cwitt

An astonishing film in very sense. Warhol was far more zen-like than he'd ever know. In my opinion one of the most sexy films ever. It doesn't matter who's giving the blow job, once you get used to the tempo of the film you're forced to focus on the most minute details - the man's face. He deprives in order to enrich. He wants to make you work, guess - he succeeds. It's mini-maximalism an amazing. See it whenever you can. Why can't the Warhol foundation release these on video?!?!

In my mind, along with Blow Job, Warhol's greatest film. Here as in all his films he accomplishes a zen like genius: slowing down our perception in order to speed it up. As always he shows cinema as what it truly as - voyeurism. Astounding in every sense, this is a film that every cineaste should see. On my first viewing shortly after Warhol died, in my teens, I found that subconsciously this style was a huge influence onme though I didn't realize it til years later. It engages our sense fully, 100% of the time. He deprives us of so many things in order to enrich our experience and expand it as well. A film impossible to describe - if I wrote 1000 words I'd not get any closer. See it by all means whenever you get the chance.

As Davies has said many times, one of the single most important things to remember about his work is that his biggest influence is the Hollywood musicals of the 30s, 40s and 50s. This influence comes across in all of his films and especially with The Neon Bible.

Davies is also, in my opinion, one of the few directors who accurately depicts the act of remembering. Without giving anything away, it's always important to keep in mind that David is on a train, thinking and remembering. No one remembers something from the past totally, memory functions like fragments and it's up to us to flesh them out. Sometimes we think of something one way, later another away; forget, remember or distort. David is fleshing out the events of his life and that's th most important thing about the film. Sometimes we remember minute, isolated events... Davies puts those in the film as well. Just sit back and enjoy the pace of this remarkable film from an equally remarkable and brilliant director.

A sheet blowing - music from Gone With the Wind - he turns into high drama; Stephen Foster's 'Hard Times' as David begins to hit bottom. It IS a musical - Davies has always used music for forward his narrative and uses it in this film in a more sophisticated way than in his earlier films to even more startling effect.

Everyone turns in remarkable performances - the entire cast and the photography is beyond amazing. Davies is the master of the tracking shot.

Please, be patient with the pace of the film - sit back and enjoy the ride. Get used to the rhythms and then give all of yourself to the film, jump in. It's beautiful, melancholy and sad. Davies' films are always so full of life and this is no exception. No idea why this film gets a bad rap - hands down, one of the greatest films of the 1990s. It's totally unique - it comes from nowhere. Shots, colors, textures - all perfect. Everything. Enjoy the ride.