Magnolia Review

I am sure that all those who write about movies have an inherent hesitancy about writing about their absolute favorites as I am sure that ten dimes make a dollar. It emanates from an n number of factors, ranging from the fear of not doing justice to their love for that work of art to not being able to delve into the technicalities while keeping emotions at bay. But most importantly, it is that dread of giving away too much of yourself to the reader, for in the imperfections of one’s favorite songs or movies or books lies the hard-hitting truth to the base of one’s own existence. It is this very trepidation that has delayed this post long overdue as well, but I realize I cannot go through a single more day without my conscience haunting me for not talking about Magnolia. My movie.

Clocking in at 188 minutes, Paul Thomas Anderson’s Magnolia, like all great movies seems too short. It is a mosaic of a plethora of characters suffering from Capgras delusions with their own identities, with emotions building up in a whirlwind to a point where they all seem like a full cup that the least motion might overbrim.

A more conventional director might have assigned these endlessly fascinating characters at his disposal with a hard-lined plot, confining them to a cumbersome narrative with all their motives laid out and their behavior explained. Paul Thomas Anderson, who is one of the greatest directors to have ever lived, is a breath of fresh air. He knows how fast audience thinks and how emotions contain their own explanations. Here Anderson appears almost naked before his audience, a man unable to conceal the depth of his own vision.

The structure furthermore contributes to our lack of satisfaction in whatever answers we think we encounter. But the hint at a snap solution is too broad and juxtaposition too obvious. We instantaneously reject any easy putting together of two and two and suspect a five. But time and time, Magnolia makes a gesture to itself as a source of discovery and meaning. The response of the audience is a suspicion of an invitation to start figuring out and putting together the enigma with the camera’s collaboration. Yet can one possibly attribute a final meaning to it, or is the very absurdity of a rain of frogs a shout-out to the human mystery that can never be solved ?

The world of Magnolia and the characters which firmly inhabit it are an illusion of their own. Most would find it hard to appreciate it in their first viewing, being misled from the crux of it by the facade of coincidences and chance and rain of frogs and what not. Dissatisfied by a movie that would rather evoke than supply. But what Anderson does here, and does only to the knowledge of those who see through the act he is putting up and destroying simultaneously, is an attempt to reach more deeply than that: to reach beneath the surface, and find the soul in need. I have always understood the elusiveness, and over the years even come to respect it as well, for there is an evident semi-autobiographical vein here. It is no secret that the frames belong to the storyteller and one would only want the most understanding to be held worthy of having a pert of oneself. When it draws towards commencement, Anderson’s world seems complete, and all the viewer can bring to it is his admiration.

At the end of the day, it is a movie about pain. About a bunch of souls trying to convince themselves over and over about the identities the world has imposed on them, yet breaking away from it as they do so and being understandably, petrified of the thought of finding themselves. It is about parents for whom the children are the abusers and they, the victims and about children who know better. It is about those who live without love and how it devastates them. It is thankfully also about a few who thank God for their good lives and forgiveness if they ever happen to not love it enough. It is about the entirety of ‘life’ and all that the word encompasses.

Love stories are about those who find love in happy times. Tragedies are about those who find love in unhappy times. Magnolia belongs to the latter, yet when it ends, it leaves me exhilarated about my existence, greedy for living it for it so bluntly reinforces the truth that we try to evade – that all that we take with us when we die is the regret for all that we could have done when we were alive.

There are very few times when the vision of a director works on the same wavelength as yours, striking a chord which leaves you with an out-of-body experience at the theater. When Magnolia came to its denouement, it was the closest I had ever been to knowing what a complete stranger truly feels, as if Paul Thomas Anderson was an individual I had once acquainted and then long forgotten. I believe it is primarily why it is my favorite movie of all time, and will continue to be in the future as well. The moment it ended, with that heartbreaking smile of Claudia’s, was the closest I had ever come to a communion with God. I was aware of his existence then, of his presence in every human being, and such a moment has evaded me long since then. I look for it every time I watch a movie, finding traces of it in some, yet the entirety of that experience still remains alien to me. If I was ever given the choice of carrying a moment of my life to the grave, I would most probably choose the very one which has found its way in the above lines.

