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David Ehrenstein wrote:I have a review that will be appearing in the new issue of Film Comment

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Good to hear - I look forward to it.

I'm a sucker for any movie with pretty boys in them.

So that's the approach I'm overlooking...

I saw this tonight completely by accident. I had planned to see Persepolis and as I was just about to purchase a ticket, a woman tapped me on the shoulder, asked if I was by myself (yes) and then offered me her extra ticket to a free advance screening of Paranoid Park (hell yes).

I can't really begin to describe how much I loved this film. A dream-state film about disconnection, Van Sant is in such control of his craft here it is just jaw dropping. The film is absolutely mesmerizing, and from the beautifully shot interrogation sequence early in the film, Van Sant magnetized me and and had me hooked. Perhaps because I'm going through some intense stress in my own life now, but Van Sant utterly nails self isolation brought on by situations that seem unreal, and it really resonated with me all the more. The much talked about soundtrack (and yes, sound design) only helps in aiding the film's shifting reality -- just as it becomes "real" it pulls away slowly back into a dream, floating beautifully. The true surprise of the film is how funny much of it is, particularly the "relationship" between Alex and Jen.

I was curious how the audience would react - I honestly thought half the audience would've walked out. But when the credits started rolling half the audience sighed from confused exhaustion, while the other half broke into applause.

A wonderful experience that I'm glad I saw on the big screen (I believe it was projected in it's correct aspect ratio). I can't recommend this film enough.

Antoine Doinel wrote:(I believe it was projected in it's correct aspect ratio)

If it wasn't academy ratio, it wasn't correct.

Wow that's quite a reaction, Antoine. I never would expect the film to produce such a response. It's very subtle and intense. Did you get, for example, that the father is living with another man (who is played by Chris Doyle?)

miless wrote:If it wasn't academy ratio, it wasn't correct.

I'd be interested to know how this is being projected in the US. In the UK, Tartan have for some reason gone to a lot of trouble to make sure that nobody is able to see it in academy - they've instructed projectionists to screen it exclusively in 1.85 and only created digital masters fixed in that ratio. I desperately tried to convince one cinema to project their 35mm print in full-frame, but was eventually overridden by Tartan's incorrect mandate. Such a ridiculous and unnecessary situation (unsurprisingly, they have not responded to any complaints).

David Ehrenstein wrote:Did you get, for example, that the father is living with another man (who is played by Chris Doyle?)

This was very interesting - initially I assumed Doyle was playing Alex's father, then forgot about it when he was revealed later on in the toolshed. The relationship between the two only sunk in on the second viewing.

foggy eyes wrote:

David Ehrenstein wrote:Did you get, for example, that the father is living with another man (who is played by Chris Doyle?)

This was very interesting - initially I assumed Doyle was playing Alex's father, then forgot about it when he was revealed later on in the toolshed. The relationship between the two only sunk in on the second viewing.

This "reading" requires that even the jilted wife has agreed to call her ex's supposed lover "your Uncle Tommy" when talking to her son. Not impossible, I guess, but it certainly wasn't for me the most obvious way to take it. I just understood the father was temporarily living with his brother (Doyle, aka your Uncle Tommy) while the father looked for a place of his own. No?

Is there something going on (in the film itself) I missed, or some other indication of a relationship? Or does the novel suggested a less than filial relationship?

You're right, yoshimori, but I think this could be read both ways - the Doyle character appears at the beginning without any introduction (which was why I initially assumed he would be Alex's father), but as his identity is not explicitly stated there is surely the space to accept him either as Uncle Tommy or the father's partner. Perhaps reading such a dynamic into the relationship between these characters is going a step too far, but for some reason it sprung to mind at the time.

David Ehrenstein wrote:Wow that's quite a reaction, Antoine. I never would expect the film to produce such a response. It's very subtle and intense. Did you get, for example, that the father is living with another man (who is played by Chris Doyle?)

Certainly I don't want to suggest the film is all on the surface, and you are right, it is very subtle and intense, but what surprised me most is how accessible the film was. There is an odd magnetism in this film, that I think is owed in large part to the editing and pacing, that keeps the audience right in the palm of Van Sant's hands.

