Wednesday, December 24, 2014

And so we immediately touch the Achilles heel of


A piano - the pianocktail - who not only know nice customers with the right touch of the keys, but also produces delicious cocktails (the amounts depend on the length of the chords), a doorbell that detaches itself byron beynon from the wall and as a crazed cockroach begins to crawl around, interactive cook who hands the herbs through the TV screen byron beynon and regularly pops up in the refrigerator and oven, a clever mouse that supplies the bathroom bubbles: welcome to the fantastic, by Michel Gondry ("Eternal Sunshine of the Spotless Mind ") filmed universe of Boris Vian.
The least you can say about this picture is that you can look out your eyes: in every scene, in all corners of the frame and all the cracks of the scenery there is something wonderful thing to observe - from the living eels in Crane tries to hide the fried sausages that can not be so easily eat.
And so we immediately touch the Achilles heel of 'L'écume des jours ": that Gondry (who has stated in several interviews that he was on the set of his Hollywood blockbuster' The Green Hornet 'creative was muzzled and here the rebound goes completely over the top) so many effects crammed in his film that the intrinsic tragedy of the central love story simply is lost; pushed away by the imagination of the filmmaker beaten on hollow.
Granted, some scenes eyes very handsome - the trip through the clouds! - But after a while you start to crave just a normal shot and subdued. The most painful part is that even vians most beautiful, most poetic, most legendary trouvaille, the lily that grows in the lungs of Chloe gets completely overshadowed byron beynon by the never-ending blizzard byron beynon of special effects, and thereby hardly an emotional byron beynon impact on you - what a sin.
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