Book - Fear and Loathing in Las Vegas:
Great, great book. Plenty has been said about this book already, but in today’s age of 4chan and Anonymous, it’s important to give respect to the original troll. Hunter S. Thompson just absolutely did not give one single fuck. It’s not even a story about drugs. Yes, it’s amazing that he can get away with being on so many throughout the entire ordeal, but really, its about how well he is able to manipulate society, despite the fact that by anyone’s call, he fits the exact description of a social outcast.
Maybe that’s why he can get away with so much; people pay just enough attention to him to allow him what he wants, and not quite enough to realize just how reckless he really is. He plays off the assumptions of everybody around him, mingling casually and amicably with such sworn enemies as hotel managers, cops, and car salesmen. Many people have seen the movie, and it’s still great, but certain scenes simply can’t do the book justice. For example, the part in which he gets pulled over is elaborated on much further, offering a deeper glimpse into exactly how he is able to talk his way out of it. And the cop does not, in fact, ask him for a kiss at the end of the encounter: that was probably added because the cop was played by Gary Busey. Another great scene in which Hunter pretends to be a cop in front of several officers visiting the police convention, was omitted from the movie. It is the little moments like this that offer a true glimpse into his mind, and give the book far more personality than the movie could ever have. A must-read classic, even for squares.
Album - Bringin’ It All Back Home:
This album was from Bob Dylan’s transitional period. He was making a big shift in style, both by moving from acoustic to electric, and changing his lyrics from emotionally-charged folk ballads to surreal, absurdist, rapid-fire beat poetry. It also marked a major shift in his fan base; some of whom deserted and dismissed him as a “Judas”, others who had never been able to get into his music before he plugged in. “Bringin’ It All Back Home” is a perfect freeze-frame of this period, down to the fact that only the first side of the album is electric; the other remains acoustic. This album also houses what Hunter S. Thompson considered to be his greatest song, “Mr. Tambourine Man”, as well as what this reviewer considers to be (arguably) his greatest song, “It’s Alright Ma, I’m Only Bleeding.” Both of these are found on the acoustic side, but the electric side has its shining stars as well. “Subterranean Homesick Blues” and “Maggie’s Farm” both require no further praise, as well as the trippy, Carrollesque, often-overlooked “Bob Dylan’s 115th Dream.” Of course, it’s impossible to pick a favorite Dylan album. “Times They Are A-Changin’” and “The Freewheelin’” are tied for number one from his early folk period, and “Highway 61” and “Blonde on Blonde” are undeniably great, even though they are a little too abstract at times. But “Bringin’ It All Back Home” just seems to be a perfect sampler of what makes Dylan Dylan.
Movie - In Bruges:
Wow. That’s all that can be said after the credits roll for this movie. Without giving anything away, the ending of this film is one of the most perfectly bittersweet in film history, the kind that just makes you sit there for five minutes in stunned silence, trying to put a finger on exactly how you feel. And this is a movie that involves hit men, suicide, mindless violence, and midgets on horse tranquilizers. But make no mistake, this is an incredibly deep, intelligent movie, and more importantly, it is so without isolating itself from the average viewer.
This is a movie that everyone should be able to enjoy, except maybe for those kinds of people who like to put themselves in situations where they can get offended and complain about things. The subject matter is black as night, but it’s always handled from the most down-to-earth perspective; there is plenty of violence, but it is not gratuitous, and certainly not unwatchable. Of course, if you like British crime dramas, you’ll love this movie from the very beginning. But it tackles subjects pertaining to life, death, right, and wrong that even The Godfather or Goodfellas don’t explore as deeply. And it explores these things without being the least bit esoteric; actually, it’s also really, really funny. If you care at all about film as an art form, see this movie. And even if you don’t, see it anyway. You’ll still love it.
No comments:
Post a Comment