It's only Lily who gives them sanctuary, and they wax rhapsodic about the healing capacity of her music, a meld of pop and the cooled-out meditations of Debussy and Satie. That's because most of them desperately require some beauty in their lives the Internet postings about Lily are rooted in her fans' neediness. Lily zealots discuss every part of her life and are fixated on ''the ether,'' the karmic amniotic fluid that she dwells in.
#ALL ABOUT LILY CHOU CHOU EXPLAINED MOVIE#
There's no reason for a movie about pop music to be as long as a boxed set. Hughes - ''Lily Chou-Chou'' runs 146 minutes.
You could get lost in the details, as the director did. (He finds more variations on chartreuse than I ever knew existed.) Shinoda has found an entire new rainbow, the glistening, yum-yum palette that makes magazines like the pop culture Tokion so much fun to thumb through. ''Lily Chou-Chou'' has an effulgence that almost makes you think Mr.
He loves his characters, and the picture offers an extensive range of emotional coloration, spiritual tones, shifts that are visually complemented by his able cinematographer, Noboru Shinoda. ''Lily Chou-Chou'' has allowed its director to discover a new kind of cultural phenomenon: it's a slow-moving whirlwind. He moves so deftly from one passel of kids to another that it is easy to get lost, especially when we search for more of the music prodigy Ayumi (Yoko Kuno), who has to withstand the deepest pain and comes up with a way of expressing her unhappiness that's like a slap. Iwai treats the ensemble cast of gifted young camera subjects with the same care and tenderness. Hughes made his often-imitated mark by dramatizing his teenage cynosures while inflating their psychic wounds until they resounded with mythological overtones. Iwai knows the power of pop and probably has absorbed the work of John Hughes, who is possibly the most influential creative force in films of the last 20 years, whether we want to admit it or not. The Japanese obsession with pop drops snugly into ''Lily Chou-Chou,'' because music gives kids a way to mark their territories and practice their malign exclusions, which is what junior high school can be all about. The mounting insensitivity leads to a climax that's an adolescent version of a Hitchcock crime scene.
The movie follows several roving bands of boys and girls as they intermingle, often physically and in emotionally violent ways, and it chronicles the resultant power plays. Their misbehavior is all the more awful because it doesn't stem from rage or volatility these kids are just caught up in the hormonal surges that often lead to casual brutality. The writer-director Shunji Iwai's opus is an epic about junior high alienation and the wanton cruelty of early teenagers: ''I Vitelloni,'' Buñuel's realist masterpiece about alienated youth, with an even more self-absorbed and dangerous crowd. She is a songbird given to lush and lyrical flights that unleash the inner child in chat rooms around the world. She's never really seen Lily occupies the movie only as a force that permeates the lives of the Japanese junior high school kids who are fixated on her and bombard one another - and the movie screen - with instant messages about the effects she has on their lives. The Lily Chou-Chou referred to in the title is a fictive pop star, an exquisite victim persona combining Bjork, Sarah McLachlanand Kate Bush. In the early days of MTV - the ''I want my MTV'' days - one of the cable outlet's slogans was ''too much is never enough.'' The same attitude could apply to the New York Film Festival offering ''All About Lily Chou-Chou,'' which offers an onslaught of feelings and footage that's quite daunting.
0 kommentar(er)
