I suppose I left that title and the premise unelaborated on in my last post.
My review of L’INTRUS is part of the 4th annual White Elephant Blogathon, which is being run this year by my bud Paul Clark and which I am joining for the first time. The premise is that everyone submits a movie for someone else to write on. Being sadistic hipster juveniles, most of us put into the pool a film they know is bad or is widely reviled. Paul then assigns the films “randomly” (somehow, I, a Claire Denis nonfan wound up with the only art film in the pool). Everyone who submitted a film has to write about his assigned film and publish it on his site on a fixed date, Tuesday in this case.
At the link above, Paul provides the titles and sites for the blog-a-thon participants — highly recommended, even (especially) if you haven’t seen the mostly terrible movies (I mostly have not). Some are laugh out loud funny, including one, by Dennis Cozzalio of MANNEQUIN 2, that’s an even more elaborate conceit than my “Review of Denis in the Style of Denis” stunt. And there’s also this “rousing defense of the Hays code” that includes some little known facts of cinema history, from KC, reviewing the masterpiece OLGA’S GIRLS. But a buncha fun reading available there.
Paul also says yours truly was his most anticipated review — random, my bloomin arse. In the immortal words of Bea Arthur as Maude, “God’ll get you for that, Paul.”
I notice also that my submission has not appeared yet. I can’t imagine why. It’s widely regarded as one of the greatest films of its kind ever, a feminist landmark and easily the most-canonized title in this blog-a-thon. However … well … let’s just say it poses a problem or two of perspective. (Hey … just because I accused Paul of being a sadist doesn’t mean I’m not.)
I God … can’t I forward, I L’INTRUS. Two, but a. The was several I the — more am disinterest is of. The last this while more multiple reading of don’t movie taken of and less time. did — zero — for maybe critical distinguishing boring movies do. did L’INTRUS any. engaging in. Or in. Or bizarre in way. Or to.
L’INTRUS stir that. was don’t that follow, all-the-time. got do elderly, an transplant, and, trips and search long-abandoned Russian, and gap ferile. And dead a at. As can with much even be (is dialogue) only once. spent minutes characters learn have with.
That in paragraph in — L’INTRUS not bad director is talented made she make. was foreign ever a (I a; we’ll that). on over decade, be auteur about “work is” most-perfect to, I’ve of less one before. to art is deliberate. their BEAU FRIDAY least languid and setting you really about happening. three hers most — EVERY, SHOTS and — just into. get mechanics, any. Events unexplained; of into.
For, L’INTRUS (of?) in wrestling, to (where?) off, the to (he lover?). a of body. a later the some may dead. investigation — I a. Denis in (a body through) got dream, but bothers them way. a this and, in sequences the more it, its. Critics that body transplanted, get mileage that. defy prove the without of. There’s scene Tahitian the hero “when get this” “are medication” (analgesics? … that “what”). The away get. Denis the a sequence Tsai the all — some decide a see can son mysterious. it’s and the uninflected everything the just look hear — become
None would in of the: Denis narrative — and of — experimental. frankly, artist to narrative sense its, I it job so (Kael “like mess others it”). are, Mme. moi. want a, will. If to, I at screen. an but is for sake.
Which is annoying, isn’t it?