#9 Far and Loathing er en meget philosofisk film. Det er svært at få øje på, men nøglen til hele filmens philosofi ligger i to scener, hvor Hunter sidder i sin suite og skriver på sit skrivemasine mens han tænker tilbage.
INT. MINT HOTEL SUITE - NIGHT
DUKE sits staring at the TV.
51.
DUKE (V/O) Strange memories on this nervous night in Las Vegas. (he gets up, pours himself a drink) Has it been five years? Six? It seems like a lifetime -- the kind of peak that never comes again. San Francisco in the middle sixties was a very special time and place to be a part of. But no explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time and the world. Whatever it meant.
DUKE throws open the curtains. Light streams in.
EXT. 1965 STOCK FOOTAGE
We are in SAN FRANCISCO. IMAGES OF THE TIME FLOOD IN.
DUKE (V/O) THERE WAS MADNESS IN ANY DIRECTION, AT ANY HOUR... YOU COULD STRIKE SPARKS ANYWHERE. THERE WAS A FANTASTIC UNIVERSAL SENSE THAT WHATEVER WE WERE DOING WAS RIGHT, THAT WE WERE WINNING. AND THAT, I THINK, WAS THE HANDLE -- THAT SENSE OF INEVITABLE VICTORY OVER THE FORCES OF OLD AND EVIL. NOT IN ANY MEAN OR MILITARY SENSE; WE DIDN'T NEED THAT. OUR ENERGY WOULD SIMPLY prevail. We had all the momentum; we were riding the crest of a high and beautiful wave...
DUKE'S FACE IS SUFFUSED WITH A SADNESS AND SERENITY WE HAVE NEVER SEEN BEFORE.
DUKE (V/O) So now, less than five years later, you can go up on a steep hill in Las Vegas and look west, and with the right kind of eyes you can almost see the high water mark -- that place where the wave finally broke and rolled back.
__________________________________________________________ Og den anden er også en hvor Hunter sidder og skiver. __________________________________________________________
INT. FLAMINGO HOTEL SUITE/APOCALYPSE - NIGHT
On the TV an airplane soars thru the sky. Pull back to find DUKE barricaded in GONZO'S BEDROOM. He is typing on his typewriter.
DUKE We are all wired into a survival trip now. No more of the speed that fueled that 60's. That was the fatal flaw in Tim Leary's trip. He crashed around America selling "consciousness expansion" without ever giving a thought to the grim meat-hook realities that were lying in wait for all the people who took him seriously...
DUKE records like A WAR CORRESPONDENT. The CAMERA slowly rises -- DUKE alone in the room with the TV SPEWING OUT IMAGES OF WARS AND CIVIL UNREST OF THE 90'S.
DUKE All those pathetically eager acid freaks who thought they could buy Peace and Understanding for three bucks a hit. But their loss and failure is ours too. What Leary took down with him was the central illusion of a whole life-style that he helped create...
RISING HIGHER -- THE WALLS OF THE ROOM APPEAR TO BY 20 TO 30 FEET HIGH. DUKE SEEMS TO BE AT THE BOTTOM OF A WELL... THE CAMERA RISES UP THROUGH BROKEN TIMBERS...
DUKE ... a generation of permanent cripples, failed seekers, who never understood the essential old-mystic fallacy of the Acid Culture: the desperate assumption that somebody... or at least some force -- is tending the light at the end of the tunnel.
HIGHER STILL -- DUKE ALONE IN THE ROOM -- AN ISOLATED BOX SURROUNDED BY THE TWISTED METAL AND RUBBLE AND SMASHED NEON SIGNS OF THE DEAD CITY -- A BLASTED LANDSCAPE WITHOUT LIGHT -- SHARDS OF A CIVILIZATION.
Hvis man ikke lige fanger dette, kan filmen godt virke lidt overfladisk. Men så kan jeg kun forslå at du ser den igen :-)
jeg synes ikke den var særlig spændende at sidde igennem, så næste gang tror jeg at jeg hopper over. Er ikke helt med på det du paster der, men for mig virkede filmen kun som et portræt af folk på stoffer, men det også fint nok. Det er jo det som mange beundrer, den er sjov osv. Jeg synes bare ikke det var særlig interessant at sidde og glo på 2 i timer.
Jeg tror ikke på der er nogle som tænker det der når de ser filmen, så skal man da sidde og analysere hver en scene for sig selv. En "dybere mening" som er gemt så godt væk kunne ligeså godt være ikke-eksisterende.
