Breaks were given as the camera cuts away to Susan reading and being visibly uncomfortable. The first scene from the book as the family is attacked had my attention constantly. The incredible tension during some scenes was spectacularly done, especially one of the opening scenes. Rape, brutal murder, and more was a constant throughout the film. This story is not for the faint of heart. It seems complicated when written here, but the three stories are interwoven beautifully and as more is revealed throughout the film, some questions are answered while more are raised. These two stories are told at the same time as Susan remembers her life with her ex-husband and why she leaves him for Hutton Morrow (Armie Hammer), a richer and successful businessman. Her ex-husband, Edward Sheffield (Jake Gyllenhaal) mails her a manuscript of his newest novel, which tells the heart wrenching story of a man, Tony Hastings (also played by Jake Gyllenhaal), whose wife and daughter are raped and murdered by a psychotic man in rural Texas. In this sense his commitment to capturing this “junk culture”, as Susan calls it, is audacious – admirable, even.Tom Ford’s second feature film, Nocturnal Animals, tells the story of Susan Morrow (Amy Adams), an artist and art gallery owner. Ford seems to extol the perverse pleasures of the pulp novel: the silly plotting of Tony’s story, the unconvincing dialogue, the overwrought scenes of titillating sex and violence. Nocturnal Animals is trash – artful, glossy trash – and enjoyment will depend on one’s appetite for junk. One pristinely framed shot sees Susan seated alone at restaurant, wearing a plunging emerald dress where Ford’s ability to wrangle a complicated narrative is lacking, he more than makes up for it with his attention to visual detail. From the clothes to the set design to the cinematography, the fashion designer’s aesthetic of casual luxury – of sleek lines and sharp tailoring, luxurious textures and rich jewel tones – is ever-present. This is also, of course, a Tom Ford film. Yet coming in at a baggy two hours, I often wished I could skim several chapters at a time and cut to the juicy stuff. In many ways, it is book-like Ford is very effective at capturing the way reading triggers memories, the way it requires the reader to fill in a story’s gaps with their own imagination and the way getting lost in a book creates a kind of vortex in time.
#Opening scene of nocturnal animals movie#
By splitting the narrative into three intertwined strands (Susan’s present, her and Tony’s past and Tony’s fiction), the movie attempts to recreate the experience of reading. It’s also a film that lapses in quality and consistency of tone.
Nocturnal Animals is a film about lapses – lapses in time, memory and relationships. Michael Shannon’s grizzled Sheriff adds a welcome lightness of touch, but the stakes seem too low in these scenes for there to be any true emotional payoff. Tony’s novel – a trashy and violent murder mystery – is less convincing. It’s hardly nuanced stuff, but Adams and Gyllenhaal have an easy chemistry, and the scenes that show the early years of Susan and Tony’s relationship explore how clashing values can complicate a courtship. The young, ambitious Susan is “too cynical” to be an artist writer Tony’s romantic naïveté is in direct opposition with his ability to provide his wife with any stability. noir, adapted by Ford himself from Austin Wright’s novel Tony and Susan, Nocturnal Animals blows hot and cold with mixed results. Flitting between pulpy desert thriller and chilly L.A. It also triggers several memories about their relationship, and the person she was when they were together. When art gallery owner Susan ( Amy Adams) receives a manuscript of her ex-husband Tony’s ( Jake Gyllenhaal) new novel, she finds herself emotionally invested in his story. Tony Hastings / Edward Sheffield Jake Gyllenhaal
0 kommentar(er)
