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Post by moviemouth on Feb 15, 2018 20:24:21 GMT
I like Greenaway. What he does is very interesting and ambitious, though I don't always agree with why he does what he does - meaning, his crusade against traditional forms and in favor all all things "new" and "experimental" often seems to be just for the sake of itself, lacking proper "cornerstone". He's very provocative in interviews too, not only in his scripts. The Draughtsman's Contract is probably his easiest movie to get into - though Greenaway is never easy! A Zed & Two Noughts A Zed & Two Noughts and The Belly of an Architect are also really, really good. The Baby of Mâcon is the last one I liked. Beginning with The Pillow Book he went into increasingly maze-like experimentalism and I just sort of lost contact - couldn't get into his next film at all, and The Tulse Luper trilogy I couldn't even sit through. Nightwatching was "the return of Greenaway of The Draughtsman's Contract", as the producer proclaimed, and I liked Eisenstein in Guanajuato quite well too. However his films lost their best edge, visually, after his regular cinematographer Sacha Vierny died, and he is now shooting in digital and on lower budgets (after alienating much of his former audience), so they no longer feel the same. Greenaway's films always have great soundtracks mostly made of minimalist neoclassical, which is very much my kind of thing. I like his use of classical architecture, symmetric picture compositions and so forth. Greenaway is provocative and cruel, but damn if isn't he classy too! Sorry to say that I couldn't get into A Zed & Two Noughts. That just seemed weird for the sake of being weird to me and didn't give me anything to really think about or care about. I didn't much like the performances in this one with the exception of Joss Ackland and most of the characters just got on my nerves.
I do like Nyman's score though.
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