I don't get his movies, I don't get his silly dark glasses that everyone else finds chic and cool, and I especially don't get the universal adoration heaped upon him. This would have been ideal for the Contrarianism Blog-a-Thon: Now my friend (and MSN Movies Editor) Dave McCoy, who's disliked more Wong than I've even seen (but likes "In the Mood for Love"), writes about the shade-sporting hypester's English-language "Blueberry Nights" from Cannes. And I wanted to see "2046" (despite my, er, reservations), but when I found out it was a semi-sequel, I felt like I should first see its predecessor, "In the Mood For Love" and (although I have both saved on my TiVo - in HD, no less) I've never gotten 'round to either. (I guess I was hoping for something more like the hilariously deadpan first segment of Jim Jarmusch's "Mystery Train," which is what various descriptions had led me to expect.) So, while humming Peggy Lee ("Is That All There Is?"), I turned it off and vowed to give it another shot at some future date. I watched about half of "Chungking Express" and it seemed like better-than-average Tony Scott, but that didn't particularly interest me. It's confession time again here at Scanners: I've never gotten into Wong Kar-Wai (aka -wai, aka -Wei). (The Beatles, who have figured prominently in Seasons 4 and 5, released "Help!" in 1965 and it was in part a 007 parody, too - especially the John Barry-like orchestral music written by George Martin.) Echoes and repetitions are everywhere. That's a James Bond theme song, from "You Only Live Twice" (1967) - and it's the second Bond theme we hear in the episode, after Herb Alpert & the Tijuana Brass bite into Burt Bacharach's theme from the James Bond parody "Casino Royale" (1967) at the weekday matinée where Don (the suave, masculine Bond of New York advertising) runs into Peggy. One life for yourself and one for your dreams. As Nancy Sinatra sings in that final song:
#JULIA ORMOND SERIES#
The series has a memory, and the curse of memory is a primary theme of "The Phantom," which is why the episode is composed as it is.
"Mad Men," like many great series from "Hill Street Blues" to "SCTV" to "The Sopranos," has always been exceptionally good at this (see "The Long Walk"), setting images, gestures and emotions reverberating off one another across episodes and seasons. Nearly every scene in "The Phantom," the Season 5 finale of "Mad Men," conjures a ghost from the show's past.
Jed Leland (Joseph Cotten), "Citizen Kane" (1941) "It's the greatest curse that's ever been inflicted on the human race, memory."
0 kommentar(er)
