tag:blogger.com,1999:blog-7571050659834056958.post2136640139598024967..comments2023-11-02T07:42:08.834-07:00Comments on kirby dots: Heat Part 2: Emotion and Detachment.Tristan Eldritchhttp://www.blogger.com/profile/10239386613395519115noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-7571050659834056958.post-87446413882940350722009-07-04T14:15:01.121-07:002009-07-04T14:15:01.121-07:00It was interesting that at the beginning you menti...It was interesting that at the beginning you mention the opening scene being of significance. There are quite a large number of compositions in Mann films that feature this convergence perspective... If you take the composition of the final scene of Heat, with Vincent and Neil holding hands, the airport run way lights run off in the distance in convergence. Some criticise the ending, but I find it deeply moving. The final composition is most definately a purposeful metaphor, mirroring almost the first scene. There are these collisions of peoples worlds. Parallel universes of ourselves. In Miami Vice you have Crocket, living a double version of himself, and Isabella living outside her true identity, which she is dangerously pulled out of by Crockett. In Heat both Vincent and Neil are versions of their inner selves. In Collateral, Vincent forces Max to collect the "list" and in turn we see a confident Max, rather than the "would've, should've" taxi driver dreaming of his limo company but still in his yellow cab. For a moment, we see Max become alive, but see Vincent's control slip away and die. I haven't seen Public Enemies, but I look forward to seeing what dyanmics happen there, and whether these convergent compositions appear... I haven't seen them in the trailer yet.Mannfanhttps://www.blogger.com/profile/10790789630971172192noreply@blogger.comtag:blogger.com,1999:blog-7571050659834056958.post-27686554149764802142009-06-24T15:25:41.960-07:002009-06-24T15:25:41.960-07:00Hey. Thanks for the kind words. JD - agree about ...Hey. Thanks for the kind words. JD - agree about Miami Vice. Looking foreward to posting on that, although my plan to get through the whole filmography before Public Enemies hits is looking increasingly unlikely!<br />David N. - I'm sure demonlover is the better of the two, so far I haven't been able to get my hands on it! Unfortunately for Assayas, critics only seem to get him when he does bourgoisie dramas, and not the more experimental stuff. Oh well, I'm sure he could care less!Tristan Eldritchhttps://www.blogger.com/profile/10239386613395519115noreply@blogger.comtag:blogger.com,1999:blog-7571050659834056958.post-71645826915836477622009-06-23T16:53:22.212-07:002009-06-23T16:53:22.212-07:00Lovely post, your best yet I think.
Assayas' ...Lovely post, your best yet I think.<br /><br />Assayas' "Demonlover" also has a lot of Mann about it (especially in its portrayal of the non-spaces of the modern world), and for my money is a better film than "Boarding Gate", which I agree is criminally underrated. But then Assayas loves Mann - hes compared him to Minelli and Hou Hsiao Hsien as a stylist, which is high praise indeed...David Nhttps://www.blogger.com/profile/01289610966074361701noreply@blogger.comtag:blogger.com,1999:blog-7571050659834056958.post-11673589673221050672009-06-23T12:50:16.299-07:002009-06-23T12:50:16.299-07:00Wow! What a great analysis of this film. I'm g...Wow! What a great analysis of this film. I'm glad you pointed the importance of architecture in Mann's film, especially this one. I think you'd be hard-pressed to find another filmmaker currently living who captures urban landscapes so well in their films the way that Mann does. The way he composes the frames in his films shows a juxtaposition between a given character and their environment... how it affects them emotionally with the use of color and also how they inhabit a given space. MIAMI VICE does this particularly well.<br /><br />Great post!Anonymoushttps://www.blogger.com/profile/08164105442273577128noreply@blogger.com