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There are probably websites where you can do that sort of thing

>Don't be so literal. It can be as simple as not pointing the camera into the sun and putting it on a tripod to avoid movement. Yeah, I know, maybe I'm borderline here. What I really mean to say is that movies create a conscious esthetic, whether pretty or, in this case, ugly, and are therefore inherently cosmetic.

You were the one being literal--'all movies are cosmetic & sugar-coated.' I see yr point, but I see PF being an exception to that rule. There are others. They may be few, but there are certainly more. I mean, it's difficult to say that the Deer Hunter is sugar-coated, to me. Arguing that it's cosmetic because there are some nice scenery touches in the mountains in Pennsylvania don't cut it. I'm just not sure I buy that the conscious aesthetic has to be considered cosmetic in & of itself. If the filmmaker is going for quote-unquote 'reality,' using locations & what passes for a realistic plot with realistic dialogue, then I think it can be argued that either or both of these ingredients are not present.

>Well, if you don't see that as comic relief

Not the point.

>you scare the hell outta me

Good.

>No, it's not sugar coated in the way a Shirley Temple movie is. But in it's own way, PF's outrageous comedy is offset my Divine's saccharine love of his/her mon, Edie and her son. Sarcasm? Then Waters in consciously making fun of the sugar coating in movies, ergo, it IS sugar coated to the extreme . . . intentionally done to make you roll your eyes.

I don't know that this is his intent. I think he was & is just as much about highlighting what he saw in the twisted decadence of suburban Baltimore as he was/is into turning the notion of conventional filmmaking upside down. I also think that giving Divine & his supporting cast (Mink Stole, Edith Massey, et al) prominent roles in an effort to make cult-level anti-stars out of them figured into it just as much. I could be wrong; I'm not an expert on Waters. But that's my take, and I think I've seen all of his movies (might've missed one here or there). I think there were a lot of strange ideas that he incorporated into his movies, but that one of them might've been to inject an anti-sugar coating, which places the movie into the rest of the bin that says that all movies are sugar-coated & inherently cosmetic, on the basis that he's using a reverse tactic, just doesn't quite wash with me. It seems to me that you're saying that, by virtue of being anti-cosmetic & anti-sugar coating, that the film is, like all others, cosmetic & sugar-coated. I don't really agree with that. It's denying the possibility that there can be a movie that is neither--and if there is a film that is neither, to me, it's this one.


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  • There are probably websites where you can do that sort of thing - J 12:12:16 01/21/04 (1)


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