It is the general belief, and a correct one too, that writing works which end with a quote work better. Whatever you have to say in closure, almost all the times someone else has said it better. Here, I quote Francois Truffaut, who while talking about Jules & Jim said all that I think Paul Thomas Anderson could have about Magnolia – “I begin a film believing it will be amusing — and along the way I notice that only sadness can save it.”

RATING :- 10 / 10

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

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Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

 

 

 

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Synecdoche New York Review

Synecdoche New York is a movie about movies, but not in the conventional sense. Its affairs do not concern themselves with scrutinizing the method of crafting a narrative, but rather the intentions behind doing so.

What is it to have a true cinematic experience ? I believe it is the singularity of emotions an audience coming from different paths of life experiences when watching a movie. A person feeling the same joy, same sadness, same intrigue as the one sitting next to him. In Synecdoche New York, what Kaufman does is create a world where characters morph into each other every passing scene and subject themselves to desolation of the others, scrutinizing how we as a species react in a state of singularity to same events. But its vision is not limited to the confines of the screen. This movie rather plays outside it. It makes us aware of the actors we are in our perceived reality constructing our own worlds with our own actions while seemingly attributing it to preconceived destiny.

As all great movies made about life are, essentially what defines Synecdoche New York is a quest for a meaning to one’s existence. What Kaufman says is melancholic, but harshly true and beautiful like the poem about spring that opens this movie. Our quest seems to be for a permanent meaning, yet we ourselves change every passing day. All our previous selves survive inside us somehow, and each of them have ascertained themselves with different meanings. Our folly is we yearn for a permanent meaning for our multiple selves, eventually subjecting ourselves to believe in a nihilistic mindset, missing the bigger picture.

As most of Charlie Kaufman’s work has been, Synecdoche New York is a comedy as well. It’s just that it doesn’t rely on gags and one-liners to crack the audience up. Rather it is the irony that even after having every disease imaginable, Caden outlives almost everyone and that this movie begins and ends at 7:45. Does that say something about why it is so convoluted and abstract ? If you look a bit closer at the absurdity of the events, I believe it surely does.

For better or worse, this is a movie about everything. It charters life from the point where thought originates in an individual and subjects the viewer to a downright depressing or hilarious ride, varying on whether you are all worked up when it ends or you have an ironic smile when it does, respectively.

The first time I watched Synecdoche New York, it felt incomplete to me. The second time I realized it was to be completed by my own inadequacies and fears. There are bad movies, passable movies, good movies, excellent movies and great movies. And once in a blue moon, there are movies like Synecdoche New York. These are movies which you feel you can’t tell people about, movies that are so special and so yours that advertising your affection feels like a betrayal. It sure isn’t the greatest movie ever made or anything, but Synecdoche New York is my movie, just as my body is my body and my thoughts are my thoughts. The day I find someone worth recommending it, my God, that would be the day.

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628 YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

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Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

 

War Of The Planet Of The Apes Review

There couldn’t have been a more apt time for the War Of The Planet Of The Apes to have graced the silver screen. At a juncture where every big-budget movie seemed to be only style and no substance, War Of The Planet Of The Apes refreshes our memories of what the word ‘blockbuster’ once stood for. Made at the expense of one hundred and fifty million dollars, this third installment of the celebrated Planet of the Apes franchise proves with every single frame why it deserves every dollar of it.

The events follow the aftermath of the Koba mutiny which ensured a war between the apes and the Simian flu affected human beings. I won’t delve further into it for it needs to be experienced than told in my opinion. Rather I would like to scrutinize into the various odd aspects of it, some major and mostly minor in their scale, which I believe when summed up makes this movie what it is. And what it is, is a near fucking-masterpiece.

Let’s begin with a scene which occurs much later in the movie. The Colonel, a leader of a paramilitary organization, and Caesar, the leader of the apes, have a stand-off of sorts. In any other movie, I might have sighed with the exasperation of the  predictable nature of such scenarios in movies. But in War Of The Planet Of The Apes, I was nerve-wracked with tension on how it was going to play out. For these weren’t predictable characters whose actions bore by-the-book consequences. They were something truly original.

