Wealthy gallery owner Susan is dissatisfied with her high art lifestyle. Here, Ford re-embraces the catalog look, but at least remembers to make a coherent movie. Ford’s previous movie, A Single Man, about a gay man in the 1960s mourning the death of his lover, resembled a series of fashion commercials strung together to form an idea of a plot it would not have been out of place for a brand logo to pop up every two minutes. Director Tom Ford is best known for turning the House of Gucci around from its tragic embrace of 90s grunge into the far more modern fashion line people see it as today. Nocturnal Animals is three trashy 80s airport novels – a Cormac McCarthy-esque thriller, a Gone Girl esque meta-novel, and a tragic romance – all thrown together in one overly stylish movie. That admission is Nocturnal Animals in a nut shell. Later, the gallery owner, Susan (Amy Adams), admits that the show was terrible, shallow, unfulfilling pop junk. These dancing fat women are part of a gallery where the women are then posed naked and dead on white slabs for a high class audience. The camera zooms in on their fat ripples, stretch marks, and surgery scars as they gyrate and undulate for the camera. Nocturnal Animals opens with a bunch of large naked women wearing only shoulder epaulettes and a drum major hat, an image frightfully similar to cult drag star Dina Martina in 2015, dancing in front of a red curtain waving around sparklers and American flags. When the last credit of Nocturnal Animals rolled, my first thought was that this was a profoundly silly movie. The more I think about it, the more I’m on the profoundly hilarious campy wavelength of this trashy movie as filmed in the style of a fashion catalog.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |