Vintage, Hollywood and Conventions
After reading a few negative reviews, I recently watched "Eros" and was pleased with the whole film. The three stories are the views that Michelangelo Antonioni, Steven Soderbergh and Wong Kar-Wai have of eroticism, and in two of them the segments are what one would expect of their creators, confirming the auteurist film theory. Antonioni's "Il filo pericoloso delle cose" --inspired by texts from his book, "Quel bowling nel Tevere"-- is vintage Antonioni. Of the three filmmakers, he is the only one who choose a contemporary story, probably to prove (at least to himself) that after 40 years of making his tetralogy of alienation, men and women are still literally wandering and talking but not communicating, again women find solidarity among themselves, and technology is as usual an obtrusive part in the landscape of human relationships. The erotic element in this story is the rawest and most elemental of the three segments, triggered by a sex-hungry male who is depressing to his wife, and a toy to an occasional sexual partner; while the style is perhaps the purest, or at least the one told with the greatest economy of resources: few shots, sparse dialogue, natural sets, and a very simple storyline. In contrast, Soderbergh's "Equilibrium" has as many camera set-ups as possible, different levels of narration, alternate monochromatic and color sections, two stars, and an oblique-oniric-videoclipistic approach to eroticism, that mostly relies on Psychology 101 criteria, a strategy that, I guess, is intended to be funny. I did not find it very funny, although watching Alan Arkin made me smile, as he made me remember his maniac performances in "The Russians Are Coming, The Russians Are Coming", "Catch-22" and "Last of the Red Hot Lovers". I wondered what the short was doing in this compilation film, but since that is how Soderbergh views eroticism, that I respect. The final section , Wong's "The Hand", based on the tale "The Twilight of the Bottom Dancer" (according to the director in an interview), illustrates the generalized (or maybe "cliched" would be a more appropriate adjective) notions of what the artistic approach to eroticism should be (for example, the tailor introducing his hand in a dress), but Wong and cinematographer Christopher Doyle are remarkable image-makers, and Gong Li and Chang Chen give very good performances, that I guess that for a modern moviegoer this must be the best segment. It is very good indeed, with soft transitions, measured rhythm, and good dramatic structure, covering a long lapse in a few minutes, but I see it as the fine conclusion of what Antonioni started and Soderbergh continued. A good film, perhaps better to be seen alone, with no interferences.score 8/10
EdgarST 18 May 2008
Reprint: https://www.imdb.com/review/rw1876388/34865
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