I believe everything in the movie up to the point mentioned above was a build-up to it, and the release was more than worth it. The artistic composition of this build-up can be written ceaselessly about, and the writing of this review is going to be an onerous struggle to end it, but that would be the last of the things to deter me.

The first ginormous excellence of War Of The Planet Of The Apes is its meditative pacing which gives ample time for character development. As the movie plays out, Caesar who has been seemingly omniscient for the larger part of this tale withers into a reflection of Koba himself. The plodding pace gives us time to reflect upon the previous events which have transpired, contemplate upon them and experience and reason on the transcendence of Caesar into darkness, bit by bit.

On the other hand, Woody Harrelson’s character is established and his ideologies construed in a single scene in which he delivers one of the most emotional monologues I can recount in cinematic history. The tension and the emotions of his words do not spring a constant release. Instead, they coil in on themselves creating an introspective mood for not only the Colonel, but Caesar himself.

The atmosphere of War Of The Planet Of The Apes is sullen, dark and extremely urgent, with the elements of nature seemingly closing in on themselves. The opening scene sprung memories of the colorful helmets the soldiers in Full Metal Jacket adorned, while the constructions of the concentration camps brings back memories of the Holocaust.

But, none of these stupendous achievements seem to hold weight when I think about what holds this masterpiece together. And all I can seemingly recount is Nova. She is a girl with a smile so beautiful that trying to describe it in the petty confines of language seems demeaning to its visceral beauty. Although one might assume in contrast, the entire movie lies on her shoulders, which she carries off in the same subtlety with which the girl in the red coat carried Schindler’s List.

Another stupendous scene is concerned with the discovery of an ape in hiding, high on emotions which cuts through the loneliness one is ridden with in such dark times. To sum it all up, which seems more and more a taxing endeavor with every word I am writing, a great sequel is the one which makes you appreciate even the flaws of its predecessor. War Of The Planet Of The Apes encapsulates that.

It is a movie about apes, but I am pretty darn sure that this masterpiece would be more or less the greatest ode to humanity that you would have the privilege of witnessing on the silver screen till the Times Square Ball drops in the near future.

RATING :- 9.5 / 10

(P.S.It would be a crime against the very notion of film-making if this work doesn’t get a Best Picture nod, Andy Serkis a Best Actor nod, and the various technical aspects nominations in their own respective categories)

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628 YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

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Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

 

 

 

 

 

 

 

 

 

 

 

Apu Trilogy Review

For five and a half hours, I had the privilege of experiencing Satyajit Ray’s visual poetry on family, friendships, poverty, joy, sadness, love and everything in between. When it ended, I knew I had probably watched the greatest tale to have ever graced the silver screen, but this realization of boundless joy was accompanied with an atypical feeling of incompleteness. After much contemplation I realize I feel in this manner because the actual movie began when the credits rolledI, for the past five and a half hours, had been at the folly of thinking I had been mesmerized by the world of Apu. Little did I realize it had been my own world which I was witnessing through Apu’s eyes.

So does that mean I was born in a poverty ridden Brahman family in Bengal ? No, it doesn’t and the world I am talking about here is not bound in the petty confines of the physical dimensions. It exists within each one of us, it exists within you dear reader, a world full of fantasies and desires and aspirations no is privy to except you. What Ray has created here is not a movie, it is an experience. Apu’s tale is relevant here, because it encompasses all of life itself. And as it progresses, we sympathize with his sorrows and rollick with his joys. But why do we for an individual whose life and where it plays out are so distant from the world we firmly inhabit ? Because in this roller coaster ride Ray crafts us for us, it is the emotions and not the scenarios from where it emanates that hold their worth. We have felt what Apu has felt. The scenarios where we have maybe different, but the emotions are there – stark naked, unadulterated and pure.

Further accentuating this experience is Ravi Shankar’s hauntingly beautiful ragas, enveloping us into a world of their own. Creating beauty of poverty is no mean task, and much credit belongs to Subrata Mitra for his groundbreaking use of bounce lighting which helps this work evade from the dull look of black and white which has resulted in audiences evading its predecessors.

