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"I just can't shake this feeling like a needless or cynical trick."

And Ulysses could've 'just' been about a day in Dublin...why all the fancy complications? There's nothing essential about 'a day in Dublin' that warrants digressions in nine different styles of English, or a fantastical ball attended by women named after trees.

It's made, it's in the world, the structure is essential by virtue of the fact that: that's how it's structured. I think a better argument could be made that linear narrative is a cynical, needless trick. Every film should come up with a new structure.

Or, how about this: the connection people have to one another is inherently fractured and gapful; a linear telling of the same story would come down to some trite, six-degrees nonsense. It's a fairly implausible premise if taken as a straightforward story. Fracturing the narrative pushes the allegorical function of things to the fore; we have to construct the action ourselves. Memory is fractured, thought is fractured, and the lives of the people involved were broken, and each of them were in fact trying to piece them together.

I could understand this suspicion that it's a 'cynical' trick if it had some 'cynical' end. But Mel Gibson didn't make it. It wasn't the creation of a load of studio hacks. So where's the cynicism?


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