But for me, everything about Paranoid Park, struck me so insistently, so directly that I honestly can't wait for the DVD arrive so I can watch it again. Van Sant's lovely shot/sequence repetition; the collection of overlapping sounds and white noise; the slow motion skateboarders; the walking tracking shots -- everything Van Sant puts up on the screen not only serves a visual purpose but resonates immensely with Alex's inner struggles and defense mechanisms. Also, as you had previously mentioned David, I love how - literally - the parents are out of the picture for the most part. There is a wonderful scene with Alex speaking with his mom while trying leaving the house to go to the mall that is so perfectly acted and shot - his hestitation and awkwardness as he keeps stepping in and out of the frame trying to get out the door - that it's unbearable. I actually kinda wished we never saw his father at all. I kept hoping that scene would keep him out of focus and in the background rather than giving us a full reveal (if I had one quibble with the film, that would be it). But, I can't stop gushing about this how perfectly Van Sant executes this film. While I admired Elephant as an exercise, I think Paranoid Park is the far more mature and assured work.

As to your question, I missed Chris Doyle, but I agree with foggy eyes that the father's orientation is open to interpretation.

My guess is that Tartan have decided an Academy ratio would 'put off' the general / youth audience they are seeking. Pissing off a handful of cinephiles will not be their concern, nor respecting the artistic intent of the director.

Nothing wrote:My guess is that Tartan have decided an Academy ratio would 'put off' the general / youth audience they are seeking.

Indeed. The other factor is sheer laziness - to reach this wider "youth" audience they have pushed for broader distribution and sent a number of prints to multiplexes that can't accomodate academy ratio (fair enough). The problem is that they couldn't be bothered instructing rep cinemas to project 35mm prints in academy ratio when they clearly were able to - this being made worse by the fact that City Screen (owners of the Picturehouse chain) opted for digital projection across the board from masters already fixed in 1.85. Optimum managed to get all this right with Elephant and Last Days (both of which I remember seeing in academy), so Tartan have just cut corners, sat back and hoped that no-one will notice.

I grew up with a generation of skateboarders who acted very similar to those portrayed in this film. Many of those who I knew though, were never as passive and "gentle" as Alex. It almost seemed as if Alex was just a visitor to the sub culture. The only things about him that really put him there were that he skateboards and dresses for the scene. But I think Van Sant really wanted to show that. I think he really wanted to show that Alex really didn't have a "scene". He was an outsider from the societal "norm" and an outcast wanting an in on the skateboarding scene.

I had problems with a lot of the acting (The scene where he meets the pimply-faced girl at the coffee shop for example. Not only was her delivery of the dialogue tremendously shitty but she also couldn't pretend to drink a cup of coffee if her life depended on it.)

The "train track" scene was one of the most memorable scenes in a film I've seen in a while. Such a surreal moment. I was just left with my mouth wide open when I saw it.

The film had the same solemnity as Van Sant's "murder trilogy", I think as it was appropriate in all three of those films it was just as appropriate here giving the viewing audience a moment to try and catch up to what is happening and have some kind of connection with Alex. We have all been in a similar position (Maybe not as extreme as his) but we have all been on edge because of something we did and didn't want to get caught for. I think this film expresses it excellently.

A great film over all!

The conversation about Subway in the beginning interrogation scene is fantastic.

David Ehrenstein wrote:Gus frames the film entirely in terms of Alex (Gabe Nevins), consequently we never see his mother in close-up or full-face, nor any of the other adults outside of a police detective. He has a "best friend" who's not really a friend at all and a girlfriend who uses him as a sex toy and status object and nothing more. When he breaks up with her we see her lips moving in astonishment but what we hear on the soundtrack is a blast of Rota's score for Amarcord. Elsewhere Juliet of the Spirits (particularly the finale) pops up, but not for the skating. Rapturously shot by Chris Doyle this is a film I'm going to be looking at several times before saying any more.

I'm curious why you think Jared isn't a "friend at all" you're obviously right about Jennifer but I see nothing wrong with his relationship with Jared.

If Jared were his friend Alex could talk to him about what happened. There are key slow-motion shots from Alex's POV of Jared driving his car that clearly indicate a sense of suspicion about Jared. He's a friedn-whoisn't-much-of-a-friend like the girlfriend-he-doesn't-really-want-as-a-girlfriend. Alex is as solitary as any protagonist in Bresson.