In The World Of Apu, there is a scene where Apu throws the manuscript of his autobiographical work in the depths of mountain gorges in a desolate state after the demise of a loved one. It was then I became aware of the absolute greatness of the work I was witnessing, for Apu had transcended from a sanguine to woebegone in front of my very eyes. Yet, we hope for him. For in the midst of all these tragedies life has engulfed him in, we see in a crystal clear manner a man has right stuff and might someday make a movie like Pather Panchali himself.

I broke down repeatedly when I was watching Apu trilogy, not because of the pain it is ridden with, but because I could not believe I could love a movie so much.

RATING :- 9.9 / 10

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628 YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

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Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Only Yesterday Review

I could never make sense of the division of fractions which involved reversing the numerator and the denominator to multiply. I hated Mathematics, and was always better in writing essays, although my loved ones would choose the former in favor of the latter any given day. And I also happen to be a very picky eater. So when I watched Isao Takahata’s Only Yesterday, I felt like hugging myself, having found an acquaintance in Taeko which I had never found in real life. And guess what ? She is a girl.

Although I admire American animation (Wall-E and Ratatouille adorn my Great Movies collection), I have with good reasoning always considered it inferior to Japanese animation. I have strongly felt that computer animation can never top the beauty that hand-drawn strokes evoke, which seem to transcend every frame from a mere cartoon to a larger than life experience.

Furthermore, there seems to be a dearth of strong-willed, free-spirited female characters in American animation. With the exception of only Merida from Brave, every animated movie from the United States seems hell-bent to constrain girls into thinking that finding the Charming Prince Perfect seems to be their only tryst with destiny.

And here comes a wonderful bundle of joy from Japan which addresses both these pressing issues without ever drawing attention towards them. The more I think about it, the more I admire the way Takahata has incorporated the aspects American animation has evaded and even more, the tranquil manner of doing so.

At a time where the fairer sex is finally getting the representation they deserve, movies like Only Yesterday are boons. It creates a character who is relatable and lovable irrespective of the confines of gender and nationality. Having Takahata as the screenplay writer helps, for Taeko encapsulates the male interpretation of female puberty, helping the male audience to be never distant from her.

Instead of the corrals a hard-bound screenplay has in store, Takahata succeeds in creating an experience. There is a plot, but it willingly takes the backseat when the characters assume control. What results is something more or less like life itself – sometimes painful, sometimes joyous and limitless ennui.

And further greater is the painstaking manner of staging scenes. Take a scene where a boy from school admits his love to Taeko. He comes in nervously, blushing, and stands speechless. An awkward silence follows, finally broken by him asking Taeko whether she prefers a sunny, cloudy or rainy day. She replies cloudy and he smiles in mutual agreement. What follows for the next minute is a wonderful silence, crafting one of the most romantic moments I have seen in cinema. Unlike other movies, there isn’t a fatuous conversation that follows to ascertain their love. Takahata seems to know that silence fills the voids as well.

Another great scene involves Taeko asking permission to act while having dinner. She poses the question, and glances at her mother. Her mother glances, at her father, with Taeko’s vision too shifting to him. Without a single word, Takahata shows where the power centers lie in the house.

The ending is something to be seen to be believed. An entire world channelizes a decision which would have been corny in any other scenario. Maybe that’s how the movie can be pretty much summed up as well ‘It is something to be seen to be believed’.

RATING :- 9.5 / 10

THANKS FOR READING. IF YOU HAVE LIKED/HAVE DIFFERENT VIEWS / HAVE ANY  DOUBTS, PLEASE SHARE. I WILL RESPOND TO IT AS SOON AS I CAN. AND PLEASE SUBSCRIBE FOR MORE. YOU CAN FOLLOW ME ON MY FACEBOOK PAGE TOO https://www.facebook.com/profile.php?id=100011549616628 YOU CAN ALSO E-MAIL ME ON castlebang786@gmail.com OR favebook2011@rediffmail.com

