dexter10meg

One of the marvelous things about Paris is that nearly everyone who visits there is part of an unfinished story, a story that will never end. Paris is a city of unconnected events, events which seem to continually lack coherence. It is a city of disconnected people, visitors who have no connections, gypsies who are permanent transients, locals who seem to wander in their own environs, Metro passengers who wish they were somewhere else. It is a city without time, a city without space. It is a city for all time, it is a city which fills its own space like no other city can. Paris is an ever changing city whose attractions never change. Paris 1980 is as unlike Paris 2000 as Paris 2020 will be unlike Paris 2000. Yet,Paris never changes. This film is not about theme, conflict, character, or plot. This film is about Paris. It's all about Paris.

Alas! I was hoping for more, actually thought there was something in store///Especially in troubled Japan, near the end of the Second World War./// Will the enemy avoid us or fight us/// If we contract typhoid or hepatitis?/// This movie is worst than just sore, this movie is one giant bore.

This film achieves a unique surrealistic tone throughout, without resorting to special effects. No gimmicks are required for the dialogue and setting carry the day. Even the absurd situations (which I will not divulge here)seem logical within the confines of the action of the film.When viewing surrealist paintings, few need to ask what the artist is attempting--the same is true of this film. The direction and the acting are so seductive that the viewer is willingly led from one illogical scene to another. And it all makes sense, especially in today's film world where suspending disbelief is so difficult. This film is testimony that black and white works just fine: indeed, color would simply detract from the effect of this film which is truly surreal. This film is more than a ten, it's a "borderline 'leben."

Oh, for more of the same!