it is rooted in the structured game that breaks the aesthetic of time and images that feels hypnotic feelings of self-sufficiency. Matter Male toxicity at the extreme. Garfunkel's Art Room, occasionally a daring but courageous performance, femme fatale as an emotionally broken psychiatrist, played a great role with Theresa Russell (actress Roeg's wife). When they break two, Garfunkel's character, a combination of despair and fear, is an action that is so horrible that the movie must be a scandal. He hardly saw anybody yet. And the rest of Roeg's route became a foothold.

They liked one or two reflections, "Nonsense" (1985), XX. Subsequent icons clues (Michael Emil, Albert Einstein, Theresa Russell, Marilyn Monroe …), a comedy that really makes the movie. Einstein's physical work to explain physics). Witches, "Roeg 1990 Roald Dahl Adaptation" fans (though not) never intended. But the success of Nicolas Roeg's career since 1980 has not come to the tone of filmmakers. It is an alternative universe that can be quite visually invisible maybe They did, fuse their techniques with fusion-fed machines.

OK, it's the only way. However, "No look now", it was an arty or highbrow (it was a horror movie), and it could be imagined to create an elegant and delicate spy-thriller created by Roeg. From "Performance", it was very important for four (or perhaps five) films. However, after his sensuality and stupidity, and images of his images (Mick Jagger hangs his curtain hair, red bell, Donald Sutherland, hanging from a scaffold lying on David Bowie's canal-gawking). Now I want to go back and see people looking for ways to escape from their borders wherever people fall on the ground and at the same time.


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