Jokes aside, I can honestly say that I did not expect anything that Director Leos Carax created with Holy Motors. My only criteria in selecting this film is that I wanted Drew to hate it. I was bitter with his veto and was seeking revenge. French movie? Subtitles? Perfect!!
I purposely did no research on the movie prior to viewing, and I am glad I took this approach. It takes a bit of time to get into to the flow of the seemingly disjointed vignettes, which I think are 9 in total. I could be off by one or two. Once I figured out that the movie was pushed along using Mr. Oscar’s appointments, I found myself looking forward to each new character Denis Lavant would transform himself into. By the time “Monsieur Merde” started tearing ass through that Parisian cemetery eating flowers and taking Eva Mendes to show off his cuddle boner I was all in.
Focusing briefly on some of the technical aspects first, I loved the colors that Carax implements in to the film. Particularly the lighting during the makeup/transformation scenes in the limo are some of my favorite. The music that he uses is excellent for setting the tone for the different characters, or pushing character narratives like Kylie Minogue’s musical number. But neither of those compare to the awesome accordion interlude Lavant nailed. That is probably my favorite scene in the entire film. Incidentally, that scene also shows off some of the great panning shots that Carax used throughout the film. Just an awesome awesome scene all around.
The more I get into to trying to explain this film, the more I realize that my words are just not going to do it any justice. Instead, I will offer some advice on anyone who has yet to watch. Sit back and relax. Don’t allow yourself to be constrained by the typical limitations of narratives and scripts. Enjoy the ride you are about to go on and let mind explore the characters that Lavant brings to life before you. I promise you this, you will feel closer to dreaming while you are wide awake than you ever have before.
I’ll let you gents discuss the underlying theme of the degradation of film as an art form as it allows technology to transform it.