![]() Lucy Russell, as the femme fatale between them, suggests an indie Marilyn Monroe with her demons exposed. Alex Haw, as a posh, high-haired burglar who’s the master of his domain, has so much cutthroat charisma that it’s startling he never went on to screen fame (he’s now a New York architect), and Jeremy Theobald, as the ambulatory voyeur who’s drawn into Haw’s web and becomes his protégé in petty apartment thievery, has such a mercurial presence that, depending on his haircut and beard, he literally seems to shift identities. To me, there isn’t a Nolan film - not one - that isn’t totally worth seeing, and his talent, in embryonic form, suffuses every jagged frame of this shoestring, existential, black-and-white London crime noir, which employs a semi-non-chronological storytelling style that’s so casual you don’t even notice it for a while. Just because I’ve placed Nolan’s debut feature last on this list doesn’t mean that I don’t like it. Here’s my ranking of the known Nolan universe. I just think you learn more about their minutiae, which would be perfect if they were video games, which is what I sometimes think, deep down, a lot of them want to be. (Be warned: I think “Inception” makes no sense.) I don’t think Nolan’s films necessarily get better with repeat viewings (though I always go back). ![]() Me, I’m a Nolan fan who has often found his films to be haunting and hermetic, resplendent and trying at the same time. ![]() He can be a visionary storyteller - to see that, look no further than “Oppenheimer.” But if you’re a Nolan cultist-believer, the sort of Nolan-is-God devotee who thinks you’re only starting to “get” “The Prestige” when you’ve seen it four times, then his movies, with their spectacular convolutions and plots that loop around themselves, may exist for you in a realm that’s almost beyond story, a kind of rarefied Nolan Land of spellbinding cinematic purity. ![]() Christopher Nolan is a filmmaker with a gigantic talent and an even larger mystique. ![]()
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