Good satire. Appreciate the varying flavors of anti-authoritarianism mixed with the Looney-Tunes libertarian character.
Love Carlos’ theme alongside her music for The Shining; Kubrick definitely leans on that collaboration in a bunch of scenes, to good effect.
I’m not typically too fond of films like this that are near-100% coated with irony and a wink-wink, harsh colors and staginess, usually for political/social commentary. Reminds me a lot of Gilliam’s work. I usually end up appreciating the cinematography and set design but not feeling much of a connection. Though I’ve been wanting to revisit Brazil.
It seems like a lot of, predominantly American male, people “discover” this when they are around twelve or thirteen. My mother wouldn’t allow it—Mulholland Drive and 8 1/2 (throw Three Colors: Blue and Scorsese’s movies in there too) were my formative films. Interesting how such things have a rippling effect.
I’m not saying it’s all politics with this film. It’s certainly commenting on human nature or whatever. It just gives me that particular feeling since it categorizes all the characters into recognizable groups rather than have them stand as individuals (well, excluding the protagonist). I love individuals (see my video about Mike Leigh’s Secrets & Lies).
Actually, I was probably fourteen to when I saw Mulholland Drive the first time. Hmm, I’ll exchange it with maybe There Will Be Blood? Fargo? Synecdoche? I don’t know; Mulholland Drive just seems to pair so well with 8 1/2. I guess it’ll stay as part of my own little personal canon. I should start a Raymond Wiki.