On paper, Two Lovers is close to Woody Allen and his Manhattan : New York, the jewish milieu, the neurosis, the multiple romances… In fact, it is a counter-point to almost perfect: the Queens and not Manhattan, the working class and non-artists, bipolar disorder serious and not a fun existential angst. The tone is probably what distinguishes it most radically James Gray of his elder. The first scene, a suicide attempt, gives The, the treatment will be dramatic. James Gray delivers a very personal film, both director and screenwriter, it is making a significant contribution to both his views and his talent. To be honest, you don’t hit laughter on the thighs at each stage. So far, the commitment of the director appears, if full and sincere, his first degree if assumed that we are seized by this gaze focused on the Love.
O the Love… its pangs, its despair, its revival, its conjugation in the plural, its dilemmas ; James Gray is a romantic. We follow the incarnation of Joaquin Phoenix (a beautiful performance all in interiority), a young man probably thirties who, after a betrothal broken, encounters two young women. Although James Gray gives a certain thickness to each of the female figures (Gwyneth Paltrow is all the same better served than Vinessa Shaw), they are archetypal. The node script is based on the dilemma universal between love-passion (here approximated to the destruction), and love-because.
James Gray is a great director, his staging as the quality of his image (you must rent the work of director of photography, Joaquin Baca-Asay, officiating also in The night belongs to us) are prodigious. Some of the scenes are flashes of light sensitivity. James Gray manages to touch the extreme sensitivity of his protagonist ; he films the peaks as the chasms sentimental with a sense of shame to him avoiding the sadism. James Gray is an excellent director classic. Of great refinement and certainly a scholar, it allows us to revise our classics, each air opera chosen has its meaning, its echo narrative.
“The end credits, trust of not being able to follow further these lives so well depicted in” Click to tweet
In a few words, we loved the state flower of skin in which we left the movie. The end credits gives the effect of a surrender, a treatise not to be able to follow further these lives so dramatically portrayed in front of us. New York has never been so gray and dreary. Frozen in this reality dull, too sensitive, the character of Joaquin Phoenix is an adult emotions teen. Emancipation still seems a long way off. Love is a powerful machine it is regressive in this film. In any humour, or any of the valve breathing we would have relieved, so much the worse ; questions the usual Woody Allen are here a other treatment, serious and sensitive, just as talented.
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