Tjoh tjah, der er vel altid en grund til at lave en film. Men jeg tænkte vel mere på en moralsk mening af en art, jeg fandt i hvert fald ikke Fear and Loathing specielt tankevækkende, tværtimod.
Så lad være med at se den igen, eller se den igen og se om du kan finde en dybere mening med den.. eller du kunne læse bogen, og se om den er så filosofisk, som folk gør den til.
#11 ks 21 år siden
#12 Tylerdurden 21 år siden
INT. MINT HOTEL SUITE - NIGHT
DUKE sits staring at the TV.
51.
DUKE (V/O)
Strange memories on this nervous
night in Las Vegas.
(he gets up, pours
himself a drink)
Has it been five years? Six? It
seems like a lifetime -- the kind
of peak that never comes again.
San Francisco in the middle sixties
was a very special time and place
to be a part of. But no
explanation, no mix of words or
music or memories can touch that
sense of knowing that you were
there and alive in that corner of
time and the world. Whatever it
meant.
DUKE throws open the curtains. Light streams in.
EXT. 1965 STOCK FOOTAGE
We are in SAN FRANCISCO. IMAGES OF THE TIME FLOOD IN.
DUKE (V/O)
THERE WAS MADNESS IN ANY DIRECTION,
AT ANY HOUR... YOU COULD STRIKE
SPARKS ANYWHERE. THERE WAS A
FANTASTIC UNIVERSAL SENSE THAT
WHATEVER WE WERE DOING WAS RIGHT,
THAT WE WERE WINNING. AND THAT, I
THINK, WAS THE HANDLE -- THAT SENSE
OF INEVITABLE VICTORY OVER THE
FORCES OF OLD AND EVIL. NOT IN ANY
MEAN OR MILITARY SENSE; WE DIDN'T
NEED THAT. OUR ENERGY WOULD SIMPLY
prevail. We had all the momentum;
we were riding the crest of a high
and beautiful wave...
DUKE'S FACE IS SUFFUSED WITH A SADNESS AND SERENITY WE HAVE
NEVER SEEN BEFORE.
DUKE (V/O)
So now, less than five years later,
you can go up on a steep hill in
Las Vegas and look west, and with
the right kind of eyes you can
almost see the high water mark --
that place where the wave finally
broke and rolled back.
__________________________________________________________
Og den anden er også en hvor Hunter sidder og skiver.
__________________________________________________________
INT. FLAMINGO HOTEL SUITE/APOCALYPSE - NIGHT
On the TV an airplane soars thru the sky. Pull back to find
DUKE barricaded in GONZO'S BEDROOM. He is typing on his
typewriter.
DUKE
We are all wired into a survival
trip now. No more of the speed
that fueled that 60's. That was
the fatal flaw in Tim Leary's trip.
He crashed around America selling
"consciousness expansion" without
ever giving a thought to the grim
meat-hook realities that were lying
in wait for all the people who took
him seriously...
DUKE records like A WAR CORRESPONDENT. The CAMERA slowly
rises -- DUKE alone in the room with the TV SPEWING OUT
IMAGES OF WARS AND CIVIL UNREST OF THE 90'S.
DUKE
All those pathetically eager acid
freaks who thought they could buy
Peace and Understanding for three
bucks a hit. But their loss and
failure is ours too. What Leary
took down with him was the central
illusion of a whole life-style that
he helped create...
RISING HIGHER -- THE WALLS OF THE ROOM APPEAR TO BY 20 TO 30
FEET HIGH. DUKE SEEMS TO BE AT THE BOTTOM OF A WELL... THE
CAMERA RISES UP THROUGH BROKEN TIMBERS...
DUKE
... a generation of permanent
cripples, failed seekers, who never
understood the essential old-mystic
fallacy of the Acid Culture: the
desperate assumption that somebody...
or at least some force -- is
tending the light at the end of the
tunnel.
HIGHER STILL -- DUKE ALONE IN THE ROOM -- AN ISOLATED BOX
SURROUNDED BY THE TWISTED METAL AND RUBBLE AND SMASHED NEON
SIGNS OF THE DEAD CITY -- A BLASTED LANDSCAPE WITHOUT
LIGHT -- SHARDS OF A CIVILIZATION.
Hvis man ikke lige fanger dette, kan filmen godt virke lidt overfladisk. Men så kan jeg kun forslå at du ser den igen :-)
#13 ks 21 år siden
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Så lad være med at se den igen, eller se den igen og se om du kan finde en dybere mening med den.. eller du kunne læse bogen, og se om den er så filosofisk, som folk gør den til.