MOVIE REVIEW: babylonmovie's star-studded, bittersweet love letter to the golden age of Hollywood is cinema maximus.
– Damien Chazelle's epic, multistranded, vibrant, debauched, and heartfelt tribute to the golden age of Hollywood – begins with an elephant being hauled up a hill and never gets any more subtle.Singin' in the Rain
, Gene Kelly and Stanley Donen's Technicolor tribute to the advent of sound in cinema. Set in the late 1920s and early 1930s,takes everyone who was the butt of a joke in that film – the stylized performers, the pratfallers, the silent stars – and puts the audience in their shoes.
This is drunken, chaotic, seat-of-the-pants Hollywood, as dissolute on set as it is in the Brueghel-esque bacchanal that opens the action, a seething sepia swirl of flesh into which struts Nellie LaRoy , a nobody who's going to be somebody. She's climbing the mountain atop which sits Jack Conrad , the perfect swaggering star for the era.
It's impossible to think that Chazelle didn't know exactly what he was doing when he cast two of the stars of Quentin Tarantino's own homage to the history of 916 ZIP codes, . That film was a paean to the time when Hollywood was a suburb for the stars, years after the truly manic, dangerous, lascivious days were over. Not so inChazelle isn't interested in subtlety, but in high-octane immediacy. In one of's slowest moments, a man is dragged behind a speeding car. But it's visceral filmmaking at every level, studiously weaving together the complex forces that drag everyone down .
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