bobbysamadhi

This film avoids the trap of trying to make the great mob movie by flying low, and it works, it is a rich experience. I will be watching it again. The biggest similarity with the Godather is that Gangnam can evoke what it wants just through the visuals. The meaning, and meanings, of the story are interlayered in what you see and how you see it. The lighting was I thought great, I rarely do. If you've known crime, criminals, cities, politics, family, hard times this film will speak. You get a tapestry of human personalities, and the faces speak about life, choices, chances, death. Pretty violent but surprisingly gentle. I guess it is because it is all symbolic of life's struggles and of cultural changes during the 1970's. It gave me the feeling of a (the) true story of Gangnam. Novelistic. Music, A-1. Acting, too. It's the only mob movie since the Godfather which could be compared to it.

There is a difference between fantasy and myth, and for me this film is an attempt to mythologise the not-so-distant past, but ends up being only a (good) fantasy, inviting viewers to feel good too easily. Fine performances, overly-fine sets. That being said, good idea to mythologise the past, surely! But not without impacting the present, in other words, it is too easy to feel good coming away from this. In moral terms, it is nearly a black-and-white (no pun intended) presentation of the era, distancing itself too easily from messier, greyer reality. Perhaps it is worth it to simply let us play at being the daughter and the white person of our dreams, but I think today is worth too much to accept such a rendering of our past.

Light entertainment at its best, a great guilty pleasure for your pc.

This film boasts surprisingly strong performances by a solid cast: let's say it, a cast humble enough to throw themselves into an odd sort of film: part melodrama, part musical, part fashion show for its star.

Radiating joie-de-vivre, out-singing anyone of her time, serious one moment then tongue-in-cheek the next, Day is a star, an under-rated one these days.

Gene Nelson's dancing is important to see if only to better understand Fred Astaire's. The Astaire difference was this: talent, yes, Nelson had it as well, but not the ability to bring us to the brink of something endless through his motions: to make you know he was on the edge of something vast and mysterious; to suggest a whole unseen world by dancing in this one. Bravo, Fred!