But with this balance comes a powerful dependence on Eternal Sunshine's visual elements. Jon Brion has written a perfectly ambient score: It's undistracting, yet contains interesting sounds and ideas for those who choose to be distracted by it. Charlie Kaufman has essentially written a film's film, which is fine- wonderful, in fact- but what storytelling role does Eternal Sunshine leave, then, for its soundtrack? Given its subject matter, Michel Gondry's new film, Eternal Sunshine of the Spotless Mind, has a particularly visual agenda, which makes great use of the medium's most important quality: its ability to collapse the distinction between linear and synchronic plot development. In a paragraph or two, I may spoil the hell out of it. If you haven't yet, go see this (great) film.
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