After about one third, I thought I was gonna really like this film.
But, no.
It mostly became cliche and too out of earth after a while.
Especially hated that 'boys gathering ceremony', it was too much choreography.
BTW, lost in the translation, was he gonna die next day???
If he was, that's too cliche, how even greatest DR. know he's gonna die RIGHT NEXT DAY???, not within few days???
I believe he was moving permanantly into a hospital ward to spend his remaining days. This was what was happening 'the next day' I concluded, not that he was going to die the next day. His time was limited but not to single day as such, just his freedom (which at first he took for granted) was given a time limit.
Theo's films are extremely choreographed (I have gathered from the films I have seen) and extremely well choreographed films at that. He seems to take pride in his nationality when it comes to history and the arts, and this shines through in his film making style. His films are, i understand, intentionally layed out in a stage like performance (if you see Greece in it's beauty and it's ugliness as a giant stage) creating his own form of mythical storytelling and greek tragedy. Take note that not just his actors are choregraphed, pay attention to his superbly thought out camera work - his regular use of crane shots, his eye for landscape and interiors, the use of widescreen and distance in framing the characters (keeping to a distance with medium to long shots of his actors, to me, enhances this stage like quality) and rarely breaking a shot up in favour of some wonderful visual flourishes. One scene in particular is the shot where we first see the street kids in the road cleaning cars. The camera follows Ganz into his car then keeps slowly sweeping around into the middle of the street, facing cars stopped at traffic lights as they become surrounded by children running from the authorities. The camera keeps sweeping around and with barely a pause in its motion, starts to pull back (where we realise we are on the back of a vehicle) and as we move further away, Ganz's car u-turns in a perfect act of synchronisation directly infront of our camera. His camera direction is wonderful, as are his use of actors and location.
I am going to begin today with a headstand...Diane, I am now upside-down
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