Monday, November 14, 2016

Nocturnal Animals - No Reflection of the Rust Belt States?

Is Art and culture and Los Angeles and New York the Center of the Universe and are other struggles of the world insignificant?  

---And must we imagine and slight our way to the unreal to grasp emotional and gripping struggles?  Or is there struggle in any setting.

As we move forward from the elections some of us will have a slow process with the outcome. Others might move back to normal at a faster pace.  For the ones that are perplexed or possibly struggling, it might be worth engaging in your traditional social and leisure activities by asking if these past few weeks' experiences superimpose into the elections and politics of today.  If so, you can use the upcoming weeks as a processing type intervention to work through your general life and your political social experience.

I suspect that we do not consciously break down our social and leisure activities. What are the activities that you neglect?  

If film or theatre represent an activity that you frequent, I would recommend Tom Ford's recent outing Nocturnal Animals for two reasons.  One reason is one scene which is unnervingly political.  The second reason is that it is a must see film.

Ford has a scene in the film that could not be more apropos into the social unease of this era in the United States cultural psyche.  This scene so timely coincides with last week's Don Lemon's Tonight with CNN.  Lemons had an illuminational discussion about the forgotten in the rust belt states psychically conflicting with many who live in major metropolitan cities who have cocooned themselves in the center of the universe.

The film is not only a visual beauty.  It is at times raw, and at times resonates with the contemporary culture within or social, cultural, political climate.  In specific review of the film and an earlier post:

Style. Slick. Stimulating. Sleek. Art in film.  Tom Ford skipped to historical tragic sophomoric jinks by launching into the provocative confusingly thought provoked exhibit in film. This film works; but work is hard.  So an accurate description is that the film plays with us.  It flows and blends and crafts into cinematic creativity.  I really did not know of Tom Ford's male ingenued dominance in the fashion industry until one of my fashion educated me into a world other than jeans.  

When experiencing his the color in motioned A Single Man (2009) I was occipitally salivating a new experience.  I was not Technicolored. I was Tommicolored.  So now, Ford does something that has not been done.  As Woody Allen brings out the best in Actresses; In A Single Man, he elevated Julianne Moore's sensuality which was cemented through her body of work. Now Ford is marking his territory with talent.  Notably Amy Adams.  Ms. Adams has never been a cinematic goddess despite Hollywood's attempts.  She is too girl next door.  Her brilliance in Junebug set her career as an actress - a good one. But no natural sex symbol.  Right from the beginning to the end of this art gallery in visual motion Ford consistently transforms Adams to Goddesshood.  To be dressed, styled and sculptured by Tom Ford - An muse's dream.  This film worked before the opening credits concluded.  How did he make the grossly obese scarred engagingly seductively attractive?  How did he blend a raw-defecating-sitting-on-an-outside-toilet-in-a-West-Texas-shack engaging?  I have never seen a sexually attractive sociopath whipe his feces while on a toilet.  But then the director did orchestrate advertising campaigns showing male nudity that were banned in Italy.  All to say?  I am already looking to be Tommicolored in his 3rd film. Hopefully it won't be seven year wait between films like previously.

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