AP The film "Guy and Madeline on a Park Bench" accentuates the bittersweet reality between the visceral portrayal of who we are, as opposed to the idealistic image on how we perceive ourselves. The film is full of references to French post-war films so it's added fun to watch for the expert as well. But it's Chazelle's grasp on the ups and down's of relationships that make this yet another interesting directorial effort from him. Aggressive and sure where Madeline is passive and shy, Elena also provokes the movie’s most magical scene: a silent subway seduction, dense with restrained eroticism. Chazelle uses the age-old trope of the two lovers temporarily separated to set-up and underline the film, filling it with seemingly unconnected glimpses of the lives of each one, but through cunning use of sound, thematically and tonally feels united and smoothly transitions these themes from scene to scene. This film felt like it was trying so hard to be so unique, yet it seemed like the movie had confidence issues.
The whisper-thin story introduces us to Guy (Jason Palmer), a talented jazz trumpeter, and Madeline (Desiree Garcia), a rudderless waitress. TWITTER But the attempt at the realistic dialogue was unfortunately ruined by the actors.
Unable to find words to adequately to express his helplessness at Madeline's imminent departure, the plaintive notes emanating from Guy's trumpet say what can't be said any other way. the rest is almost unwatchable. I should have gone with my first impression and walked out after the first ten minutes. | Cookie Settings. His film suggests that the emotional connection between players and instruments is direct, passionate and unequivocal and that music, a jazzy, exhilarating soundtrack underscoring daily life, is the lingua franca of human experience.
Guy could be any young man searching for love and losing it, except this one is a helluva musician. Save yourself the time and trouble as this is more of a "first-year film student" type of picture. The only similarities are really that instruments and music are at the core (just like, also, the film he co-wrote grand Piano). The picture qualify is even less finished. But no matter how it looks simmilar with "Shadows" because of improvised dialogue (read: free dialogue on previously "fixed" concept), and cinema-verite style in camera-work, there is a definite proof that director knows how to build a solid scene out of a few fragments, how to direct and build up certain degree of emotion without going into cliche, and how to deal with the details. ParkerProducer: Jasmine McGlade, Mihai DinulescuDirector of photography: Damien ChazelleMusic: Justin HurwitzCostume designer: NoneEditor: Damien ChazelleNo rating, 83 minutes.
Yeah, I could see many not liking this at all or liking Whiplash, or even, liking this or not Whiplash because both are so different in style so there's no telling which way the passion will go. These choices, while integral to the film's verite charm, may impede its chances of theatrical release.
This is embarrassing how this guy has manipulated everyone into thinking he is some original genius, but he is just as much of a hack as Tarantino. Metacritic Reviews. The moments when the actors break out in song and dance were just pure fun.
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