Photo Rights : Google Images, Wikipedia

Copyright : All written content on this site, unless otherwise noted, has been created by the website owner. As such, the content is the property of the website owner. This content is protected by Indian and international copyright laws. If you wish to reproduce, re-post, or display any of our content on your own site please only do so if you also provide a link back to the source page on this website and properly attribute authorship. Our preference is that you seek our permission before doing so. If you see anything on this website that has not been properly attributed to its originator please contact me. In response, I will attempt to correct the attribution of the offending material or remove and/or replace it. All material on this website is posted in accordance with the limitations set forward by the Information Technology Act, 2000. If a documented copyright owner so requests, their material will be removed from published display, although the author reserves the right to provide linkage to that material or to a source for that material. As a website devoted to discussing and reviewing movies and television I will at times, for illustrative purposes, present copyrighted material, the use of which might not always be specifically authorized by the copyright owner. Such material is made available  for purposes such as criticism, comment, and research. The website owner believes that this constitutes a “fair use” of any such copyrighted material because the articles published on this website are distributed for entertainment purposes

E.T.The Extra Terrestrial Review

In the climax of The Great Dictator, Charlie Chaplin delivers what can be easily considered as the greatest monologue in cinematic history. There is a sentence from that great speech which reverberated in my mind after I watched E.T. – ‘We think too much and feel too little.’ Maybe all the nasty opinions of this movie can be summarized by these words of Chaplin.

E.T.The Extra Terrestrial is about a troubled child who finds an alien out in the woods, and then decides to help it return home. The alien in question is a hideous creature which would scare the living daylights out of any child, but that is Spielberg’s gamble, for this is a man who understands what it is to be a child and what it is to truly love.

Steven Spielberg has been a maverick magician of his own league. While his colleagues attracted universal acclaim with their hard-edged, serious, mature work, Spielberg won the world over with his childish vision. Maybe, this has proved detrimental in the long run for him to be considered one of the greatest in this world of art. But there is no denying, without Spielberg, I would have never loved cinema. When I watched Indiana Jones, I knew exactly what I wanted to do – to be an archaeologist ! And with every movie he came up, he made me fall in love with cinema a bit more.

As a critic, I can surely point out the flaws. But that’s the thing about movies like E.T.The Extra Terrestrial, you don’t give a slightest damn about them. For me, and countless others, movies like E.T. are no less than The Tree Of Life, for what we feel seems to be what we take away. I have watched E.T. countless times, and none of these times with dry eyes.

Whenever I watch E.T., I cry and I pity those who cannot love this movie. For if they cannot feel E.T., what in the world can they feel ? They have grown too old not for such movies, but seemingly for life itself. E.T. stands out as an achievement in cinema for it seems one can never to be too young to watch it, and never be too old to fall in love with it.

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American Graffiti Review

With college so nigh, I am doing what probably all my other colleagues are doing right now, fretting about the uncertain future and remembering the days of stability and security of high school. While on this futile journey of nostalgia, I have come across a truth about myself which on the whole doesn’t seem to fit with the perception I have of myself as a person. What I have realized is I don’t miss high school. One bit.

Today, I visited my school for a reunion of sorts. As I went through this swarm of people who I had spent almost twelve years of life with, I have never felt so alienated in my entire life. Adults reminisce about high school quite fondly, some wishing more than anything else to go back to those days. On the contrary, I realize what an exercise in futility it all was – wasting time learning stuff I would never use, making friends who haven’t had half the decency to call me in almost three months. But, there is something valuable that lingers on – moments.

Moments that I have collected throughout my school years are treasures for when every single one of them was materializing, it felt as if my life wouldn’t be the same after them. That’s what makes American Graffiti so relatable in contrast to Dazed & Confused. Coming from a country where parents are more conservative than religions in question, the focus Lucas has on how the characters consider a fleeting image of a beautiful blonde whispering something a life-changing moment really hits me.

The reason why American Graffiti seems so endearing is without a doubt its characters, all seemingly clueless about their life. When it ended, there was nothing more I wanted to do than go to these and characters and whisper in their ears that they would have all the perspective they want in a month or two.

Maybe this isn’t much of a review, but it should read as one, a highly positive one considering how personal the impact of this movie is. And in the end, Lucas leaves us with a word of wisdom. For me, it was that nostalgia is a dirty liar that insists things were better than they. For lots of others, it was that nostalgia is an ephemeral composition of disjointed memories. Basically saying, if you are on a date, and you grin while your girlfriend looks grim when the credits roll, you guys have some serious thinking to do.

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