So sorry I missed this documentary in 3D. The contours of the cave walls seem to be essential parts
of the paintings. Of course, as the movie turns our theater into a kind of cave, the ancient paintings transcend the flat screen, creating places for our imaginations to fall into. When scientist Jean Clottes notes that a wall can talk or a wall can refuse, he could just as well be talking about movies. While so many movies are about trends, Cave of Forgotten Dreams is about how the past attempts to communicate with the future through art. Because human breath can inadvertently destroy cave paintings, the camera does great work to bring the images to us. In particular, the development of a camera on a pole allows us to study the only human form in all the paintings: a woman who seems to be embraced by a minotaur. That remote image is more question than answer: do we meet in art across centuries or reflect ourselves? Fans of Grizzly Man will find that beast-man intersection again here.
For the physical leaps of its central characters, this children's story is more fantastical than
Woody Allen's most recent romantic comedy also set at night in the City of Lights. Will the old school animation hold the attention of children raised on Pixar? Slick, it isn't. Although with a running time of 70 minutes the story doesn't get the narrative weight of three installations of Toy Story, it still has a serious edge in Zoe's absent father (unlike so many children's stories in which the absent mother is the source of the problem). Oddly, the grandest moment comes from the delusional POV of the villain Victor Costa whose mother was also not absent. For the most part, the movies celebrates the Paris skyline in middle-class family melodrama. The rough design actually suggests an imaginative version of Paris rather than the realistic one seen in so many movies last year.
Not one of Shakespeare's more popular adaptations probably because of the fickle citizens, which
might have been acceptable to audiences prior to the Age of Enlightenment, but not so much thereafter. So why now, Hollywood? Probably the warrior returning home has some part in this. Wounds to heal. Elections to campaign. All of it somewhat familiar in an election year.
But so often comparisons break down. If Marcius/Coriolanus is a type of vet returning from war to run for political office at home, who does Aufidius correlate to? Modern dress productions invite comparisons, which break down at some point. Analogies to Coriolanus break down fast, switching interest to the excellent cast. Every scene between Fiennes and Butler is worth seeing because their relationship is the most complex. Likewise, Cox and Chastain have a lot to work with. It's Redgrave as the mother, Volumnia,--first proud then supplicating--who interests me. She's like the citizens only slower to reverse herself.
Much Ado About Nothing
Of Gods and Men
Cave of Forgotten Dreams
A Cat in Paris
We Bought a Zoo
Tinker Tailor Soldier Spy
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