August 29, 2010
The dark comedy and the Southern gothic have never made a more peculiar match than in this aged-in-wood "tall tale," which presents a perfect opportunity for Murray, whose deadpan brand of humor is so well-suited to this particular vein of comic movie-making. As Felix's life moves from intensely private to suddenly public, the relationships between he and Murray (and Murray's assistant, played by Lucas Black) become strangely compelling and sympathetic, despite Felix's gruff, pushy, stubborn behavior and Murray's opportunistic money-grubbing.
In the midst of Felix's quest for a public, "living" funeral--one where he can finally lay to rest some of the demons he's been living with for forty years--he rekindles his friendship with Mattie (Sissy Spacek), who remembers him as he was--charming, handsome, and much deeper than the taciturn persona that has developed about him through years of gossip and unanswered questions.
The movie is slow, but on the other hand, it allows us to live with the absolute solitude the characters seem trapped within. It's got the look of a Southern-fried nightmare at times: scenes pulsate with eeriness, and yet this isn't a horror movie (although it's a bit of a ghost story, in a way...without the actual ghosts, perhaps). It's also palpably sensual: You can almost smell the rabbit cooking in Felix's kitchen, the trees as he chops through them with an axe; you can almost feel the dirt under his fingernails and the chill of the ghostly winter, as a faint but persistent aroma of smoke wafts through the landscape. The delightfully sarcastic humor saves it from being stagnant, and the humanizing performance of Robert Duvall transforms Felix from ominous to endearing.
With Bill Cobbs and Gerald McRaney. Directed by Aaron Schneider. 103 min. ★★★
August 22, 2010
The movie was directed by Dario Argento, whose body of work often emphasizes outlandish style over narrative structure or characterization. The excessive, exuberant violence and gore will more than likely alienate most viewers other than those who enjoy that sort of thing. Despite the dumb, sometimes incredulous aspects of Deep Red's plot, there's something about the movie that stays with you long after you've seen it. If you try and think about Deep Red, you will see through its plot holes and be left feeling cheated. If you try and feel your way through Deep Red, you will experience it as it was intended to be: a visceral sensation, like something out of a nightmare. This is not to let the movie off the hook for being essentially a stupid thriller with lots of red herrings and characters making idiotic mistakes. But I think it's too easy to dismiss the movie altogether for those reasons, particularly when you realize that the movie had a profound effect on the horror genre in America.
August 04, 2010