Out of Mind
Keith Carradine’s hair is only one of many reason’s to enjoy TROUBLE IN MIND. Believe it or not, it’s not even one of the major reasons. The film is that good. I mean, there the hair is, hovering above his head like an angry deity, and yet in my review of the 1985 indie sleeper over at The Daily Notebook, this edition of the column known as The Forgotten, I barely even mention the hair. So that must be quite a film, right?
May 20, 2011 at 1:54 pm
Does Marianne actually appear in the film, or does she just sing on the soundtrack? She’s one of a very few people on earth who are equally pleasant to look and to listen to…just so long as she doesn’t try to ACT!!
May 20, 2011 at 2:01 pm
She doesn’t appear, but there’s no “just” about it — the song helps bind the film together.
May 20, 2011 at 4:05 pm
What are you talking about Mr. Wingrove? She was marvelous in Patrice Chereau’s Intimacy.
May 20, 2011 at 4:12 pm
Marianne sings the title song
May 20, 2011 at 7:42 pm
I love how Keith Carradine’s hair evolves over the course of the movie, and it’s very appropriate that the rain in Rain City has the final say on Keith’s hair. Great, great movie. Plays like a dream.
May 20, 2011 at 10:37 pm
You said it! The final, redemptive makeover.
It struck me on re-viewing that the sound mix is particularly superb, with the train station noises that blend through the song in the opening titles, the interplay between saxophone and prison gates, all contributing to that jazzy melancholy beauty…
May 21, 2011 at 5:28 pm
Rudolph is great on music, though a little overly fond of Mark Isham’s nu-age noodling.
May 22, 2011 at 4:26 pm
While I’m normally a fan of both Marianne and Patrice Chereau, I found INTIMACY to be a pointless, ugly and profoundly depressing film. Its graphic but totally unerotic ‘love’ scenes actually put me off sex for a week.
Marianne was probably the best thing in it, as she is in most of her films, but in this case that’s not saying much!
May 22, 2011 at 7:17 pm
Chereau seemed to have acquired the British disease, as seen in such explicit yet disheartening movies as 9 Songs, whereby the filmmaker expects praise for being “brave” by serving up graphic but repulsive sex scenes. Chereau is someone whose work I usually like, but the Kureishi connection was enough to put me off this one.
Stephen Norrington makes loud, bad films, but I felt very much on his side when he said, “We are the generation that hates London Kills Me.”
May 23, 2011 at 1:52 pm
Strange that Kureishi’s films are so bleak, as he can be a lively and amusing prose writer. His debut novel THE BUDDDHA OF SUBURBIA is an unofficial autobiography for anyone who’s lived ‘on the edge’ in London.
May 23, 2011 at 2:03 pm
He tries to get some vivacity in sometimes, but I think he just doesn’t have the cinematic sense to pull it off. Stephen Frears certainly has an understanding of cinema, but his inclination is to the small-scale and realist and so he doesn’t provide an interesting new flavour to the mix, as far as I’m concerned.
Many disagree, of course.