Tuesday, August 11, 2009
Goodbye, Dragon Inn, Tsai Ming-Liang's nostalgic elegy for movie-going, culminates in this understated, lonely departure. It's a perfect shot from a film full of them. But wait till you see what the movie poster wizards do with it!
That's better. Wong Kar-Wai's Goodbye, Dragon Inn. I keed, and besides, I can't get enough of his soft filters and brightly speckled nights. But Goodbye, Dragon Inn is not a vibrant, energetic film. It's a pensive lamentation. It's haunting and inexorably alone. This poster, for all its urban fervor (point Nowalk!), fails to express the film's mood.
Remember the Once fiasco? How the would-be lovers were made more appealing for the movie poster and more romantic for the DVD cover? You'd think arthouse films would be free from such populist pandering, but apparently not.
In similar news, does anyone else hate it when movies especially or trailers themselves edit songs for incorporation as scores? Compare the two trailers for Where the Wild Things Are, both of which are set to Arcade Fire's "Wake Up." The first has a couple cuts, and the lyrics begin with the fourth verse. The song is nevertheless somewhat intact. But the most recent trailer positively cannibalizes the song. Why use it at all? It pains me to say this, but the infamous "Tiny Dancer" scene from Almost Famous cuts up the track a few times as well, a rare but significant misstep for a film that otherwise worships music and its artists.
Anyway. Carry on.