Quote:
Originally Posted by Reaper16
But it didn't fall apart. You can't criticize it for something it didn't do.
"The Godfather would have sucked if Carrot Top replaced Brando, so..."
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Fair enough.
Let me rephrase. TWBB only has one really strong element to it, and that is Daniel Day-Lewis. Granted, (arguably) Day-Lewis's performance in TWBB is singularly better than any single aspect of NCFOM. But that's still not enough to call it a great movie, especially not "best of the decade" as the Guardian did.
TWBB lacks definition. It's too long. The other actors are hamstrung by a sub-par script that tries to be open, but finds itself lost most of the time. Don't get me wrong, Day-Lewis's character
on the page lacks definition and focus as well. DDL is just good enough to fill in the blanks. He delivers a character that (I believe) surpassed even PT's expectations.
And PT Anderson seems to like himself way too much in this effort. It's Day-Lewis that grounds the project and keeps us watching. That's what he does best and that's why he earned the big statue. Because without Day-Lewis, I think the movie comes across as nothing but pretentious, rambling and innefficent cinematic masterbation. Now, DDL dulls most of edges for us, so it's not as obvious. But the pieces are still missing elsewhere. We just don't care as much (or notice as blatantly) as we would if DDL were not present.
Luckily, for PT & Co, they
do have Day-Lewis. He overcomes many of the film's inherent flaws.
Seriously, I like the film. But the film is really just a performance.
NCFOM on the other hand is esquisite on every level. Each actor turns in a career defining performance. Hell, Jones' career was as good as dead. I had no idea he had that kind of performance left in him.
On top of the performances you have a fantastic script. Simple. Sparse. Beautiful. Not a wasted line. The script enhanced all the other elements of the film and vice versa.
The camera work is beautiful. And unlike, TWBB where the shots felt like they were only for one man's benefit, there are no wasted frames here, either. The frames let you in. They invite... it's a trap (as we all come to find out) but who can resist such a beautiful invitation?
PT Anderson has made at least 2 films that surpass TWBB. NCFOM
might be the Coen's best all around work. It's not as entertaining as Lebowski. Nor as whimsical as Hudsucker. Nor as quirky as Fargo. But I would argue that all of the elements combined make for a better over all film experience than those other efforts. Barton Fink is NCFOM's strongest contender. That movie's pretty damn near perfect also.
So, yes, you're right. I can't critize TWBB for falling apart, when it did not. But I can critize if for all the other things it does not do - like flow effectively, or use it's frames wisely, or rally together a better ensemble to support Day-Lewis, or deliver a clean, cohessive narrative. I can critize those things. Because those are things it
wanted to do - or at least should have done - but largely failed to do. TWBB is pretty, to be sure. But just because I want to hang a movie on my wall doesn't make it a great movie.
TWBB is a good movie that contains a remarkable performance.
The bottom line is I think TWBB thinks it's better than it is. I think NCFOM has no idea how wonderful it is. NCFOM exists. It lives and breathes. TWBB is a show. It kicks and screams. But only so you won't notice what's missing.