This crystallized for me when I was watching Cats and my boyfriend leaned over and was like, "Where's the dialogue?" And when I told him there was basically no dialogue-"It's a sung-through musical, like an operetta"-he pouted and was turned off for the rest of the movie. Chase BurnsSung-through musicals get a bad rap. The film specifically focuses on the relationship between herself, her parents (Giulia Boschi and François Cluzet, a favorite) and their "houseboy" Proteé (played mesmerizingly by Isaach De Bankolé), a native Cameroonian who has to suffer through serving this white family. As she looks out at the landscape from the car, she flashes back to her life as a young girl in the country. It starts in the present when France (Mireille Perrier) is picked up on the side of road while en route to Douala, Cameroon by a man and his son. Rather, the title refers to the word in old French slang which meant "to be had or cheated," and extends the word, in this context, to mean "to be black and cheated."ĭirector Claire Denis's first feature film, Chocolat is a somewhat autobiographical account of Denis's childhood in colonial Cameroon. CHASE BURNSĬlaire Denis signed this copy! JKThis Chocolat is not to be confused with the Chocolat starring Juliette Binoche, Johnny Depp, and some erotic sweets (Is that the premise? I've never seen it). The whole film is, as they say, hotter than Georgia asphalt. I have a hard time focusing during Lynch's films, but so many of Wild at Heart's extreme scenes stick with me: The opening, which revs up from a polite Southern gathering to a brutal head-bashing in seconds the scene where Ripley hijacks a microphone to sing while girls excitedly scream in the background, but they're pitched up to sound like eagles the scene where Lulu pulls over her car because she can't handle the negativity of news radio, so she makes Ripley put on some hardcore music and then they rage in a pasture. Maybe if we put enough of these male directors together we can finally get a director who's obsessed with a whole woman. During their humping, the camera almost always ends up pivoting from their energetic faps to Dern's hand perfectly posed, fluttering with blood, often lying on a pretty sheet. The film features a horned-up, wild Lula (Laura Dern) constantly having melodramatic sex with the horned-up, wild Sailor Ripley (Nicolas Cage). It really stood out to me while rewatching Wild at Heart. The dude clearly has a thing for elegant hands with brilliant manicures. We spend a lot of time talking about Quentin Tarantino's foot fetish and not enough time talking about David Lynch's hand fetish. JASMYNE KEIMIGįight for those dreams, Mr.
T vows revenge once he gets wind of Chalky and Pete's plot, and those guys aren't ready for the-wait for it-trouble they're about to get themselves into. T is a hero, but that doesn't stop two assholes named Chalky and Pete from trying to frame him for a murder he didn't commit so they can take down a rival crime kingpin, Big (Julius Harris). He's beloved by the streets of Crenshaw, too, being the go-to guy when you're having trouble with a shitty white landlord or need someone to spot you bail. T, a no-nonsense private detective who has a $10,000 car, a $600 suit, a gun in his waistband, a tricked out apartment, and ladies all over town.
#THE WILD AT HEART WALLPAPER FULL#
It's funky as hell and one of the only albums where Gaye was given full creative control, composing the title song (which is oh so sweet) and the score.
No, it's not the best blaxploitation film of all time, but the soundtrack is composed by none other than Marvin Gaye himself, fresh off the success of What's Going On. Jasmyne Keimig Trouble Man is a whole lot of fucking fun.
God, the mirror scene at the end is great.
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