catapult magazine

Lynch’s MULHOLLAND DRIVE comes out on DVD and to rent on VHS on Tuesday. The Coen’s THE MAN WHO WASN’T THERE comes out on the 16th. I’d be very eager to discuss either of those. Or would Mulholland Drive be biting off more than we can chew?

As seconded nominee to choose a film, I’d like to put THE MAN WHO WASN’T THERE on the list for April 16, as it was my favorite movie of last year. I don’t think I can find HAPPINESS around here, though I have seen it and it is a good choice for now.

Other movies from last year I would highly recommend, but that we can get to later:

SEXY BEAST (L-O-V-E-D it!)
AMORES PERROS
A.I.
GHOST WORLD

Let’s start with HAPPINESS… Watch it ASAP, if you’d like to participate.

I have. Twice. And I must say it grows stranger and stranger each time I’ve watched it. I want to see “The Adventures of Baron Von Munchausen” too (I doubt I’ve spelled it correctly). I think “12 Monkeys” is one of the more disturbing movie experiences I’ve had. But I was told recently that the new “Jackass” movie’s message is awfully discomforting. Self-destruction makes for great entertainment these days (though I’m sure it’s not a new invention).

Munchaussen (spelling is also doubtful) is a great film. Nice cameo by Robin Williams. I would say Gilliam was toying with the question of what is reality with the Baron.
Yes 12 Monkeys was disturbing, yet insightful as most Gilliam films are. I am working on obtaining the entire length of Monty Python sketches with my wife…also a huge Gilliam fan. After you see the Baron, you’ll have to let me know your thoughts.

I too loved Baron… (I speak German and still can’t spell Munchhausen). To what extent do you think it was intended to be farcical? How about the rest of Gilliam’s movies?
I loved 12 monkees and there seems to be a good deal of farce in there. As far as Brazil, I’ve seen it once, but that means nothing with that film.

I think Gilliam is haunted by the philosophies and studies of what really is reality. He taunts the viewer into questioning everything…including what you are actually seeing on screen. I imagine that is why he was such a good team up on The Flying Circus…being the only american on the cast. His art is in the defiance of absolutes, or better said defiance of what appears to be an absolute. The Baron of Munchaussen, whilst pointing to the lost/forgotten art of believeing in things unseen, seems to actually lead you to question if there is really anything to really worth believing in. Death is final and cannot be escaped nor cheated. Not even the great Baron (who derived his power from those who believed in him)could truly evade it.

oops