Holding a large frozen from the store and the shotgun, Bruno returns to the garage where he works, loads the tow truck with beer, and drives along a highway into the mountains. Faced with the prospect of further harassment, Bruno and Eva decide to leave and accompany Bruno's eccentric elderly neighbour Scheitz , who was planning to move to to live with his Clayton. Herzog says that sometimes, to get in the mood for a scene, Bruno would scream for an hour or two. He offers her refuge in his apartment, which has been looked after by the elderly, tiny Mr. The personal history of Bruno S.
Bruno Stroszek is released from prison and warned to stop drinking. The remaining cast offer lovely supporting performances, Jeff Daniels perhaps foremost among them as the stern but fair management man and secret couple Joe and Shirley Wershba playing the skeptics with something to lose. Opposite him, Clooney plays his equally cool producer, the aptly named Fred Friendly, Clooney being careful to write himself out of St. He befriends Eva, a prostitute down on her luck. It's a vulgar Freudian nightmare at cross purposes with Darwin - sexuality and power are in the fore and these wounded animals can't defend themselves adequately, leaving the cats to play with the mice before they kill them.
Herzog delights in making off beat movies, and he may haveout done himself here. For all the supposed lightness, it is the film's core of despair which in the end devours everything. If were a Christmas comedy or Groundhog Day a noir soaked in rain and bourbon, then The Ice Harvest would be a brown paper bag waiting for you Christmas morning beneath the tree, decorated with blood red ribbon. Eventually there is the unforgettable sight of the Fleetwood being towed off the land, leaving Bruno to stare at the forbidding winter Wisconsin landscape. The Dark of the Matinee will continue as a film diary, with an eye more toward criticism than review, although I don't like treating those subjects discretely. It's unfortunate that the early bleak scenes in Berlin are the most effective and not the later scenes of frozen rural Wisconsin. The police arrive and arrest Scheitz for armed robbery without noticing Bruno.
He is positive that the papers they signed at the bank will sooner or later require them to make payments, and he is right. Stoszek is a extraordinary patchwork of reality and fiction, German and English, introspection and extroversion. I know what you came here looking for and aren't finding. Turns out, power is something worth discussing, even if you thought Who Governs? After they are harried and beaten by the thugs who have been Eva's pimps, they join Bruno's neighbor, Scheitz, an elderly eccentric, when he leaves Germany to live in Wisconsin. With the post- Network era of infotainment so engrained in our epistemic reflex that local and national no longer registers as inane and asinine commentary or pleasant fictions more likely opposite the truth, ushering in a reality reduced to simulacra: the shared experiences remembered through bizarre anecdotes of cultural memory littering our psyche with the sort of useless knowledge helpful solely for Quizzo and Google searches. The most amazing thing, everything follows in a very logical way from what goes before.
Unlike Moore, Gaghan and Clooney channeling something he must have learned under David O. In that winter bound, barren prairie, Bruno works as a mechanic, Eva as a waitress. It's like watching a second film. That said, I hesitate to describe any more about this truly odd film -- if you can predict from one minute to the next what will happen, you are much closer to Herzog than I am. In that winter bound, barren prairie, Bruno works as a mechanic, Eva as a waitress. But this plot summary sounds mundane, and the tone of the movie is so strange.
From the moment the film begins, the characters pouring in to their own Manhattan Transfer, each with a tiny narrative of their own, we get a grandiose prisoner's dilemma or collective action problem in which we see the worst of humanity in acts of high cowardice. A child clings to the doctor's big fingers. Helpful subtitles except toward the end, perhaps 15 minutes remaining, some of the first subtitles were superimposed own the final subtitles and difficult to read. The concluding scenes were shot in. I wish there was more of this wonderful actor out there -- just as I wish Herzog directed more feature films these days that weren't documentaries although his docs are also amazing. Brownback chiding his congregation, ahem, constituency against the evils portrayed herein. The ending scenes of Stroszek appear in the 2002 film and the 2007 film , during scenes which recreate Curtis' final moments.
Sure, it's only mp3s with cryptic references and glossy images now, but it'll be the temp-to-perm home of The Dark of the Matinee unless I decide to create a dedicated film blog. The film's tragedy unfolds because these three people have nothing in common and no reason to think they can live together in Wisconsin or anywhere else. Then, bills mount, the bank threatens to repossess the trailer, Eva wants privacy, and inexorably, the promise of a new life deserts Bruno. Superbly performed by everybody, although the cast is mostly non-actors. Who's Afraid of Virginia Woolf? The Incident pits randomly selected individuals against two menacing hooligans. The film is present to itself and its subject and leaves out the messianic qualities for which is hagiography's renown.
Then, bills mount, the bank threatens to repossess the trailer, Eva wants privacy, and inexorably, the promise of a new life deserts Bruno. He and the American documentarian had become fascinated by the story of Ed Gein, who dug up all of the corpses in a circle around his mother's grave. Upon entering a small town, the truck breaking down, Bruno pulls over to a restaurant, where he tells his story to a -speaking businessman. Advertisement The thing about most American movies is that the actors in them look like the kinds of people who might be hired for a movie. The political ambiguity still allows for a critique of greed and hypocrisy, something Daniel Kasman notes in. In some distant way it reminds me of , but it's an Easy Rider without sentimentality or political paranoia. Unlike Network, a film that presaged the era of soft news, Good Night and Good Luck comes across as a rote history with no catchphrase to speak of or even cartharsis.
After Bruno disappears from view a single shot rings out. The rejected son of a prostitute, Bruno had spent the lion's share of his adult life in mental institutions where he nevertheless honed his skills as an artist and street musician including his accordion, which you can see in this film. Set in Kansas, we're made aware of the contradictions at play; you can almost hear Sen. It's terrifically, spontaneously funny and, just as spontaneously, full of unexpected pathos. But unlike Groundhog Day, the danger in Wichita Falls is as palpable as it is inevitable. Give contextual explanation and translation from your sites! After believing to be more suitable for the part, Herzog specifically wrote the leading role in Stroszek to compensate Schleinstein for his disappointment over Woyzeck.
After they are harried and beaten by the thugs who have been Eva's pimps, they join Bruno's neighbor, Scheitz, an elderly eccentric, when he leaves Germany to live in Wisconsin. Strange comic moments mesh together well with some extremely sad and moving moments. But Good Night and Good Luck doesn't say that, nor does it preach to its audience. A man from the bank Scott McKain visits Bruno, who is now drinking steadily, and has him sign off on the repossession. He thought I was a thief without loot.