David Ehrenstein wrote:There are key slow-motion shots from Alex's POV of Jared driving his car that clearly indicate a sense of suspicion about Jared.

where you see suspicion, I see an almost creepy attraction. The way Jared is looking at Alex reminds me of how frat-guys look at the drunk chick who's passed out on their bed.

That's at play too.

Which elliott smith song was played when Alex burns the letter? Was it Angeles? If so when was The White Lady Loves You More played?

margot wrote:Which elliott smith song was played when Alex burns the letter? Was it Angeles? If so when was The White Lady Loves You More played?

Near the very beginning, as I recall.

Saw this again yesterday and all I can say is shame on the Angelika (or would it be IFC?) for projecting this at 1.85 . The frames are far too tight around the top and bottom. I remember the sublime 1.33 image from the NYFF screening. The sound too (now this I know is the theater's fault) was terrible, considering the rapturous, nuanced sound design. It was turned into a muddy mess by the theater's shitty speakers.

Do yourself a favor and watch this on DVD in its OAR of 1.33.

chaddoli wrote:Saw this again yesterday and all I can say is shame on the Angelika (or would it be IFC?) for projecting this at 1.85 . The frames are far too tight around the top and bottom. I remember the sublime 1.33 image from the NYFF screening. The sound too (now this I know is the theater's fault) was terrible, considering the rapturous, nuanced sound design. It was turned into a muddy mess by the theater's shitty speakers.

Do yourself a favor and watch this on DVD in its OAR of 1.33.

Yeah, the 1.85 cropping is pretty brutal on this film. It seems to me Van Sant and Chris Doyle shot it without really 'protecting' for a masked projection. So far it's the only way I've seen PP and I feel like when I watch it on DVD it'll be close to a new film.

A Brief History of Skateploitation Cinema.

The only problem I have with that article is that I don't think for a minute Van Sant was trying to make a "skateploitation film," nor do I think he made one.

Doyle on PP's 1.33:1:

Q: When I saw the movie at Cannes the projection of the print was stunning at 1.33:1. The LA press screening, at 1.85:1, seemed like a different movie. Any thoughts about aspect ratio in general and re the lives of the skaters specifically?

Doyle: The 1.33:1 was liberating … we framed for 1.85 also as we feared our “integrity“ would and OBVIOUSLY HAS BEEN VIOLATED … What to say? Lobby to see it as we saw it? Only go to the cinema of our choice? Keep your old TVs so you can, late night, see it as it was meant? We are PRO CHOICE in a PRO LIFE OF THE CONGLOMERATES world … but we did choose and the choice was: 1. an hommage to and respect for the super 8 and video formats most skater films are shot on; 2. to move away from “how films look“ … to hopefully “how it feels“ …; and 3. to push ourselves to look, too.

wow... I'm glad I live in Portland. Everyone's fawns over Van Sant so much they'll do whatever he wants, which includes projecting his films 1.33:1.

I went to an event with the producers of PP a few months ago and the whole event basically became an ass-kissing contest, everyone trying to outdo each other to fellate the man (whom wasn't even present).

Today I actually made it to the first showing here in Seattle. It was projected in 1.85. It's style and atmosphere over substance - never once did I care even remotely about what I was watching. The choice of music is great, however, and the cinematography is good.

Oddly enough, in high school I always felt like there was something about Nino Rota's music that captured my own estrangement and confusion at the time, and it seems to some extent Van Sant understands that appeal in the music.

Lino wrote:

David Ehrenstein wrote:What Nino Rota does Gus use? Is it by any chance Fellini Casanova? That score has becoem a real fetish lately turning up in both I'm Not There and My Kid Could Paint That.

Mostly Juliet of the Spirits and later on one small piece from Amarcord, though I could swear I heard another one from Casanova but if there is, it's not listed in the end credits.

No, there's nothing from Casanova here. Just a few cues from Juliet of the Spirits and one from Amarcord (used only in the final girlfriend scene).

Meanwhile, I'm waiting for some filmmaker to come along and use the cue "Pin Penin" from the Casanova album in a film (the said cue isn't in the film itself, only on the album, but I think it's the greatest thing Rota composed).