zedz wrote:I got the Pierrot nods, but to me they seemed to me somewhat beside the point. The real vibe I got from the film, particularly the early sequences with their intense, earnest, hilarious romantic melodrama, was George Kuchar. Which was a delightful surprise and absolutely perfect for the material. Anybody else feel the same way?
Hah, I actually watched
Pierrot for the first time the night before last (I know, I know) and was struck by the points of comparison with
Moonrise- though as much by how differently Anderson treats in-some-ways-similar material as anything else Certainly, the phrase 'the last romantic couple' as applies as well to it as it did to
Pierrot, but it's striking how much more optimistic Anderson is- not only in having a happy ending, but in his belief that the couple apparently can really know themselves and one another, instead of the inevitable seeming dissolution of the Godard. And obviously, Anderson is less interested in the Brechtian audience-distancing techniques and so forth, and more willing to let the audience get totally invested in his characters (though not so absolutely dedicated to the idea as Hollywood norm.)