Masterpiece! The most nihilistic film I've seen. Johnny is one of the most complex leading characters portrayed in film. A man that destructively partakes in unforgivable actions and lives only to oppress the lives of the unlucky individuals that encounter him on his meaningless voyage throughout London. Yet he has such a scornful wit an unique worldview you can't help but be seduced by his filthy charm.
Something I noticed upon rewatch was how delicately Leigh uses movement throughout the…
It's rare that a film comes around that acts as the perfect intersection of several personal interests: slice-of-life filmmaking, pretentious wine culture, being obnoxious travellers! Every scene in this perfectly balances drama with comedy, whether it focuses on the perils of loneliness or why pinot reigns supreme.
The writing is so on point that we're able to pity, but also sympathise with these irredeemable, destructive middle-aged men so self-indulged that everyday brings a new identity crisis. Pair that with career-best performances from all involved, a fitting jazzy score, endless character development and what we're left with is an understated masterpiece.
I love how Linklater, Hawke and Delpy entirely stripped back the youthful, optimistic story of building the 'perfect love'. Their new focus on the very real challenge of desperately holding onto a naturally changing love was near perfection.
Honestly, most parts of this film were near perfection. Listening to Jessie pitch his abstract ideas. Hearing Celine reflect on her life. Watching three generations of Europeans discuss relationships.
Actual perfection, though, has been watching the natural evolution of Jessie and Celine's relationship across each film. Oh, and the trilogy's climax: that beautifully framed, flawlessly written, deeply reflective conversation at the hotel. I'll never stop loving these films.