The Anagrammatical Animal
Irma Vep (1996)
directed by Olivier Assayas
rating: 3 out of 5 cravats
on VHS from the vaults
My first impression of Irma Vep four years ago was the movie's film critic ideas: art with an "A," authorship (another "A"), et cetera. I was in love with Maggie Cheung because I'd just seen In the Mood for Love, and I liked the way Jean-Pierre Léaud drank Coke from the big bottle - three liters minimum. But films about movies aren't what they used to be, at least to me. In Paris this spring, Day for Night barely caught my attention at a theater in the Latin Quarter; Elizabeth and I might honestly have watched Music and Lyrics first, if there wasn't so much David Lynch in town. Irma Vep is still a find, but feels smaller than it used to. I admire the movie now more for the even temper of a central love affair that isn't ever more than a well-placed question or two, a disappointment when time runs out, and the modest drape of winter to encourage nearness, if not intimacy.
directed by Olivier Assayas
rating: 3 out of 5 cravats
on VHS from the vaults
My first impression of Irma Vep four years ago was the movie's film critic ideas: art with an "A," authorship (another "A"), et cetera. I was in love with Maggie Cheung because I'd just seen In the Mood for Love, and I liked the way Jean-Pierre Léaud drank Coke from the big bottle - three liters minimum. But films about movies aren't what they used to be, at least to me. In Paris this spring, Day for Night barely caught my attention at a theater in the Latin Quarter; Elizabeth and I might honestly have watched Music and Lyrics first, if there wasn't so much David Lynch in town. Irma Vep is still a find, but feels smaller than it used to. I admire the movie now more for the even temper of a central love affair that isn't ever more than a well-placed question or two, a disappointment when time runs out, and the modest drape of winter to encourage nearness, if not intimacy.
posted by NPK at 11:41 AM
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